Plan of Action – Thesis Exhibition in the Dorsky
I am interested in how the inscription of our observations and gestures within the landscape defines our connection with the environment. My inspiration comes from nature as it represents a reflection of our interventions. Instead of being just present as a figure in the environment, humans are both explorers of nature and shapers of the landscape. (S)he worships nature but also destroys it. The landscape functions as a mirror and a lens in the same time. Water embodies the concept of endlessness, dynamic movements and powerful oscillations. I am compelled by the infinitive color and pattern found in ocean surfaces. Because of its fluidity, water does not record our interventions the way land does. I have always been interested in exploring its various surfaces, tensions and fluidity through a material such as plastic clay and more liquid material like casting slip, in order to investigate ways to capture this connection. I want to continue with using the texture as one of the main characteristic of my works, and will create it with handbuilding technique and with some thrown parts from the wheel. I also find inspiration for this turbulent texture in rock formations such as canyons that are carved from the landscape by the erosive activity of a river over geologic timescales. I plan to make large-scale installation out of porcelain pieces that will hang from the ceiling in different levels. These sections will together create a huge ocean wave, so that viewers will be able to walk through the installation. That would lead to my second piece made out of lithophanes that will be installed on the wall. As I’ve had an opportunity to work with digital technology used for making 3D-prototypes, I can use the same approach for making plaster molds. One of the fabrication methods that I have used is CNC cutting of plexiglass based on photographs of water ripples. In this way, I was able to get three-dimensional images that are etched in thin and very translucent porcelain and can only be seen when the backside of the image has a light source. For my final show in the Dorsky Museum, I would like to cast another images for different lithophane molds and create a luminous decorative panel. I enjoy playing with the texture where the actual material is not the only element on the surface; here light will have the main role in accentuating the texture. Also, I am planning to use the CNC machine for cutting green modeling foam to produce 3D models for my third piece. I will use these models to make plaster molds and slip cast ceramic multiples for a decorative interior wall. For this project, I will use the texture of the ocean’s surface, which I will apply directly to the foam models. Thanks to the Rhinoceros software, I will be able to use the most detailed pattern in order to present the most realistic conditions of water. With the repetition of two different models that will fit each other, I will build a decorative wall for an interior space that can have a functional characteristic as a partition. I have always been interested in making artworks with both aesthetic and functional characteristics, which can interact with the specific interior or exterior space. I am also interested in having sound of splashing water in the background of my installation, and that would be one of the options for my final show in the Dorsky Museum.
Plan of Action with Project Proposals, Fall 2013. – Subject to Change
Week 2 – Sep 4: Making porcelain for cone 10 for the Project #1. Project #1 will include abstract forms that I would like to install them in the air. I would use fishing strings for hanging them in between two walls and the ceiling. Forms will be inspired by water movements. That would also be a base for my further research for my thesis installation. Research that will include a lot of documentary work about landmarks, ocean, fluidity of water, etc. I want to learn more about installation and land art as that will be a reference for my work.
Week 3 – Sep 11: Have drawings that I will collect in my studio as part of my research. Source presentation and discussion.
Week 4 – Sep 18: Blog entries. Working day in studio. I would start with working on abstract sculptures that will be inspired by water movements.
Week 5 – Sep 25: Studio Work Day and individual discussion. Working on Project #1, start making casting slip for Project #2, making more sketches, working on my research. Annotated Thesis Research Outline.
Week 6 – Oct 2: Blog Posts and Comments to Post. Source presentation. Working on Project #2 that will contain tiles made of casting slip with paper since I want to make drops on the surface of tiles as a resemblance of the gesture painting as well. Thinking about using light underneath the surface of these tiles because I will be able to highlight thin layers of them. That would be an abstract presentation of my previous research about fluidity.
Week 7 – Oct 9: Studio Work day. Working on Project #2, making tile tests. Visiting artists Andrew Martin’ workshop.
Week 8 – Oct 16: Thesis committee meeting !
Week 9 – Oct 23: Studio work day. Start on making clay body for Project #3.
Week 10 – Oct 30: Interdisciplinary critique !
