Friday, November 30, 2018

Linéaire de 50/50 de linéaire




























Finding colored glaze bases in plastic buckets and mixing these into results to fill a bigger glaze fire, realizing that I'm lacking of good green smoothie greens. In my base glazes, to my best knowledge, a significant amount of zinc, the chromium turns out to be a pretty khaki. 

I've already been trying out an quadrixial blend, but being frustrated by the detailed precise percent amounts of different glaze bases, and I'm still not sure how it systematically works. It's not an easiest blend. Also, I wasn't content enough to choose only three green coloring components but wanting to use four, to reach as many hues as easily as possible, and willing not to go for a quadrixial blend again.

I was planning to reach a line blend to get green hues, but as wanting to blend as many as possible, easily, I came out with this chart.

In the mid row, on the left, the AB, and on the right side, the CD, are mixed as 50/50, and in the mid of the mid row all the main glazes will be mixed as 4/4. Rest of the test tiles are glazed with vertically mixed glazes, 50/50, top and bottom to the middle. Note, that the linéaires are mirrored in the top and at the bottom row, but not necessarily need to be done so. Note, that you can still choose any of 50/50 blend glazes to receive these glaze colours, to receive colours that contain no more than 8 colorants in the mid row, or still head for a triaxial or multiaxial if you want, to quit this shit.

Use a syringe and 10ml is approximately two table spoons, so top and bottom rows are enough for mid row too (30ml + 30 ml). My test tiles are minuscule.

Monday, August 20, 2018

19/08/2018 18:07

Wednesday, July 4, 2018

The Pantone chart of glazes



If Sèvres found of chromium oxide was used to create 76 references of corresponding pigments for glazes I don’t believe this was done at random.

According to Richard Slade (1996) every practicing ceramic artist will face difficulties when dealing with the accessibility of glaze color tones, and in his article, in the conference publication Networks in Ceramics, he shows us a picture of glazes achieved with the triaxial blend. 

Canadian blog en français Le Blog Céramique (Groupe de recherche sur les matériaux céramique de la Maison des métiers d’art de Québec) shares their collection of charts to reach glaze color tones, méthodes 50/50, triaxial, quadraxiale and line blend.

Lindsay Scypta has used this systematic chart of 50/50 when discovering her glazes to her studio practice and in her teaching, however, nobody ever before her got that the glaze colors can be found from inspirational color reference material. I started to use that immediately after her, channeling the wanted hues. 



When reaching glaze colors, it’s beneficial to use both color metal oxides and pigments/stains to create the 50/50 selection of systematic chart of starter glazes. I have been benefited by the charts in my personal studio practice, when my goal has been to achieve precise selection of glaze color tones, since base glaze toning with both pigments/stains and color metal oxides will reach quickly several color options. (You can actually skip the base glaze from 50/50, but study the intensity with the linear blend. Or of course the blendage of two colors of your choice.) 

It’s notable how the charts can be used side by side: 50/50 chart will bring new coloured starter glazes, and you can pick three, and join them into a triaxial blend, where colorants can possibly be both pigments/stains and color metal oxides. Then, by using triaxial blend chart, you can reach a scale of glazes where the amount of colorants will reach maximum of 6 different colouring agents, following chart’s strict systematic nature and the percentage/amounts of different colourants. For more, you can try even quadraxial (AB 50%/CD 50%), when you’ll reach maximum of 8 colourants. My love affair with iron oxide brings beautiful iron specles in the stain dyed glazes, especially with the hues of blues. And it would not matter if the starter glazes contain similar color agents, systemacy will work for you. (AD, CD)



Infinite Pantone chart of glazes

The milliliter specific, systematic glaze color therapy is, with it’s work load, a labourful process at the glaze lab. As an addition to, and to side of, the happier shiny glossy glazes, you may want to choose an textured glaze to make it more interesting to work at the lab. Make tiny tiney test tiles for your archive and make sure to include as many colourants as possible, vaster in miniature. 

