Unit 4: Ceramic Lantern

1. Picture:

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2. First, to create my lantern I had to create the base of the actual walls. That was the slab of clay that I had to roll into a circular form to get another slab on top of it. To do this, I took a large slab and rolled it out to try and get a fair sized wall. Then, I cut a portion of the wall out every other centimeter. Sticking it on, I realised that I had a lot of extra clay to work with. Therefor, I was able to take roll that extra clay, along with some other clay to form another wall which I purposefully made thin. I then used this to create a cottage styled roof.

3. In my opinion, the most important part of my pot was being able to get a thick enough slab to create the walls of my pot. This was really important because if the walls were to thin, then when I cut my wholes out, then the wall would collapse and fall apart, breaking the entire pot.

Unit 4: Pot Final

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1. My project is based off of a greek pot called a Kylix. I started building the pot by it’s base, to ensure that it could be strong enough to hold the top part, which was inevitably going to be heavy. I think that the research on Greek and Chinese pots helped because it gave me an idea of the different things that a pot can hold/do to make it function efficiently.

2. I think that my pot represented me because it was unique in the sense that nobody made a pot that was too similar to mine, making it purely based off of the kylix, and my own imagination. It was also based off of a tray that we have in our house, having indents every other space on the tray, making it ideal for holding fruits.

3. I think that it isn’t really a representation of modern day art because it doesn’t really serve a purpose of doing much other than carrying simple foods.

4. I think that it’s an interpretation of the Kylix, because even though I took it as my main example, my pot was more of a taller, skinnier based tray pot. I wouldn’t call it an imitation because as I said, it looks very different, and compared to greek pots, i’m attempting to use it for a different purpose.

5. I think that to make my work different, I’d make it a bit taller and give it a more curvy, wine glass look to make it easier to either carry liquids, or even simple foods.

In-Progress Pot Report

Photo on 20-11-14 at 8.08 AM                                                                    Photo on 20-11-14 at 8.07 AM                           I think that I am basically done with my project, however, I’d like to reinforce the bottom of the elevated plate just to make sure that it wont break and fall. After seeing another project similar to mine break, I feel like it would be better if I made a more even bottom to the top, weight-wise.

Unit 2: Final ShadowBox


2) I have based my story on the ideology of feng-shui, and how all houses must have windows facing the mountains and the water, so that dragons can pass through freely. My box shows a room, with a dragon passing through and exiting from the window. The dragon gets into the house because he needs to pass, and the cat (not shown) opens the window on the other side of the house for him to pass through.

3) Similarity A: It shows an animal that assumes the fore/middle ground, making it the central topic.

Similarity B: My shadow box uses two light sources, however, one of the light sources is shining brighter in the box.

Difference A: I don’t have many layers in my box, making it not very detailed. Furthermore, the layers force the light to rivet through the paper making the box look very intricate.

Difference B: I didn’t cut many holes into my paper layers, making the light echo around the box a lot less compared to Hari and Deepti’s work. This made my box a little boring, and fairly dark.

4) I think that an area of success was my plan, because I feel like it was pretty good, and made sense, however, this made my box a bit boring because I had to make my box contain more furniture, kinda cluttering my foreground. An area of improvement is in organising my layers, and making them shine with light in places that need them, and be more dim in places that don’t need them.

Wedding Chapel Sculpture

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1) Describe the starting point of your sculpture and how your ideas changed throughout the process.

We started by bending the top of the box down to touch the bottom. When we did this, we were using a pretty floppy piece of cardboard so it curved rather than bent. Therefor, we got the idea to create some sort of building that is curved like that. It was kind of a struggle to try and create what we were going to do with all of our spare little pieces of cardboard to arrange around the sculpture, so we used them as support, and took advantage of the support to draw and make it a Wedding Chapel.

2) How did working without glue or tape affect the construction of your design?  Was this restriction helpful or a hindrance to achieving your goals?

It affected us a lot, because pieces we could use as decoration, or to just make the sculpture bigger were used to support the main frame of the middle part in the sculpture. Some parts could also have been removed from the support to make it look less fat. I think that this hindered us because we couldn’t improvise to expand our sculpture to its maximum potential.

3) Share one aspect of how your group worked well together and one aspect of how your group could have improved in the area of teamwork.

I think that we worked well because we have two different mindsets, so that we could both brainstorm ideas from two different perspectives. I think that we could’ve worked better together because we would think something, then the other would maybe disagree, however, we would sometimes think of something abstract and the other would agree.

Sarah Sze’s Spontaneity

1) How does Sarah use improvisation and spontaneity (randomness) to create her work?:

Sarah uses improvisation in her sculptures because she takes objects around her, wherever she is in the world, and slaps then together to make something. For example, she would take things from her hotel room and use them, things from the cafe, etc. She is a very random artist because she will work on something, and when she has almost made it perfect, she changes her plan and does something else.


2) Bonakdar by Sarah Sze. 2010.



3) How was your art making process similar to Sarah’s process?

Our art process is similar to Sarah Sze’s because we pretty much moved our cardboard without a totally precise plan. We also tried to make things from the cardboard, however, similarly to Sarah, we didn’t focus too much on perfecting things, but just on using all the cardboard in an effective fashion.


4) What is your reaction to Sarah’s work? Would you call this art?

I think that her work is actually quite thought out. You really can’t just mash things together and have it work really well together. She has to get all of her materials, and categorise them in a way that they can be arranged in a orderly manner. I think that her work is definitely called art, abstract art for sure. That is because of how she can take random things, and slap them somewhere in her arrangement.




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My Sketchbook was created using 10 pages of paper, and two hard pieces of paper. I first put the pages together, then surrounded them with the hard pages to make the book itself. Then I took some string and stitched the pages all together.

I think that it is very important to create your own sketchbook rather than buying one, firstly because it’s unique to you only. If you create your own book you will grow a lot more attached to it, judging that you created the book yourself. Next, I think that it is important because you get to learn how to use small skills like hammering and stitching.

To change the design, I feel like I’d add a little bit of a stronger binding, because I feel that the string might not be enough to hold the book together, esspecially when you out a lot of stress onto the cable.

What do these terms mean?: Representational, Abstract, and Non-Representational Art

Representational Art: Art that is easily recognised by most people, and can be found in everyday life.


Abstract Art: Art that represents something that does not exist in everyday life, and that doesn’t portray any being or place in our world.


Non-Representational Art: The Opposite of standard Representational art, also known as abstract art.