history in the hand through functional ceramics

The College of Wooster LibrariesOpen Works

Senior Independent Study Theses

2015

History in the Hand Through Functional CeramicsKatherine E. StephensThe College of Wooster, kstephens15@wooster.edu

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© Copyright 2015 Katherine E. Stephens

Recommended CitationStephens, Katherine E., "History in the Hand Through Functional Ceramics" (2015). Senior Independent Study Theses. Paper 6960.https://openworks.wooster.edu/independentstudy/6960

HistoryintheHandThroughFunctionalCeramics:LookingtothePast,CreatinginthePresent,andSharingwiththeFuture

KatherineStephens

SubmittedinPartialFulfillmentoftheRequirementsForSeniorIndependentStudy

TheCollegeofWooster

DepartmentofArtandArtHistoryStudioArt

November13,2015

AdvisedbyWalterZurko

Acknowledgements:

Iwouldliketothankthefollowingpeopleforeverythingtheyhavedoneforme.

Withoutthem,thisprojectwouldneverhavebeenpossible:

ToBeckyMaier-Moon,forherunbelievableenthusiasminmydesiretocreatepots.

TomySeniorI.S.ladiesinthebasementofEbert,especiallyDevinandKaitlin,for

likingmywork,evenwhenIdidn’t.

WalterZurko,myadvisor,fortheenthusiasm,theexpertisethatwouldfollowany

time“I[had]aquestion,”forthegenuinejoythatresultedfromeveryI.S.meeting,

andfinally,forbeingwillingtoworkwithmeinthefirstplace.

Tomymother,foreverytwo-hourphoneconversationaboutabsolutelynothing,for

sympathizingwithmewhenIwasupset,andfortheconstant,unconditional

supportandlovethatIhavefeltfromdayone.

SpecialthankstotheCollegeofWooster’sArtDepartmentforhelpingmefundmy

project.

“Try to put thought, time and care into making these useful objects

with the hopes that the users will somehow connect with them

beyond their intended purpose.“

Jennifer Harnetty, Ceramic Arts Daily

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Introduction

SomemightsayI’moldfashioned,buttherehasalwaysbeensomething

aboutobjectsfrombeforemytimethatI’vefeltdrawnto.FromthetimeIwasa

youngchild,Ihavebeensurroundedbyobjectsthatrevealedevidenceofusefrom

theirpast.Myroomisfullofvintageoddsandends—you’llfindoldrecordsorold

postersfrommoviesbeforeIwasborn;agingbookswithpagessocrispand

browned,theyarelikeleavesinautumn;slightlyrustingtinsfilledwitheverything

fromsafetypinstobuttonstoearrings;oldmasonjarsofvarioussizes,shapes,and

colorsscatteredacrosseverysurfacecontainingknittingneedles,kitchenutensils,

andpaintbrushes;evenanoldmedicinejartoholdpencilsnexttomycomputer.

Objectssuchasthesehavehistory,previousownersthatusedtheseitemsintheir

ownway,andnowtheyhavepassedintomyhandsandbecomeapartofmydaily

life.

Ialwayssaythatantiqueshopsare“dangerous”placesforme—particularly

formypocketbook—butit’sinthoseplacesthatIfeelveryathome.Igrewupina

familythatprizesantiques—mygrandparentswerefrequentbuyersandsellersat

salesandauctions,andmyownhousefeaturedmorethanafewoldobjectsaswell.

Itwasn’tuncommonformetotagalongwhenthey’dgotoasalejusttosnoopfora

fewdiamonds-in-the-rough.Duringtheseoutings,Ilearnedalotaboutvarious

pieces,theirorigins,and,withtheoccasionaloddity,whattheywereusedfor.

PerhapsthemostfrequentcommentIheardwas,“thesejustlastforever”orsome

variation.Overtime,Ihavecometothinkofoldthingsasnotjustbeautiful,butalso

dependablefortheirindividual,utilitarianpurpose.