It will need days at the lab, but when done well in the beginning, it will be an infinite updateable glaze archive, the existing base glaze (litre by volume) and archived test tiles (50/50) will benefit the research work done at the studio also in the future. The charts will be an ever expandable glaze tile archive/palette when the recipe of the base glaze will stay the same and the colourants are the only variation, triaxial being the chart of addition.

With the systematic nature of the charts, it’s more simple to reach several glaze color tones at once, comparing this to randomly laid material tests, and the haphazard percentages of the colourants. A test tile gives more information as a part of the chart already. From the main points of R. Slade’s quote, on the archievability of the glazes, the glaze charts will bring the solution of the glaze color tones also for the documentation, because of their strict systematic nature, archieve is forever in order.

Sunday, June 3, 2018

ADOXOGRAPHY

Abstract



Immaterial property rights over material - personal aspects on communally grown material knowledge

For the contemporary material based field of art and design, the results of an artist or designer-laid material tests are a vast amount of material research work behind the finished artworks, and should be considered as discipline specific. Especially in ceramics, the artists and designers, who work with the material, can share their material level research and technical innovations within the professional network. They form their new knowledge as a byproduct in practice, while developing their material range, for the visual aspects of their art works. In other words the artistic practice brings new material knowledge and this new intellectual property over the material, enables the communication through the knowledge exchange within the whole professional field.

In this article the core term, knowledge, may refer to, for example, a professional skill in ceramics, material test series and the results, and the know-how how to commit a specific technique, proceeding and aiming towards a finished ceramic artwork. The shared ceramic knowledge (or information) is made available and accessible in the networks of practice and on platforms through the knowledge sharing tutorials, technical articles, and how-tos. The ceramic knowledge is gathered and gained to form a professional body of ceramic knowledge, professionality in making ceramic art and to become a ceramic artist by profession. What are the correct ways of benefiting from this kind of shared knowledge as a ceramic artist? Is it solemnly a source for further study or could the information found be used as it is?

Not only R. Burkett (1996) has been thinking of ceramic knowledge, and the open access to it, but also the separation of the technique from the final artwork, as separate elements. The technical achievements and the research work shared in the networks of practice can be further researched, as is done in the world of science, and citing properly, homaging the research work done by a colleague. Burkett’s quote shows that the technique for making art could be studied for a communal good, and as a tool for expression.1

Post-academia, leaving information as a trade secret should be done awarely, and sharing one’s professional knowledge should be done while citing a colleague. A private test tile archive becomes a private curiosity collection at the studio if the access to the information is not open for the networks of practice. Since, as a hypothesis, the nature of knowledge is first personal, then professional, then collective and then personal, again, when the knower becomes a knowledge seeker. The shared knowledge benefits not only an individual practitioner but the whole network of practice.



1 ”Isolation is not always a bad thing, and a certain amount is necessary for most artists. As a friend once said, art is often best made in private. But the cult of secrecy and protection of trade secrets that have long been endemic to ceramics, a kind of self-imposed artistic isolationism, is something that should be re-examined. If we jealously guard our technical developments – the special glaze, the arcane process – is that all our work is about? There is much waste effort in independent artists duplicating each other's technical efforts, reinventing the wheel so to speak, rather than all benefiting from shared knowledge as is done in the world of science.” Richard Burkett, 1996 Bridging the world – ceramics in the virtual age, Networks in Ceramics




Friday, June 8, 2018

œuvre
The gathered material knowledge originates from artist’s personal study on the material, to be a part of their body of knowledge (Dormer) next to their body of work. A further researched technique will become personal and identifiable by every artists own handprint (and the new material knowledge can be shared with the network of practice). Every artist will form a body of work, as an arch through their artworks, and while working professionally, a signature style. A material based body of work is possible in ceramic art, since as a material based art form it represents material aesthetics. From these start points, a technique could be seen as one content of a ceramic artwork.