Week 11 – Nov 6: Studio Work Day. Working on the final piece. Project #3 will include objects that are inspired by objects from nature. Working on the idea for the final show in the Dorsky where I will install objects on the floor, and if it’s possible use the sand as the material which will follow the idea of “ocean landmarks”.
Week 12 – Nov 13: Blog Posts and comments to Posts. Meanwhile, working on my Project #3.
Week 13 – Nov 20: Revised Annotated Research Outline.
Week 14 – Nov 27: Studio work day. Making tests for glazes.
Week 15 – Dec 4: Finishing with the glazing and firing. Also, preparing for the installing all these art works.
Week 16 – Dec 11: Revised Thesis Proposal.
Week 17 – Dec 18 : Final Critique! Artist Statement and Thesis Proposal: All Final Critique work
I am interested in how leaving marks and inscribing our observations and gestures within the landscape defines our connection with the environment. My inspiration comes from nature as it represents a reflection of our interventions.I am compelled by the complexities of all colors and patterns around us, and infinitive ocean surfaces. Water embodies the concept of endlessness, dynamic movements and powerful oscillation. Because of its fluidity, water does not record our interventions the way land does; I am interested in exploring its various surfaces, tensions and fluidity through a material such as plastic clay and more liquid material like casting slip in investigating ways of capturing this connection. This investigation reaches the difference between tempestuous and calm surface of the ocean, its smoothness that can be suddenly wrapped by strong waves that are making curve lines and interesting shapes. Its power is tremendous and boundless. All of the massive waves that are constantly rising and disappearing producing sounds and spreading ocean breeze have reflected on my artwork. My concepts are based on the esthetic moment, and I believe that nature and its beauty are the great sources for my research.
Research and Creative Project Award II
1.Background and Context for the Project:
My vision as an artist has always been focused on nature, its beauty and power. I am impressed with all interesting colors and patterns around us, and the endless ocean. The vastness and power of the strong waves allowed me to realize how small and helpless we humans are. Currently, I am investigating the difference between tempestuous and calm surface of the ocean, its smoothness that can be suddenly wrapped by strong waves making curved lines and interesting shapes. Its power is tremendous and boundless. All of the massive waves that are constantly rising and disappearing producing sounds and spreading ocean breeze and flavor in the air have reflected in my artwork. During the last semester I was making porcelain pieces that were inspired by these beautiful patterns from nature. My porcelain installation simply called “Ocean” was part of my Ceramics I exhibition (see attached photo). This semester I am taking the course Crafting in Virtual Space with Professor Jennifer Woodin. As a ceramic artist as well, she was interested to see my ceramic works and suggested me to use organic forms for my Rhino 3D project. Since I have experience with making plaster molds and casting slips, I decided to make a decorative wall from cast porcelain pieces for an interior space.
2.Problem or Issue to be Addressed in the Project:
Through my research and drawings based on my inspiration, the next step is to collect data in the form of digital images and 3D models. As an international student coming from Serbia, I have not had the opportunity to work with digital technologies in my previous college. As part of the Crafting in Virtual Space class, I am looking forward to using the most appropriate fabrication method for my project, which consists of 3D digital process. I am interested in developing the technology of making 3D object as a prototype for the plaster molds because this production method gives a lot of options in the terms of repeatability and authenticity, but also gives value to the handmade, such as printing a prototype in a plastic of foam, and than making a plaster mold for slipcasting. Each printed object is both a multiple and original, where connects the traditional way of making casting slips objects with the modern technology which is very popular today.
3. Expected Outcomes or Benefits:
This grant will provide me with the resources and comprehensive framework so that I may continue to develop my work upon returning to my country. In addition, I am passionate about bringing my knowledge and skill to students of ceramics who may not have the opportunities I have had with such as advanced education outside Serbia. With the knowledge of using this fabrication method I will be able to understand all the technical issues in this process. My skills will also help to improve my further research in the field of contemporary ceramic by exploring the use of modern digital technologies.
