THE STIMULATION OF CREATIVE GROWTH

By Catherine Brennon

It is strange, when looking back over the last two and a half years, to remember my motivation for going back to formal studying. I was keen to apply for a residency at an overseas university, however I became acutely aware that my three-year ceramic diploma that I acquired in the 1970’s was inadequate qualification as a four-year degree is set as a minimum prerequisite. This started the ball rolling, and I enrolled in January 2002 to convert my diploma into a B Tech degree. Two years later, a residency is the last thing on my mind but the time has been well spent and rewarding in ways I never imagined. More about that later!

The first few months were an absolute shock to the system and I found myself totally over stimulated and hyped up. I was not the only one of my group to spend many nights lying awake, my mind racing with new ideas and inspirations. As one of four ‘mature students’ it was a wonderful experience to interact with my peers on all sorts of subjects. There was always a lot of discussion on the go, be it around the essays we had to write or the research we were doing to dig deeper in our practical clay work.

The written modules of the B Tech had to be completed during the first year along with the research for the practical work. By the end of the first year we had to have a clear direction as to whether our practical work was to be categorized as Design or Craft. For most of us, this in itself was a major challenge. Many of us had never worked in Design before and various previously unexplored techniques (such as slipcasting, using ceramic transfers and sandblasting) had to be explored and discussed before making a final choice. One of the biggest challenges was to explore and research far beyond our initial ideas. Prior to doing this course I would come up with ideas quite easily and be in a great hurry to implement them. We were now encouraged not to accept the first idea we came up with, but push ourselves into thinking of as many options as possible. This was supported by extensive research which took us all off in a myriad of directions. Although we all initially resisted this track, it took us on a wonderful exploratory journey and certainly gave the final output more depth. This will possibly explain why all our work was so different at the final exhibition – even though we were all given the same outline for the projects.

One of the major essays during our first year was a comparative study of the lives of the three artists:- Issey Miyake (Fashion Designer), Isamu Noguchi (Sculptor), and Richard Slee (Potter). This was an extremely challenging topic, as we had to explore what inspired and motivated each of these artists to create the type of work they produced. The focus was not on the work, but rather on their individual approach to work, major influences, career paths and concluding in their contributions to their profession. This essay took several months to complete and demanded a great deal of research. I found that I learnt a great deal about myself, and about succeeding as an artist, through writing this essay. It made me assess my own life and helped motivate me further. Here is the last paragraph of my conclusion, taken from the essay.

“In conclusion it must be said that in order to succeed as an artist you must be passionate about what you do; have a clear vision and focus; be prepared to take the time and make the effort to acquire the skills necessary for your craft; be lateral in your thinking and eclectic in your influence; be self assessing and prepared to take risks, moving on when necessary; always developing further and deeper to avoid stagnation; remain independent in spirit, even if collaborating with others; and being courageous enough to follow your own voice rather than be a slave to fashion or an art movement taking only what you need from these but holding onto your soul. I have learned these lessons from these three artists and hope to apply these to my own life. I will also remember Noguchi’s question when I next find myself confronted with seemingly insurmountable difficulties:- “Is fortune or misfortune the better teacher?”. Perhaps I can view my setbacks with more perspective than I have in the past.”

The lessons I learned from writing this essay were attitude altering and inspiring. On the practical side there was also a lot to learn. I really found it difficult to choose between Design and Craft. I ended up making a series of designed bowls to fit the Design Project, while the majority of my work fitted the Craft Project specifications. For the Design Project I made use of transfers as a decorative element on a jiggered form. I had never experienced these techniques before and it opened my mind to new ways of solving problems. I had plenty occasion to remember Nguchi’s question (“Is fortune or misfortune the better teacher?”) over the last twelve months as I seemed to be confronted by problem after problem that needed to be solved within a given deadline! Persistence and determination became my companions as I soldiered on through the cracking and breaking of the craft green ware; pin holing on the design pieces (and later on the mug forms!); and sagging and distortion of the larger bowl forms at stoneware temperature. Thinking my way around these problems and trying alternative approaches to complete the various projects resulted in sleepless nights again – this time from worrying rather than over stimulation!

Most of my work during the second year of study revolved around the development of a Craft Range to fit the following project brief: - ‘Design and construct a series / range of ceramic products with your own particular look and feel, manifesting the concept “Less to Lust”…’ This concept referred to the trends within fashion clothing and interior design at this time (2001) that were gradually moving away from Minimalism (“Less’) to the new Maximalism (‘Lust’).

The resulting body of work falls into the category of Maximalism and explores the texture of surface with reference to various historical and contemporary ceramics.

During year one of our studies, we had been required to write an essay investigating work produced by ceramic artists, designers and crafts people that simulated beadwork, embroidery, lace and basket ware. This investigation was not limited to any particular period or culture and proved to be most interesting. A huge variety of techniques are used including:- impressing, scraffito, modeling, painting, extruding, inlaying, piercing, drilling, sliptrailing, sandblasting, sprigging, smoking, carving, special glaze techniques, wax resist, coiling, stamping, laminating and using a roulette. This exercise made me aware of the variety of approaches that could be made and helped create a starting point for my own work. This was done against the background of new contemporary fashion statements, which incorporated the textures of lace dominating trends at this time. What came to my attention was how layered the textures were, and how they had a romantic and ethereal quality. Another aspect was how richly colourful they were. This was to have an impact on the work I produced.

