As I discussed in my last post Body Vs Glaze, my fondness for the aesthetics of the local clay as a glaze was growing. However, even though I have become enraptured by this treacle-like substance I still recall my less than positive initial reaction to it. I want to avoid underwhelming the audience, so how can I use the glaze in a more effective, delightful way?
Placing the glaze on edges or specific facets of the work does does translate a thoughtful approach, but it has not yet overwhelmed or excited any audience. How is this glaze supposed to stand up to the dazzling colour palette of the modern world?
I then saw a few pieces by Ken Price.
The Lug, Ken Price 1988
I first saw this piece, The Lug, on a dull screen and the purple appeared to be of a dark brown with lighter, polished edges. The contrast between the brown and the electric turquoise was enthralling. Even the reality of purple has a similar effect, but thinking brown…brown would make that green even more enticing and exciting. So potentially the brown could be used to highlight and contrast a palette of other colours.