4. Specific Plans for Completing the Project:
My RCPA request will support materials and the use of machines required to create the work I am envisioning. Without this award I will not be able to use appropriate materials such as green modeling foam with high density, which allows to produce more depth and to make delicate texture. This proposal also includes funding for extra time for cutting materials on the CNC machine. I will use CNC machine for cutting green modeling foam, from which I will produce 3D models. These models I will use for making plaster molds and slip casting ceramic multiples to make a decorative wall for an interior space. For this project I will use the texture of the ocean’s surface that I will apply directly to the foam models. Thanks to the Rhinoceros software, I will be able to use the most detailed pattern in order to present the most realistic conditions of water. With the repetition of two different models that will fit each other, I will build a decorative wall for an interior space that can have a functional characteristic, as partition. I have always been interested in making artworks with both aesthetic and functional characteristic, which can interact with the specific interior or exterior space, such as lighting porcelain installations that I was making before, for example. For this installation I will need to make a wooden pedestal as a support for the slipcast porcelain pieces that will create ocean waves (see attached photo of Fan wall that was part of my solo exhibition, as an example).
5. Methodology and Specific Plans for Disseminating the Work of the Project:
Achieving the fabrication skills will enable me to design my own projects in the future as well. One of my goals upon completing my MFA and returning to my home in Serbia includes plans to introduce digital printing into the ceramic process. I will have the opportunity to demonstrate the process of design and production of objects as well as interaction between these two different ways of making series of ceramic pieces. Upon completing my digital fabrication course I will be able to immediately demonstrate and utilize my knowledge at the SUNY New Paltz ceramic and digital lab facilities.
6. Institutional Review Board (IRB):
7. Previous Support:
I have not received prior funding under the Research and Creative Project Award Program.
Research and Creative Project Award
1. I am particularly interested in the process of learning the kiln building techniques because of my interest in atmospheric firings and development of the glaze surfaces. I would apply the Graduate Research and Creative Project Award toward the attending the kiln-building workshop.
2. One of my goals includes plans to introduce atmospheric firing in my home country of Serbia after I complete my MFA. The ceramic facilities at SUNY New Paltz are not in optimal condition. By having the opportunity to learn the kiln building process from masters in this field, such as Donovan Palmquist, I can then participate by assisting in rebuilding some of the kilns in our ceramics studio.
3. With this knowledge, I would be able to realize the technical problems in atmospheric firings and help to improve the quality of the facilities by exploring the use of other fuels to establish greater efficiency.
4. Kiln building workshops are offered at art centers such as Penland School of Craft, N. Carolina; Anderson Ranch, Colorado; and others. The cost of attending these workshops is approximately $500.
5. Achieving kiln-building skills would enable me to design my own kiln. Having the necessary skills would introduce atmospheric kilns to Serbia for the first time. I would have the opportunity to teach the process of design, building and firing. The potential of receiving this grant would provide me with a comprehensive framework so that I may continue to development my work upon returning to Serbia. In addition, I’m passionate about bringing my knowledge and skill to students of ceramics who may not have the opportunities I’ve had, for further education outside our country. Upon returning from the kiln-building workshop I would be able to immediately demonstrate and utilize my knowledge at the SUNY New Paltz ceramic facilities. There are current plans underway in this department to update and rebuild the kilns.
“Nature does not reveal its secrets at once and to everybody.” Seneca
My vision as an artist is focused on nature, its beauty and power. I am impressed with all interesting colors and patterns around us, and endless Pacific Ocean. The vastness and power of the strong waves allowed me to realize how small and helpless we humans are. Excessive depth of the ocean is carrying many questions and also actuate many distinguished feelings that I have never felt before.
Currently, I am investigating the difference between tempestuous and calm surface of the ocean, its smoothness that can be suddenly wrapped by strong waves making curve lines and interesting shapes. Its power is tremendous and boundless. All of the massive waves that are constantly rising and disappearing producing sounds and spreading ocean breeze and flavour in the air have reflected on my art work. Fantastic and delusive scenes created by nature are always a great inspiration for me. I am also passionate about colors.
My concepts are based on the esthetic moment, and I believe that nature and its beauty are the great sources for my research. Luminous installations for the wall made out of porcelain forms represent both decorative pieces for the interior space, but also can have purpose as lighting elements on the wall.
Plan of Action!
After very intense Fall semester, I am eager to continue with my further research about the nature and mostly focus on beautiful sceneries that oceans can create. All my three projects will be inspired by the same theme, but in a quite different way.