In the area of ceramics, particular visual reference was made to the contemporary work of Pam Schomberg, Tommy Daly and Linda Chew as well as the historical work of Creamware, Belleek Pottery and Chinese stoneware of the Warring States period. Technical methods employed included reference made to the work of contemporary ceramic artists Rina Peleg and Elina Brandt-Hansen who both make use of extruded clay, and Jonathan Garratt, who along with Jane Hamlyn, makes use of roulettes.

Prior to starting work for my studies, I had made use of clay pressed into antique butter moulds to create surface patterns. The pots were made by using a bisque fired bowl to support the pieces while drying. It was natural to progress to making use of lace (vs. butter moulds) while using the same building method.

The work became progressively elaborate as the pieces developed – in keeping with the theme ‘Less to Lust’. In time I started to leave open spaces in the work, suggesting woven basketwork and gradually incorporating areas of plaited and woven clay so that the pots presented a combination of lace and weaving.

I pressed clay into as many woven surfaces as I could find within my environment and then looked at ways of re-creating these textures in clay. I did this by making use of a small hand extruder. Later I experimented in making roulettes to recreate woven patterns.

After some time I gradually progressed onto making some special pieces that used only basket ware. I continued to make use of similar forms to those used before. This work seemed less frivolous than the lace. The pieces became bolder, stronger and more masculine. They were more satisfying in that while being detailed and excessive, they were not as ‘sweet’ as the lace bowls.

All this work fitted into a craft method of work with each piece being individually hand built – no two identical. At the end of the first year’s work (module I) an open basket form was chosen as a starting point for the final group of work. A description of this piece became the basis of my vision for the entire series. The vision read:- “A series of fine, delicate, textured bowls, reminiscent of baskets. Glazed with warm, rich colours, they should communicate a lively tension between the organic and formal aspects of the form.”

From a technical point of view I had to face the challenges of making a variety of transparent glazes to fit the vision. The initial work was in white earthenware clay using various glazes (over a wash of red iron oxide or manganese dioxide) that I had developed for my teaching studio. Although I enjoyed the soft warm quality created by the shiny glazes I was concerned regarding the crazing problems inherent in porous earthenware. I therefore started to work in porcelain but disliked the hard, glassy finish, as it seemed to negate the soft quality of the basket forms. The final pieces were made in white stoneware paper clay or sometimes a combination of White Stoneware paperclay and Porcelain paperclay. I decided to opt for the lower stoneware firing temperature of 1220 c (Cone 6) as the body would be vitrified but wear and tear on my kiln would be kept to a minimum. The investigation for the final Cone 6 glazes took seven months to complete and literally hundreds of tests. I also changed from dipping to spraying on the glazes, using up to three different layers of glazes on one pot.

I also found a great deal of satisfaction in creating my own personal glazes. Making my own glazes for the pieces enabled me to approach each piece as a separate entity – but part of a greater family. Although most of the pieces were hand built, I also made some mugs to compliment the series. In my new found approach I found that my attitude to using the potter’s wheel changed. Instead of viewing it as a mechanical tool to reproduce a form, I now see it as a creative tool. By manipulating the thrown piece and using it as a starting point (rather than the finished statement), I began a new journey.

It was during the practical side of this degree, I came to clearly identify myself as a craftsperson as against a designer or sculptor. Although I was able to prove myself capable of ceramic design, the idea of mass production without hands-on working with raw clay and glazes does not appeal to me. I realize that I really enjoy the actual making of forms more than designing them on paper. It has merely confirmed my thinking in this area.

I mentioned at the beginning of this article that my original intention for obtaining this degree was to enable me to do an overseas residency. During the first year of my studies my husband and I took a short holiday in the Southern Drakensberg and fell in love with the small town of Underberg. One thing led to another and, as part of my Business Studies program, I ended up doing a Business Plan for a photographic and ceramic gallery in Underberg. We subsequently sold up our home in Johannesburg and have just completed building The Underberg Studio. Somehow, doing this degree has been a catalyst in crystallizing our idea of living and working in the countryside, and has given me the confidence to make this break. At last our dream has materialized.

In conclusion, it was wonderful being part of the ceramic community at the Technikon again. However, without the support of my fellow students and lecturers it could never have been the rewarding experience that it was. In particular I must give thanks to Eugene Hon for his ongoing encouragement; John Shirley for his tireless input regarding glazing and the problems I encountered, along with enthusiasm when my own was flagging; Suzette Munnik for insight; Hilmar Eichoff for his tireless assistance with mould making. On the home front I really need to give credit to my husband. Lawrance has given me emotional, physical and practical support. He has made himself available in all kinds of ways from carrying boxes, sieving glazes, scanning, to making endless cups of tea. Without him I would never have coped and I am unable to thank him enough. Above all, I wish to give glory to God, who has given me the time and circumstances to use the talents He has given me. Thank you to all who made this journey such a landmark in my ceramic career. The journey has now begun in earnest!