In the ceramic design world, the technique is one aspect of a handmade product, copyrighting a material behavioural aspect often comes as first come, and dibs on that. Best products leave room for the material itself. Copyrighting it’s immaterial aspects go as a fine detail, still acknowledging material traditions, and it’s nature as something that is communal, but a lucky innovation can be copyrighted. Elisa Strozyk’s ceramic table tops represent themselves as something extraordinary, since the designer have left the main detail on luck. Can be said that she owns immaterial copyrights on glaze behaviour.2

Let’s separate material knowledge from the ceramic artwork. Owning an oeuvre moves on two layers: one is the physical artwork and the content, and on the other hand, the new immaterial/technical knowledge on the material. The formation of body of knowledge, in the field of material based art and design, it explicates itself, how the professional material body of knowledge will form next to the body of work, and how the professional material mind can be used. The œuvre is gained through personal survey on the material, it is earned because of the technical advances on the material behaviour. It’s necessary that the techniques and materials are surveyed thoroughly to achieve the wanted outcome or it can be left on experimental luck.

As studio praxis happens, the further researched technique would be studying another artist’s developed or copyrighted technique, but the further research is important for ever expanding material knowledge, and if shared, for the whole networks of practice. The intellectual property shared as information, is always shared, from the basis of the sharer. The techniques used and their immaterial copyrights should be linked to the academic or post-academic interaction of artists and designers. Calling the dibs on a technical aspect when working the material should start from an academically ethical standpoint. You may not want to survey same thing another artist or designer goes for but rather join yourself into the discussion on the material. Ideas might not be yours or original, since techniques are historically routed, developed, and globally used, but the final outcome including the survey process on the material is personal, then professional.


https://www.dezeen.com/2014/04/17/ceramic-tables-elisa-strozyk-milan-2014/



Saturday, June 9, 2018

Material mind hack

If left unshared, for a professional mind, a technique is easier to track down, since the capacity of the professional mind is on the level of a bodied knowledge, this goes along with the body of work.


When creating a ceramic artwork, it is important that the process will be imagined beforehand (to imagine how things are done, also G. Perry citation
3). Know-how (theory on craft knowledge) does not only enable technical processes, but it’s also a part of planning a ready artwork, imagining the results of a working process beforehand (Dormer, 1994, s.19). Imagining a ready artwork is an essential part of ceramic artists work process, since the ready artwork will be final after the last firing.

When studying another ceramic artists techniques from the finished artworks, a professional will be using their professional mind, professional body of knowledge. If the artist chooses not to share the techniques they’ve used, a professional can conclude the techniques that have been used. Although, using a published artist tutorial as a source for information/knowledge moves in the professional field of fairness, since the artist has chosen to share their knowledge from their own principles. The unshared can be studied by laying test series that start from a knowledge seekers professional standing point. This can begin a test serie that follows trial and error, but copying another artist’s already known.

The background research work moves on two layers in it’s material basedy: one is laid test series of material research and the other one is conjoining the technique for the final visual outcome. From the ceramic artists point of view all the material research will aim for the finished art works, nevertheless, all the background material research is meaningful for the whole material based art form. So, as a hypothesis, shared knowledge and openness in ceramic knowledge and the further research process benefits not only an individual maker but the whole network of practice, the professional field of material based art and design.

When it comes to the Universities, after the formal academic requirements, the proper citation is fucking important, and ideologically this should be maintained at the studios, in private artists’ or designers practice, when the goal is to produce post-academic level material research, ideally citing a material research work done by a colleague, making this as a post-academic material research recommendation.

You practically can’t do anything about it, somebody might hack your technical developments, but as stated, you may not want to survey same thing another artist or designer goes for, but rather join yourself into the discussion on the material. Professionals do not steal, they use the knowledge to build their own body of knowledge.


3 “And that clicking on the background you can hear is my kiln. This up there is my kiln goddess who is really efficient as a talisman because quite often things go wrong in the kiln and I get really upset because that means weeks work have gone down in a pan. So making pottery - that’s the reason you don’t see many artist potters because it’s a snaf material but because it’s really shit when it goes wrong. (laughter) Opening the kiln - I always think of it as an exercising controlled disappointment. You have to imagine how it’s going to look and in my imagination it’s always absolutely bloody gorgeous even better than the best pot I’ve ever made. But of course when I open the kiln it'll be like the seventh best pot I've ever made or the twelfth best pot I’ve ever made and that is kind of disappointing, you know, but I’ll come around to it and I may like it a lot after a few years but usually it’s like I open the kiln and then I’ll go - that’ll do.” 
Grayson Perry 2011 https://youtu.be/_Yboc75WufE 