The Project #1: simply called Ocean, will be very similar to the previous work, as I wanted to make variations based on the same inspiration. I am thinking about the vertical composition of the work, probably installed on the floor.
I will use slabs for my building construction (as my favorite) but from the different clay body than in last semester. This time it will be white strong sculpture body for cone 6! No more stress situation with waiting for the gas kiln and cone 1o firing! 🙂
Project #2: (similar title)
Also using slabs, but this time from a porcelain. Since the other two art pieces are going to be for cone 6, I can not resist using blue glazes for cone 10, together with melted glass (glass is on the way from Serbia, waiting to get it here in New Paltz).
Project #3: (will think about title)
Since my final grad exhibition in Serbia, five years ago, when I displayed Fan wall, an installation made of casting slips, I was planning to make another installation for the interior space, using the same technique. Two or three different abstract forms will use for building my wall installation. Also for cone 6.
Blue had always been unique color of spirituality during the rich history of art. For me, different tones of deep blue are equally inspiring as interesting shapes and textures in the nature. I am using blue colored glass along with glazes making smooth and cracked surface in the same time. I chose porcelain for its luminous characteristics connecting them to the translucency of the water. I am building forms out of clay slabs and making compositions for the wall and ground as well to represent the great and endless surface of the ocean and vastness of nature. Porcelain surface is made out of objects that I pressed into the plaster molds, making a repetition and a collage of these folded shapes as waves. I am also making forms on the throwing wheel that resemble rain drops on the untouched surface of the ocean playing with lines as well.
Plan of Action Calendar with 3 Project Briefs – Subject to Change
Week 2 – Jan 30: Making white clay for cone 6 for the Project #1. Starting with the slabs that I will use for my first art piece
Week 3 – Feb 6: Research Blog Forum. After the reviewing how we should make our own blog, I will continue working on my Project #1
Week 4 – Feb 13: Blog entries. Working day in studio
Week 5 – Feb 20: Studio Work Day – still building the form with clay slabs and working on the surface. Also, thinking about the next project preparing sketches for the plaster molds that will use as a pressed molds for the surface of the Project #2.
Week 6 – Feb 27: Blog Posts and Comments to Post. Finishing with the wet working for the Project #1. Finishing with plaster molds as well, for the next project.
Week 7 – Mar 6: Studio Work day. Starting with the Project #2, starting also with the slabs. Already have the white porcelain for cone 10 for this art piece.
Week 8 – Mar 13: Midpoint Semester – Interdisciplinary Critique: Revised Proposals / Plans of Action and Discussion. During this week, working on my Project #2.
Week 9 – Mar 20: NCECA – maybe going to NCECA (would love to!) If not, I will work in studio. Using the press molds for the surface of the installation #2. In the case that I am going to Houston, than I will work more the week before.
Week 10 – Mar 27: Spring Break! Studio Work Day – The Whole Day! Starting with the Project #3. Finalize with the sketches for the plaster molds that I will use for casting slips, and also sketches for the final art installation
Week 11 – Apr 3: Studio Work Day – Working on the final piece #3
Week 12 – Apr 10: Blog Posts and comments to Posts. Meanwhile, working on my Project #3
Week 13 – Apr 17: All firings for the Project #1 (since it is cone 6) will be done. Also, bisque firing for the Project #2, and glazing to be ready for cone 10 firing
Week 14 – Apr 24: Independent Meeting with Thesis Committee!
Week 15 – May 1: Last Class Meeting Finishing with the glazing and firing. Also, preparing for the installing all these art works
Week 16 – May 8: Revised Thesis Proposal
Week 17 – May 15 : Final Critique! 12:30 – 6:00 (might change) Artist Statement and Thesis Proposal: All Final Critique Work
External Advisor List
Outside of the Ceramic Department, I would like to contact someone from other Art departments such as Professor Myra Mimlitsch from the Metal Department, Professor Itty Newhaus from the Art Department, and Professor Amy Cheng from the Painting Department. Already had a nice conversation with Professor Tom Sarrantonio.
Also, I would like to speak with someone from the Geology Department such as Alex Bartholomew, as my interests are mainly about the nature. I think that with my previous art piece called Ocean, it would be interesting to have some advisor from that field of science.