Throwing Vs Slip Casting

A couple of exhibits from the Fragile? exhibition particularly caught my attention, and over the past few weeks they have really struck me, for two different reasons:

Edmund de Wall – A Fine Tall Lidded Jar, c.2002

IMG_8980Two, very tall porcelain jars appearing ready to topple over; elegant and ethereal. Clearly hand thrown in sections and then reassembled to gain the extraordinary height normally unachievable when thrown. De Wall describes his ceramic pots post 1991 as ‘being much happier in [their] skin. It would be a bit more wayward, hold some randomness within it[self]’ (de Wall, E. (2012). This was after a trip to Japan where his pots ‘got freer [;] the pre- Japan pot would be standing to attention, quite rigidly. It would hold its profile quite exactly. It would be beautifully balanced, but very self-conscious’ (ibid). Interestingly he believes his pots became better when he liberated himself from the need to strictly control the nature of the material.

Shift – Unknown Artist

IMG_8978A bizarre array of slip cast found objects, some resembling organs or body parts. Several pieces were repeated, but decorated differently. Slip casting ‘make[s] it possible to make multiple forms’ (Harnetty, J. 2014) Another artist, Hiroe Hanazono uses slip casting because it ‘best satisfies [her] intent to create immaculately executed and unusual forms’ (ibid). Slip casting forces the clay to take on the appearance of the mold and therefore any object selected by the maker.

All images (Sales, S. 2015)

(This report was undertaken as part of a research task for Bath Spa University)


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s