Still Life
Susanne Luthi

    טבע דומם
 

.פרויקט הגמר חוקר את מקומה של הקדרות בשדה האמנות 

.הפרויקט חוקר את סוגיית הקשר בין אמנות לאומנות  ,את ההיתכנות של שתיהן להתחבר בגופים שיצרתי

? האם אני אמנית, קדרית, אולי שניהם

.נקודות המוצא שלי הן הקדרות הקלאסית ועולם הטבע וכן עולם האמנות ,הציור והרישו

.האובייקטים מיוצרים באובניים, אך לאחר מכן עוברים עיצב ידני בטכניקות  גילוף וכיור לצורתם הסופית

 

    האובייקטים שנוצרו מכילים בהצטברותם את אותה דואליות שהניעה אותי

,בתחילת הדרך ,לא רק במראה שלה 

.אלא גם בהצבתם בשדה הדומם

Last summer while writing a paper about Dame Lucy Rie, an Austrian born English potter, I came across a sentence she said about her close friend and ceramicist, Hans Coper, after his death. In it she compared her work with his and said :

"I'm a potter, but he was an artist“

Lucie Rie described herself quite simply as a potter.

'It is my profession”.

Indeed all her life she made functional pottery.

 

These sentences got me thinking about the place of pottery in the world of art. Will it always be considered as a work of craft or as a “lesser” work of art, and what does it take to redefine it as art?

What is the place for studio pottery and ceramics in a world saturated with things “Made in China”, and most of all, where do I fit in to all this?

Am I a Potter, an Artist or possibly both?

Maybe it simply does not matter?

I decided to set out on a journey ……

Lucie Rie

(1902-1995)

Pink Conical Bowl with Magnesium Rim 1970's

Hans Coper (1920-1981)

My starting point


It was clear that a clay sculpture is art,

But I was interested in the role of pottery in the world of art.

I decided to deepen my knowledge by researching the academic -Arts versus Crafts debate and in parallel explore the duality through my work.



Head

3rd year,2013

Torso

2nd year ,2012

My project has a few starting points:

firstly, classical pottery (the vessel and the bowl derived from the world of ancient pottery), and secondly, the world of nature, but also the Art world, painting and drawing.

I wheel throw the objects into classical forms and afterwards reshape them by hand, by sculpting and carving, creating objects which are in the twilight zone between art and craft.

The beginning of work


I decided to sit down at the potters wheel and see where it would take me.

I realised from the papers I studied that one way of making pottery into art was by started out by giving up on functionality.

I began by making pots and bowls having clean and simple shapes and carried on by trying through manipulations to change them into something non-functional.

My Technique

The objects are made from porcelain. I begin on the wheel to create the initial form. Sometimes I add a thin and tall foot. At different stages in the working process I change the shape by manual manipulation.

Using carving techniques I obtain the final shape.


Positioning in space

I want the viewer , who first meets my work from a distance, to get the impression that he is standing in front of a field of flowers in nature.

But when he gets closer, he discovers groups of objects purposefully pre-arranged like in a “still life” painting.


Understanding

At the end of this process I came to realize that I really do not care how my works are categorized.

Mo Jupp can summarize it better than I:

“I think today's potters should address themselves to today's problems….

I enjoy using clay more than any other material because I can manipulate it better, I can do what I want. I don't know if I'm a sculpture or a potter, it doesn't matter. I try to solve problems.”

(Mo Jupp)