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Asanaspiringpotter,thenotionofwell-crafted,durable,functionalitems

appealstome.Sincemymediumisclay,itwasaneasydecisionformetochooseto

makefunctionalobjectsatthepotter’swheel.AsIbegantoconductresearchformy

SeniorIndependentStudyproject,Ilookedathistoricalfunctionalwaresfromdaily

life,manyofwhichsurvivetoustoday.Thesturdinessofthesepieces,in

combinationwiththeobviouswearandtearexhibited,affectedmeinthesameway

objectsdoinanantiquestore.Irealizedthatasaresultoftheirdurability,theyhad

survivedtobepartofthelivesofmany,andthuscreatedalinkfromoneindividual

toanotheroverthecourseoftime.

Allthatsaid,noteveryoneintheworldislikeme,andnoteverythinginmy

lifeispre-owned;I’mstillachildofGenerationYwhogrewupinaworldwithcell

phones,internetaccess,andaconstantculturalfocusonbeingyoung.Mypointis,in

ourcultureofeasyaccess,instantgratificationanddisposability,many,ifnotmost

peoplehaveadesireforthe“new.”BecauseI’mcreatingnewfunctionalwares,I

haveaninnatedesiretoseethembeingusedinsomeone’skitchenorhome.Itismy

hopethatthesehandmadewaresmaysomehowhelptoestablishaconnectionfrom

onetheuser/ownertoanother,somewhatliketheconnectionIfeelwhenusing

antiquesinmydailylife.

Oldobjectshaveahistory;theyhavebeenownedandused,andsometimes

lastlongerthanahumanlifetime.ThoughIcannotrecreatethathistorywhen

makingnewwares,becausemyobjectsaremadebyhand,Icanactastheinitial

personintheobject’spotentiallineageofhumaninteraction.TheobjectsIhave

acquiredfromsalesandantiqueshopshaveallbeenpartofsomeoneelse’slife,and

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eventhoughImaynevermeetthepeopletowhomthoseitemsbelonged,alink

betweenushasbeencreated.Itismyintentiontocreatehand-madefunctional

objects,usingahybridizedaestheticgatheredfromavarietyofhistoricalsourcesin

ordertoparalleltheunexpectedbondsthehistoryofobjectsmakesbetween

overlappinggenerations.

Process

TheprocessofmySeniorIndependentStudyprojecthasbeenbothphysical,

andconceptual.Clayis,asamedium,inherentlyprocess-oriented;myapproachto

conceptualideasisalsoveryprocess-oriented;asaresult,thesetwosetsof

processeshavecontinuallyinformedeachotherthroughouttheentiretyofthis

project.Thisinteractionhasallowedformetogrowinmyunderstandingofthe

mediumanditsproperties,anditshistoryinAmericaandBritain.

Wheel-Throwing

Atthebeginningofeverythrowingsession,Iwouldgrabsomeclay(brown

stonewareorgrollegporcelain),andbeginwedging.Thewedgingprocessiscrucial

becauseitensuresevenconsistencyoftheclayandalsoridstheclayofairpocket.

Thisprocesstakessomemuscleandpatience,butismostlyatechniqueofleverage;

therockingmotionofwedginghasmeditativeeffect,whichallowsmetoconsider

whichformsIshouldfocusonthatparticularday.Itisalsoatimetoreflectonnew

inspirationsIhavediscovered.Afterwedging,theclayisrolledintoballsof

specifiedweights,basedonthepredeterminedformsthateachballwillbeusedfor.

Next,Isetupmywheel,whichincludedfetchingwater,gettingmytoolsset

out,gettingabatmatandsomebatsattheready,andthrowingthrowndownaball

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ofclay.1Thefirststepatthewheelistocentertheclaybypullingtheclayupintoa

coneshapeandthen,whileusingtherighthandtocontrolthebottom,usingthe

baseofthelefthandtopresstheconebackdownintoamound;thisactiondisplaces

theclayfromitsoriginalposition,allowingmetohavemorecontroloverthe

placementoftheclayonthewheel,ensuringitiscenteredproperly.

Thisisfollowedbyopeningtheclay,byslowlycreatinganindentinthe

centerofthemoundand,whilesupportingtheoutsideoftheclaywiththeother

hand,pressingdownuntilthedesireddepthisreached.Then,thebaseiscreatedby

thegentle,butfirm,outwardmovementofthehandstoexpandthebasetothe

desireddiameter.Followingthat,theclayiscollared(broughtin)atthetoptomake

therimsmallerindiameterthanthebase,andtherimisgentlycompressed.