Dormer, Peter 1994 The Art of the Maker: Skill and Its Meaning in Art, Craft and Design



Tuesday, June 12, 2018


Sharing from a standpoint/an artist tutorial

In the level of fair copyrighting/copylefting, from an artist standpoint shared technique, or a formula, moves in the ethically academically correct way of sharing, and benefiting off a shared knowledge. When an artist shares something, a part of their work process, a part of their making process, a series of different stages/steps behind the finished artworks, she shares something done researchwork with the material, what they know on a material level about their body of work.

In order to reveal the material research work done in the background, in artist’s or a designer's studio practice, this material knowledge could either be shared as a source of a livelihood (comparing to, that this knowledge could be kept as a personal/professional trade secret) or published in an open access database as a free artist tutorial. The method for sharing can be only of partially shared material knowledge, this means sharing enough.

Artist tutorial is one way, a part of the ceramic professional social media. It is about portraying a ceramic artist as a practitioner-knower, a portrayal of an artist as a practicing material researcher. Sharing the knowledge though ceramic media will form a network of practice. The publishing platforms can be, for example, Ceramics Monthly paper publication and Ceramic Arts Daily webpage. Ceramic artists, the knowledge providers, and the knowledge seekers, interact on comment sections.

Keeping things post-academic, in the US this link from Universities to the professional field is strong, when it comes to networking ceramic artists and their social (media) presence, in the form of so-called artist tutorials. MFA post-graduates will form their personal body of work and while expanding their material knowledge they share their research work in form of tutorials and how-tos, they represent themselves as practicing artists and material researchers. In addition to the technical content, it’s notable how professional ceramic artists use the tutorial sharing internet platforms to connect with other professionals.

The artists should follow the academic fairness when citing or revealing the original source for, for example, a ceramic material formula. Molly Hatch cites a Andrew Martin’s brushing slip with the mentality of the academic fairness, acknowledging the material research work done by a colleague.

https://fi.pinterest.com/pin/212161832430819155/




Wednesday, June 13, 2018

benefiting

The research work done in studio practice can be material based, but it is also always communally grown knowledge. Lastly, how the internet tutorials of ceramic surface techniques can be a part of a studio practice within ceramics art.

When it comes to the Finnish copyright law it’s allowed to teach other artists techniques, only, when it would not reach the plaquary of the artworks. The further research process will be recommended, and the focus would be in the originality of a personal/professional body of work. The Universities still claim their teaching methods and the content, and the graduated will hold their body of knowledge gained through studies, regardless, it needs a personal further study or material research process already.

The ceramic knowledge is consumed to be part of every ceramic artists practice, while every ceramic artist will search for it from their personal need and standing point. (Brown and Duguid, 2000 s.120) When it comes to the artist tutorial there’s a chance that inspiration might rise from other standing points in addition to the technical content and this would be something that people should be careful of. A personal/professional studio practice receiving and benefiting from knowledge on the technical level is righted. Consciously consumed ceramic knowledge for the start point of material survey or a technical help should forward the making process, but the conscious consuming should follow a criteria:

Consuming knowledge and benefiting off the technical innovations as a part of a personal/professional production should be done awarely so that hand print will not be duplicated. Accent strongly on further research process. Every seriously approaching, creating artist should separate awarely where the fine line between benefiting and duplicating will move. (Juvonen, 2015) 

The shared knowledge benefits not only an individual practitioner but the whole network of practice. This same knowledge exchange structure stands for when it comes to the collectively re-explored (archived and shared) material tests. What are the correct ways of benefiting from this kind of shared knowledge as a ceramic artist? Is it solemnly a source for further study or could the information found be used as it is? You don’t have to try everything, you just need to get it.

