This was one of the first sculptures I created in ceramics class at Allegheny. The form was derived from a square piece of paper that we had to cut into pieces and then reassemble into a three dimensional form that would incorporate space and form in an interesting combination.
I wanted to explore geometry so my form retained a strong sense of symmetry. Once the paper form was created, I used it as a model and proceeded to create the same form out of clay. I modeled the first couple forms with the same symmetry as the model experimenting with both a smooth and a rough texture.
2004 - Fired Earthenware. As you can see I did not treat the finished form with glaze because I wanted to retain the earthen quality of the piece.
2004 - Fired Earthenware - The strong sense of geometry can be seen with the intersecting rigid planes.
2004 - Fired Earthenware - This is a shot from the back left side of the clay form.
2004 - Fired Earthenware - A tilted pose for the clay form adds a new level of dynamic feel for the piece. This view also shows the underside and craftsmanship of the topmost triangular planes.
2004 - Fired Earthenware with Glazes - Notice how the glazed surface transforms the look and feel of the piece by adding a rusted, aged surface.
2004 - Fired Earthenware with Glazes - I added a light coating of green glaze to the sides and underside of the horizontal planes to give it a natural moss and mildew look.
2004 - Fired Earthenware with Glazes - A dynamic pose reveals more of the contrast in red and green glazes placed on the form. Notice how the green sides of the intersecting planes enhance the juxtaposed red flat surfaces.
2004 - Fired Earthenware with Glazes - This pose allows the viewer to see the composition of the ancient sculpture from a bird's eye view.
Upon looking at the finished forms, I wanted to keep the same geometry but warp the flat surfaces of the clay into curved and rippled planes. I took the liberty to bend and curl the corners rather than retaining the flush contact point between adjacent planes. This transformed the temple-like structure into an organic plant. I chose to embrace the emerging floral qualities of the new clay form and accented the piece with glazes which would push the plant-like quality. The final form resembled an iris flower and was named as such.
2004 – Painted Fired Earthenware - The next thing I wanted to try is to transform the geometric sculpture form into an organic form retaining the same overall structure. Notice the green stamen shape protruding from the underside of the form.
2004 – Painted Fired Earthenware - This angle shows the effect achieved by warping the planes on the sculpture. The surfaces become almost plant-like and were painted in a similar style to enhance the floral effect.
2004 – Painted Fired Earthenware - Here is a bird's eye view shot of the piece. You can see how the iris flower form is complemented by painting the underside green and blue while adding red and yellow to the top sections.