Thenextstepispullingupthewallsofthelow,hollowform,whichservesto

thinandevenoutthewallsoftheformandtoextendthepiece’sheight;thisstep

beginsatthebaseandtheclayisslowlypulledinanupwarddirectiontoexpandthe

body.Collaringandcompressingoftherimisrepeatedinbetweeneachpull,until

thedesiredthinness/sizeisachieved.Thefinalstepistoslowthewheel

significantly,andtoshapetheform.

Therearemanyintermediatestepsthatoccurwhilethrowingaform,which

includetheuseoftoolstocuttherimoralterthepieceinsomeway,andthestepsI

mentionedaboveareonlythefundamentalstepsofthrowing.Nonetheless,Ithink

1A bat is a removable plastic surface placed on the head of a pottery wheel. When a pot is finished, the entire bat can be removed from the wheel with the piece still on it, this makes freshly thrown work easier to transport.

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thisgivesagoodillustrationofthissmallpartofthewholeofcreatingeachceramic

piece.Creatingtheseworksisatruelaboroflove.

ConceptualProcess

ThepotsIhavecreatedoverthecourseofthisprojecthavechanged

dramatically.Myinitialeffortsresultedinlargegroupsofmugsandtumblers,but

makingthemfeltuninspired.Thesepiecesfeaturedaplain,slightlyflaredformand

anundecoratedsurface(later,Iusedtheseforglazetesting).BoredwithwhatIwas

currentlyworkingon,Ilookedbackthroughsomeofmyworkfromtheprevious

semesterandfoundasmallstonewarejugthatI’dgainedafondnessfor(Figure1).

IusedthisasastartingpointandfoundinspirationinearlyAmericanstoneware.

SeveraloftheearliestpotsIcreatedformySeniorIndependentStudyproject

werebasedonoldcrockjugs(Figure2).Forthesepots,Iretainedthestraightedges

andthedefinedangleoftheneck,butgavethemwidermouthsandshorter,more

roundedrims,tomakethemintojarsinstead(Figure3).TheshapethatIhadwhen

I’dfinishedremindedmeofanoldmetalcistern,soIbeganresearchonmetalware

andAmericantinware.

Afterdivingfurtherintotheprocessofresearchhowever,Ifoundmyself

surroundedbyinspirationfrommultiplecultures,uses,andtimeframes.Initially,I

triedtobasemyworkssolelyonEarlyAmericanstonewareandAmericantinware,

butIfoundmyselfconstricted,whichmademequestionhowIplannedtousethese

sourcesasinspirationformyownwork.Expandingmyresearchallowedmeto

createmorediverse,moreinterestingpiecesthatreflectthewebofinfluencesthat

inspiresmyloveofpottery.Additionally,byexpandingmyvision,itallowedmeto

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createhybridizedwarestodemonstrateavisualconnectionbetweenpeopleand

cultures,whichwouldmimicthepotentiallyinvisibleconnectionIwouldlikemy

piecestomakebetweenowners/usersovertime.

Thetwoprimarysubjectsofmyinitialresearch,earlyAmericanstoneware

andAmericantinwarevesselsfromthe18thand19thcenturies,werealikeintheir

simplicity,utility,anddurability.However,theyjuxtaposedeachotherinphysical

form;earlystonewarepotterywasoftenround,bulkyandlarge(Figure4)whereas

metalwaresweremoreangularinform,lightweightandthin(Figure5).AsI

furtherexploredthesewares,IrealizedthatIdidn’twanttorecreatetheseforms,

butIstillwantedtoutilizesomeoftheirqualitiesinmywork.Idesiredtomake

somethingnewthatreflectedtoday’sworld—theworldinwhichtheywerecreated.

AsIcontinuedtoresearch,Ibeganlookingatcontemporarypotterytosee

whatthe“potteryoftoday”lookslike,andwhatamongstthewideandvariantworld

ofcontemporarypotterymostappealedtome.Simultaneously,Ibegantoresearch

glazes,glazingtechniques,andothersurface-orientedelements,whichmightactas

astrongcontrasttothehistoricalformsandhelpmetoestablishastyleofmyown.

WhatIfoundinsteadwasafreshlookatacontemporaryapproachtominimalismin

pottery,specificallycontemporarypotteryintheUnitedKingdom.