Network of Practice theory: John Seely Brown and Paul Duguid’s (2000) research
“The Social Life of Information”

Juvonen, Leena, interview, 2015

Tuesday, March 27, 2018

PRIVÉ 1.4-14.4.2018

























PUBLIC STATEMENT

Palissy didn’t have enough stools to reach lustre, but he didn’t have porcelain eighter. He doesn’t mind. Secretion is about lustre running from your nose all the time. Spark is when you have made the trip to smoke your spliff in peace, but you couldn’t light it. Stem is the one you paid for. Sea of weeds is the best you can do within Amsterdam legislation.


PRIVÉ deals with the aspects on survival, subjects of parental advisory, psyche and mind envy. Consciousness is about figuring out the world next to your own, but I still don’t know what psychosis is/IMPRINT.



The loose leaf publication is a writing on things that are none of your business, but explanatory.



Sunday, January 21, 2018

Victoria & Albert Museum



In the London Kensington, in Victoria & Albert Museum, at the 6th floor, there's three rooms with glass cabinets from floor to ceiling filled with ceramic objects. The museum has four million objects and I am sure that the ceramics department contains at least a million.

Divided by their origin, objects from Britain, Italy and Iran, to name a few, Josiah Wedgwood's Jasper is represented wastly, and of course Delft. Make sure to indulge V&A's collection browser finding subjects for your intrigue, and preparing your visit to the vastest possible ceramics collection. 

The Museum is the worlds largest museum for arts decoratifs and is a sight to be seen since it was build with the profits from the London world exhibition/The Great Exhibition in 1851, decorations partly of ceramics.

The museum offers residencies with a close connection to the collection, included Pauliina Pöllänen. Her residency period was followed by a remarkable exhibition in Design Museum in Helsinki.



My pick from the collection, considering my upcoming work, was Bernard Palissy's (1510-1589) nature mimicing pieces. His artworks are exhibited worldwide and it's remarkability considers every ceramics history glass given. 

French/Parisianized Plaissy's mould cast works of art are based on French medieval. Adopting his style, potteries in Fontainebleau and Normandy continued to make wares after Palissy in the 1700 century. Palissy, himself, studying for 16 years to receive the final outcome/insanity.

While prepairing my upcoming third solo exhibition published in April, and the nature mimicry, I can't ignore his legacy. (In addition to the Balschka glass flower collection in Harvard).


Friday, November 10, 2017

Serenity/Calm, porcelain, 2017

Saturday, August 19, 2017

Royal Delft, De Porceleyne Fles



City of the famous cobalt blue ceramic ware of Delft is by a train trip south east from Amsterdam. It's the birthplace of Vermeer with lots of cute shops and intriguing restaurants and cafes.

Royal Delft is the only remaining Delft ware manufacturer form the 17th century, still producing their products entirely by hand, and hand painted too. To become a Delft master painter it would take 10 years, basic training for a year, four to five years to master all the decoration techniques.


The Delft blue motifs have taken influences form the Chinese porcelain ware from Ming and Kang Hsi Dynasties, whilst typical Dutch landscapes start to appear from the beginning of the 17th century.

The factory also produces contemporary designs, designed by Dutch designers in close collaboration with the master painters.

The small museum has a collection of King Willem III form 1887 and a selection of unique modern celebratory and commemorative ware, factory gaining the royal or Koninklijke prefix quite late, in 1920's. The factory building has beautiful ceramic tile and pilar architecture anno 1655.

During the weekends the factory showcases only the master painting of the Delft Blue, but they invite their visitors into their factory and the kiln room, nevertheless.

Apart form the Delft blue ceramic ware, the museum exhibits red, blue, and gold earthenware called Pijnacker, the Dutch interpretation of Japanese Imari porcelain from the 17th century.


Wednesday, February 22, 2017

Pt. 2
























open now / 2.3. - 26.3.2017 / Myymälä2




Monday, February 20, 2017



























LP, 2014

Wednesday, February 1, 2017


Berlin/Bronx, porcelain, 2015


BENEVOLENCE (Po&Po series) 

KXX5 AI 40 CN 40 CQ 20   KXX5 CQ 100
KXX5 AI 40 CN 60   KXX5 AI 20 CN 60 CQ 20
KXX5 AI 60 CN 40   KXX5 AI 20 CN 40 CQ 40
KXX5 AI 80 CN 20  KXX5 AI 40 CN 20 CQ 40
KXX5 AI 100   KXX5 JO 100
KXX5 AC 1⁄3   KXX5 AB 1⁄4




Friday, April 15, 2016

Antonyms for hindered



Advance, aid, allow, assist, encourage, expedite, facilitate, forward, further, help, begin, free, go, let go, liberate, permit, promote, push, support, approve, loosen, open, release, start, unblock.

