"CROSS-POLLINATION" Ceramic Seed Pod Project
cross-pol·li·na·tion: "Influence or inspiration between or among diverse elements"
Project Description
In this project, students will design and create a sculptural (non-functional) hollow form depicting an organic pod from an imaginary plant. Natural seed pods and found textural elements from nature will inform the pod. Real and closely observed form and texture will merge with invented and open-ended exploration to create either a singular pod or a series of pods.
Two combined pinch pots will create the basic form, which will be manipulated further through subtractive and additive methods. Goals for this project include creating a highly refined three-dimensional form as well as a varied, integrated surface texture. Preliminary planning will involve researching form and texture and creating sketches. Planning may also involve creating a maquette (small scale model or sculptural rough draft), before working towards the final form.
Two combined pinch pots will create the basic form, which will be manipulated further through subtractive and additive methods. Goals for this project include creating a highly refined three-dimensional form as well as a varied, integrated surface texture. Preliminary planning will involve researching form and texture and creating sketches. Planning may also involve creating a maquette (small scale model or sculptural rough draft), before working towards the final form.
Project Inquiries:
- How can I merge real & invented seed pod forms to create an innovative seed pod sculpture?
- How can I 'grow' my combined pinch-pot form away from the basic, hollow, 'egg' structure?
- How will I create texture on my seed pod that accentuates the form and adds interest?
- How can color choices enhance or be 'in keeping with' the form?
Project Criteria
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Artist ResourceCeramic Artist, Alice Ballard, creates oversized pods based on natural forms...
"My art is a reflection of my relationship with natural forms. It is often the metamorphosis of Nature's forms, as they change from season to season, that attracts me to that universal world in which differing life forms share similar qualities" |
Reference Gallery
Click on thumbnail to enlarge image and scroll through gallery.
More Project Considerations
WHY DOES THE POD HAVE TO BE HOLLOW?
One of the most important things to learn about ceramics is that the clay holds moisture. The thicker the clay is, the longer it will hold the moisture and the heavier the piece will be. That is why we cannot make large forms that are solid if we intend to put them into the kiln for firing. The trapped moisture will turn to steam, which has to escape from the clay and it will force its way out, causing the clay form to explode. Any air, when heated, will expand. That’s why we wedge clay to get the air pockets out. Because we don’t want to create thick heavy pieces, we create works as hollow forms–and we vent the interior spaces to the outside of the piece so that air does not get trapped and cause an explosion during firing.
As a general rule, nothing that is thicker than your thumb can be left as a solid form. You will need to make it hollow. The technique we will be learning for this project is the use of pinch pots to create a hollow form. You can combine several pinch pots to create a more interesting form, by scoring their openings and joining them with slip. As you’re working, the air trapped inside will give the form strength and you can paddle it to change its shape. Later, before it is fired, you will need to vent it so that there is no air trapped inside. If you apply a hollow form to a flat surface, like the wall of another form, you must cut a hole or vent into it so that there is no air trapped inside.
One of the most important things to learn about ceramics is that the clay holds moisture. The thicker the clay is, the longer it will hold the moisture and the heavier the piece will be. That is why we cannot make large forms that are solid if we intend to put them into the kiln for firing. The trapped moisture will turn to steam, which has to escape from the clay and it will force its way out, causing the clay form to explode. Any air, when heated, will expand. That’s why we wedge clay to get the air pockets out. Because we don’t want to create thick heavy pieces, we create works as hollow forms–and we vent the interior spaces to the outside of the piece so that air does not get trapped and cause an explosion during firing.
As a general rule, nothing that is thicker than your thumb can be left as a solid form. You will need to make it hollow. The technique we will be learning for this project is the use of pinch pots to create a hollow form. You can combine several pinch pots to create a more interesting form, by scoring their openings and joining them with slip. As you’re working, the air trapped inside will give the form strength and you can paddle it to change its shape. Later, before it is fired, you will need to vent it so that there is no air trapped inside. If you apply a hollow form to a flat surface, like the wall of another form, you must cut a hole or vent into it so that there is no air trapped inside.
Project Extension: Seed Pod Photographed in 'Natural Setting'
After completing your seed pod (successfully glaze fired), consider what 'natural' setting your particular pod would be found in. Take your pod on a photoshoot and document it in a constructed or real natural setting. Try photographing it from different angles and distances to help show the context in which it is embedded. Where does your pod feel like it belongs?