ThefirstpotterstocatchmyattentionwereJamesandTillaWaters,a

marriedduo,whoworkinruralWales;thepartnershipisstreamlinedsothatJames

throwspiecesonthewheel,andTillamakesdesignandcolordecisions.2Their

2"James & Tilla Waters Ceramics." James & Tilla Waters. Accessed September 13, 2015. http://www.jamesandtillawaters.co.uk.

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functionalpiecesaresimple,basicforms,towhichtheyapplysoft,semi-transparent

glazes.

Manyoftheirpots,liketheonesshowninFigure6,havecompletelystraight

sidesandthesurfaceiscompletelysmooth.Theyarefreeofsurfacetexture,with

theexceptionoftheirsignaturestamponthesideofeachjar.Eventheknobsonthe

lidsoftheseformsareuncomplicated,havingstraightsidesandbeingsomewhatflat

inshape.

Thewarmthoftheirworksurprisedme;eventhoughtheirworkis

exceptionallyclean-lined,andsuchsimplicitycouldsuggestindustrial

manufacturing,theymanagetoexhibitreferencestothepresenceofthehuman

hand.InFigure7,whichshowstheinteriorofasmallmug,itispossibletoseethe

ringscreatedbythepotter’shandonthewheel.Theyaresubtle,buttheirpresence

issignificantandevokesanhonesty,whichremindstheviewer/userofhuman

presenceduringitscreation.

LikeJamesandTillaWaters,Ichosetoutilizestraightsidesformanyofmy

pieces.Thisdecisionisreflectiveofboththeminimalaesthetic,whichtheWaters

use,andalsoofthestraightsidesseeninthehistoricalmetalwaresIdiscussed

previously.Manyofmypiecesfeaturestraightsides,liketheforminFigure8.This

bowlhasflared,straightsidestofollowtheaestheticoftinwareandthereference

tometalwaresisfurtheredbytheinclusionofthedottedlineandtwonotchesto

illustrateanartificialseam.However,itisalsopossibletoseethelinesintheclay

createdbythehandduringitscreationonthewheel,remindingtheviewerofnot

onlythemedium,butalsoofhowthepiecewasmade.

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Anothercontemporarypotter,whoseworkisformallyminimalbutshows

evidenceofthehumanhand,isDerekWilson.Hedescribeshimselfasa“twenty-

firstcenturyhybridizationofstudiopotterandconceptualartist,”andhisart

exhibitsinfluencesfrombothEuropeandAsia(Figure9).3Hisfunctionalwaresare

wheel-thrown,andarealsobasedoffofclean,straightlinesandsmoothtextures,

butsomeofhisworksincludealterations,suchasdimples,thatpresentthehand-

madequalityofhiswares(Figure10).ManyofWilson’sworksareverysimplein

shape,createdbythealterationsofbasiccylindricalforms.

Becauseofthesimplicityofhiswork,smallchanges,suchasdimples,havea

strongimpactonthefinaloutcomeofhispots.Ichosetoincludethisdetailinsome

ofmyownworksaswell,whichaffectsthepiecesnotjustvisually,butalsotactilely.

Withtheinclusionofdimples,thepiecesitsinthehandoftheuserdifferentlythanit

otherwisewould;dimpleswithintheformofapiecechangestheconnectionahand

makeswiththework.Theseindentationscreatedipsinthesurfaceofapotwhere

thefingers,thumb,orothercurvesofthehandcanrestmakingapiecefeelmore

personalbyemphasizingitshand-madecharacter.

Someofmyownwork,suchasthepitcherinFigure11,featuresdimples.

Thisform,moreroundedthanmanyoftheothers,wasbasedontheformsofearly

Americanstonewarepitchers.Theroundednessofthebodymakesfora

comfortablefitinthehand,butwiththeadditionoftheindentations,thesupporting

handisgivenamoredefinedplacement,creatingabettergripfortheuser.3"Derek Wilson Ceramics." Derek Wilson Ceramics. Accessed September 13, 2015. http://derekwilsonceramics.com.