"hindered". Roget's 21st Century Thesaurus, Third Edition. Philip Lief Group 2009. 06 Aug. 2017 http://www.thesaurus.com/browse/hindered



BEHIND THE SEEN 2016 - Finnish and German ceramic art exhibition
     

15.04. - 08.05.2016 at Porvoo Art Hall

The theme for the exhibition was collaboration and it's hidden nature in ceramic art. The artworks exhibited at Porvoo Art Hall have been created in a multiprofessional collaboration or contemplated the exhibition theme otherwise, since we asked the exhibiting Finnish and German artist and artist groups to approach the exhibition theme freely. The exhibition call was open for The Finnish Association of Designers Ornamo and German Kunsthandwerker Baden-Württemberg e.V. members.


Ute BeckGermany
Åsa HellmanFinland
Katri-Maria HuhtakallioFinland
Catharina KajanderAntero Kahila & Kirsi PoutanenFinland
Markus KlausmannGermany
Katja KotikoskiFinland
Tiia MatikainenFinland
Angela Munz & Claudia MayerGermany
Heide NonnenmacherGermany
Matias LiimatainenMari Paikkari & Laura PehkonenFinland
Riikka Latva-Somppi & Mervi HaapakoskiFinland
Heidi Aulikki PuumalainenFinland
Veera TamminenFinland
Satu TurunenFinland
Barbara WielandGermany

   

We have asked the Finnish and German individual artist and artist groups to study the exhibition theme in their art works but to approach the theme freely. The submitted art works have been curated to exhibit the multiple view points.  

The theme and the art works will be based on ceramic material and the idea of material based art, craft and design. The exhibition will convert the discussion to the field of contemporary art. For curating and researching the subject we'll bring other materials next to ceramics. For the show, we were looking for pieces that have been created in a multi professional collaboration and art works that will contemplate the subject otherwise. 

The exhibited artworks are created in collaborations, for example Catharina Kajander’s terracotta sculpture has been created together with a musician and Barbara Wieland’s ceramic works ponder the after effects of an art project with refugee children. The artists groups will create new artworks for the show while interacting with each other, and also the past collaborations will be exhibited, such as Markus Klausmann’s hommage art works, or the results of Riikka Latva-Somppi’s and Mervi Haapakoski’s creative working processes. The upcoming ceramic art exhibition will bring up the hidden collaborations as well, therefore, the collaborators on the background such as mold makers and wood firers will be shouted out.

The ceramic art exhibition Behind the Seen is a part of a long term project between The Finnish Association of Designers Ornamo and the German Bund der Kunsthandwerker Baden-Württemberg e.V. The exhibition in Porvoo is a mutual gesture for a long term collaboration with our German colleagues and a response for a collaborative ceramic art exhibition held at the Historical Ceramics Museum at the Ludwigsburg castle in Summer 2014.

Currently the project aims to travel as a new exhibition to Germany.

i

Thursday, April 7, 2016

Paikkari/Tamminen Connection


Paikkari/Tamminen Connection for Paja & Bureau
 

Fired in the kilns of Arabia Factory in Helsinki, February 2016.
Permanet exhibition at Paja & Bureau, Korkeavuorenkatu 6, Helsinki



showcase at Paris Design Week 2016 together with NID, no show

3.9. - 10.9.2016

showcase at Helsinki Design Week 2016

9.9. - 11.9.2016

showcase at Ventura Lambrate, Milan, Italy
12.4. - 17.4.2016 



Monday, November 30, 2015

Self made/hand made

/ at Cable Factory Fri / 4.12. /  12pm- 8pm Sat /  5.12. /  10am - 7pm Sun /  6.12. / 10am - 5pm /   

info