The Bridge Between Painting and Ceramics
Session Title
Arts Expo 2
College
College of Visual and Performing Arts
Department
Fine Arts
Abstract
Only a very small minority of artists combine painting and ceramics. As a result, little has been done exploring the relationship between the two as companion mediums. My work will focus on studio work, producing artwork that showcases ceramics, painting, and places, such as accordion book paintings, where they intersect. Though some art forms, like painted china and decorated tiles, are clear intersections of these mediums, my work will also explore less obvious areas where the two mediums work together. Painting lends its hand to many areas of ceramics, from glaze to underglaze, but the ways that ceramics can support painting is far less clear, and that support will be a major focus of my research. Can ceramics support painting as more than the subject of a still life? That is the question I hope to answer over the course of my studies and studio work. I situate my studio work and artifacts in its art-history context, particularly in relation to Impressionist painting and important eras in the history of ceramics, such as the Roman Empire, China’s Wanli period, and 16th Century Japan. My artwork and the accompanying essay about its historical antecedents are combined in a single installation.
Start Date
15-4-2022 12:00 PM
The Bridge Between Painting and Ceramics
Only a very small minority of artists combine painting and ceramics. As a result, little has been done exploring the relationship between the two as companion mediums. My work will focus on studio work, producing artwork that showcases ceramics, painting, and places, such as accordion book paintings, where they intersect. Though some art forms, like painted china and decorated tiles, are clear intersections of these mediums, my work will also explore less obvious areas where the two mediums work together. Painting lends its hand to many areas of ceramics, from glaze to underglaze, but the ways that ceramics can support painting is far less clear, and that support will be a major focus of my research. Can ceramics support painting as more than the subject of a still life? That is the question I hope to answer over the course of my studies and studio work. I situate my studio work and artifacts in its art-history context, particularly in relation to Impressionist painting and important eras in the history of ceramics, such as the Roman Empire, China’s Wanli period, and 16th Century Japan. My artwork and the accompanying essay about its historical antecedents are combined in a single installation.