10

Additionally,IalsoincludeddimplesonpieceslikethemuginFigure12,

whichhasstraightsides.Thispiece,likethetumblerbesideit,isbasedofftinware

likethebowlImentionedbefore.Whilethestoneware-inspiredpitcherfeatured

roundedsides,andthedimplesfitsnugglyintothefrontareawherethepitcher

wouldbesupported,theplacementofthedimpleswaslessclearforthemug.The

roundnessofearlyAmericanstonewareindicatesthehand-to-objectcontactthat

wouldhavebeenfrequent,howeverwithtin-warethatroundedbellyismuchless

common.Myaddingdimplestothestraightsidesofthemug,itcreatedcurvesin

thesidesoftheform,whichallowsthepiecetositmorecomfortablyinthehand.

Glazing

Earlyintheprocess,whileIwasstilltryingtodefinemyconceptforforms,I

beganmyglazetesting.IknewfromearlyinmyprojectthatIwantedtoexplore

glazesandseehowdifferentglazeswouldlookonmypottery.Becausethereareso

manyfactorsthataffectglazechemistry—frommineralsintapwatertohowapiece

isfiredinakiln—glazingcanbebothchallengingandexciting.Inordertofind

glazesthatIfeltwouldcomplementmyforms,Iperformedavarietyofteststhat

includedmorethan150testtiles,whichincludedvariancesontheapplicationofa

fewselectglazes,includingGeoffryWheeler’sROB/GABlendandMatte“B”glazes.I

createddifferenteffectsbytryingavarietyofcolorants,layeringglazesoneoverthe

other,andviseversa,andbyfiringatdifferentheatingandcoolingspeeds.Ialso

trieddifferentglazeapplicationtechniquesincludingdippingandspraying.

Additionally,theseglazeswerealsotestedbyapplyingthemoverStevenHill’s

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StrontiumCrystalMagic:WarmandStrontiumCrystalMagic:Cool,whichresultedin

avarietyofeffectsaswell.

ArtistssuchasLousiaTaylorandLindaBloomfielduseglazesthatare

colorful,yettransparentenoughtoallowtheviewertoseetheringsfromthe

creationofapieceonthewheel(Figure13,Figure14).Thepresenceoftheselines

(eventhoughsomeofLindaBloomfield’sworkismassmanufactured),onceagain

createsthatinterpersonalconnectionbyremindingtheviewerofthepresenceof

themaker.Whenusingglazesonmyownwork,Ialsohopetomaintainthe

presenceofmyownhandandtouseglazesthatemphasizeandcomplementthe

textureleftoverfrommyhandandthewheel.

Exhibit

Becausemyshowisstillawaysaway,Ihavenotmadeconcretedecisionsas

tohowIwillsetupthegalleryspacetodisplaymywares.However,becausethe

displayissocrucialtohowartworksarereceived,Ithinkitisimportanttoaddress

someoftheideasbehindwhatIhopetoachieve.

Tobegin,myoverallgoalfortheatmosphereofthisexhibitionistofinda

balancebetweenthespaceofthegalleryandadomesticspace.AsIstatedearlyin

mypaper,myworks,whiletheyarepiecesofart,arealsomadewiththeintension

ofbeingused.Thegallery,thephysicalspaceinwhichmyexhibitionwillbesetup,

reflectstheroleofmypiecesasartwork,andsomyprimaryfocusistoemphasize

thedomesticqualitiesofmywaresinmydisplay.Placementofplatesonatable,for

example,willhelpwiththiskindoffeeling.

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Additionally,Iwouldliketocreateaverysmalldeskspaceforaguestbook,

abovewhichmyartiststatementwillbehunginapictureframe.Onthesurfaceof

thedesk,Iwouldalsoliketoincludeacoupleofmypieces,onetoholdpensor

pencilsforsigningtheguestbook,andoneforsomethingdecorative,suchasflowers.

Anotherpotentialelementtomydisplaywouldbetheinclusionofa

bookshelf.Shelvesareastandardwayofdisplayingceramicpiecesagainstawall,

butbyusingthesetupofabookshelf,itwillfurtherthedomesticatmosphere,

ratherthanamoreformalspace.Also,thebookshelfwouldallowmetodisplay

objectsatagreatervarietyofheights,whichwillgivememorecontroloverthe

angleatwhichtheviewerseeseachpiece.

Also,forwaressuchasplatesanddeepbowls.Iwouldliketosetupasmall

table.Notonlywillthisshowtheobjectsinasettingofuse,asopposedtoshelves,

whichindicatestorage,butitwillalsoallowforindividualpiecestobeviewedasa

unit,whichcreatestheideaofalargersingularwork,aset,outofsmallerindividual

pieces.

Similarly,toemphasizetheworkIhavedonewithglazingandglaze

experimentation,Iwouldliketodisplaythelargequantityofcupsandmugsfrom

earlyinmyproject.Ononewall,Iwouldliketoarrangeaseriesofhooksforthe

mugstohangon.Tomakethismoreinteresting,andtoemphasizethemugsassets,

Iwouldliketoarrangethemsothattheyareinlinesaccordingtotheirglazecolor.

Importanttonoteisthatthesetsarenotallofthesamenumber,Ihavegroups

rangingfrom7cupsto2cups,soIwouldliketoarrangethemincolumnsof

decliningnumbers,creatinganoveralltriangularshape.

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Forthefinalsetofdisplays,whichwasinspiredbyKatharineMorlingand

EdmunddeWaal,Iintendtocreateshadowboxshelves(Figure15,Figure16).

BecauseIwanttocreateadomesticatedspace,shelvesseemlikeanobviouschoice.

However,inordertobridgethegallery-domesticgap,shadowboxesaredifferent

because,whiletheydoprovidestoragespacelikeyouwouldinahome,theyalso

featuretheouterliningofthebox,creatingaframethatreferencestheformal

gallerysetting.

Conclusion

Overall,throughouttheprocessofmySeniorIndependentStudy,Ihave

learnedavastamountabouttheformalqualitiesofclay—everythingfromglazing

materialsandtechniques,tothrowingplates,tonewwaysofalteringpots.Butmost

ofall,Ihavereallydevelopedanewunderstandingoftherelationshipbetween

objectsandtheinteractionwithpeopleandwithotherobjects.

Allofmyinfluences,variedastheymightbe,arestillrelated.Nothingistruly

originalandconceptsoverlaporreemerge.Justlikeobjectscanbepassedfrom

persontoperson,conceptscanbepassedfromobjecttoobject;howweinteract

withthoseobjectsmaybethesame,oritmaybedifferent,buttheconnectionisstill

there.

Overall,byincludinginfluencesfromdifferentsources,Ihopedtocreatea

hybridizedaestheticthatwillreflectthecomingtogetherofdifferentlifestylesthat

mightoccuroverthelifetimeofanobject.ItismyhopethattheseobjectsImake

willgoontobeusedbymanyandtobecomepartofthedailylifeofdifferentpeople.

Theiroriginalintention,amugasadrinkingvessel,forexample,isnotthemost

14

importantpart—instead,theaspectmostimportanttomeisjustthatthesewares

areused.However,andwherever,andwheneversomeoneneedsthem.Iwant

themtolivealifeasrichindiversityastheinfluencesthatcametogethertomake

them.

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Appendix

Figure1.

WhitestonewarejugImadeinthespringof2015.

Figure2.

Commonstonewarejug.Minnesota,late1800s-early1900s.

16

Appendix

Figure3

Threesmalljars,brownstoneware

Figure4.

JeffersonS.NashPottery

Alkaline-glazesstoneware,1856MuseumofFineArts,Houston

17

Appendix

Figure5.

ExampleofAmericancopperwaremadeforthekitchen

Figure6,

JamesandTillaWatersliddedjars

greywithorangeandblackdetails

18

Appendix

Figure7.

JamesandTillaWaters

Smallmugwithlilacglazeandblackfootring.Thrownporcelain.

Figure8.

Bowl,grollegporcelain,beforeglazing

19

Appendix

Figure9

DerekWilson

ThrownPorcelain,celadonglaze

Figure10

DerekWilsonThrownPorcelain,celadonglaze

Appendix

20

Figure11.

Dimpledpitcher,grollegporcelain,beforeglazing

Figure12.

Tumbleranddimpledmug,grollegporcelain,beforeglazing

21

Appendix

Figure13.

LouisaTaylor

OrioleSupperSet,ThrownandAssembledPorcelain

Figure14

LindaBloomfieldBowls,2010.

22

Appendix

Figure15.

KatharineMorling,NatureBox,2013Antiquebox,porcelainandblackstain

Figure16.

EdmunddeWaal,fifteenstones,2014.

15porcelainvesselsinaleadandwoodcabinet

23

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Stephens24

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