Thesis:
It is inherent in all of us. We know what we see, its a matter of accepting this or not. Nothing is set in stone, everything is up for grabs and up for your own interpretation The more recognizable, the less this magic can happen. The more abstracted and organic, the more the viewer can create their own narrative. Throughout this class, and especially in my last two projects, I have create abstracted, organic work that questions the viewer and asks them to create their own narrative.
Different Ways I created this semester:
-2D Designs at first, swirl vase
-Waves, lots of water
-Began to think for 3D and sculpturally
-Lots of negative space and sculptural
Commonalities Across Semester run Work:
-Organic
-Nature
-Negative space, eventually
Success in techniques:
-Throwing=No
-Hand-building=Yes
Benefits of Discipline:
-Limitless designs at different hardnesses
-Can always edit if wet
-Lots of glaze options
Drawbacks of Discipline:
-Cannot work with once dry or fired or glazed depending
-Easily breakable
-Traditional
Final Glazed Portfolio
Fun Function
Restatement of Prompt: Create a set of 3 pieces, small, medium, and large. These 3 pieces need to have a functional purpose to hold something.
Response: These pieces "function" act as a vessels to hold air plants to be hung on the wall. They are "fun" because they are organic and have multiple holes to be hung in several desired positions. The organic exterior contour and organic texture on the exterior separate these planters from regular planters.
Measurements: Large: 20 H X 14 W X 3.5 D
Medium: 16 H X 10 W X 3 D
Small: 10 H X 8 W X 2.5 D
Materials: Clay, drill bit (texture of exterior), metal rib, sponge (texture of interior), hands
Response: These pieces "function" act as a vessels to hold air plants to be hung on the wall. They are "fun" because they are organic and have multiple holes to be hung in several desired positions. The organic exterior contour and organic texture on the exterior separate these planters from regular planters.
Measurements: Large: 20 H X 14 W X 3.5 D
Medium: 16 H X 10 W X 3 D
Small: 10 H X 8 W X 2.5 D
Materials: Clay, drill bit (texture of exterior), metal rib, sponge (texture of interior), hands
Brian Harper
Artist Research
Biography:
Brian Harper is currently an Assistant Professor of Fine Art and Ceramics Area Coordinator at Indiana University Southeast. He is also Co-Coordinator of the Ronald L. Barr Gallery and BFA Coordinator at IU Southeast. He holds a BFA from Northern Arizona University and an MA and MFA from the University of Iowa. His artwork investigates our inherent human wonderment of the unknown and the methods, mythological or otherwise, for how we give structure to unknown elements of our observed, unobserved, and unobservable world. His work has been exhibited in over 60 national and international exhibitions, including 7 solo exhibitions.
In addition to his studio practice, he is the founder and author of Arttaxis.org, a growing online network of over 250 contemporary artists that serves as a way to keep artists and viewers connected and communicating about ceramic art. Widely used as a resource by the general public, academia, and professional artists, Artaxis.org provides the opportunity to view a wide array of work relevant to the critical discourse in contemporary ceramic art. Indiana University has awarded him with two IU Trustees Teaching Awards in the last three years, as well as two Summer Faculty Fellowships in the last four years to pursue his creative research. He is also the founder of The Open Crowd Project, a collaborative 3D printing project that uses 3D scanning and printing technology to print groups of people spread out by large distances. Currently, he is living in New Albany, Indiana with his wife Tiffany and their two dogs, Oliver and Oslo. More information about his work and studio practice can be found on his Facebook Studio Page as well as well as his Twitter Account
"My work opens the opportunity for the private study of a new personal contemporary archeology where predefined facts are irrelevant and imagination is imperative. With a sense of awe and wonder, the reaction to the work asks questions of what, where, when, and who; these questions being the necessary steps toward the development of a story – a narrative unique to each viewer. Personal stories, remembrances, and ideas coalesce to create a new private mythology, thereby giving order and comprehension to imagined scenarios and things not understood. Striving to reside in myth, this work gives the viewer clues as to where to begin their story and purposely eliminates the boundaries of where to finish it. Through the avenues of curious thought the viewer looks inward; participation and collaboration with the work ultimately yields the development of a finished narrative for the work. Of critical importance is the viewer’s process of participation in the final outcome of the work. Right or wrong stories do not exist, therefore validation of the personal narrative lives within a meaningful and honest interaction with the work. Universal to the human condition, wonderment of the unknown has no cultural imports, no territorial boundaries, no language barriers; it is inherent in all of us." -Brian Harper
Brian Harper has influenced my work by helping me see that others can see different things. I always knew this was a common known fat in life, but I never took it to heart. Brian demonstrates that it is good to question the viewer and let them see whatever they see based on their on personal experiences. There are no more boundaries once I let go of my piece and put it on display. However, Brian was interested in nature and the natural fact of art. Therefore, he was an inspiration for the glaze and the creation of my fun function along with Michael Eden because he let me use symbol colors to display the beauty of my piece. I used black and white which are neutral colors to be interpreted any way. The form is very cognac which sis related to nature but it does not have a recognizable form which helps the viewer make it their own.
cite: http://www.brianharperstudio.com
Brian Harper is currently an Assistant Professor of Fine Art and Ceramics Area Coordinator at Indiana University Southeast. He is also Co-Coordinator of the Ronald L. Barr Gallery and BFA Coordinator at IU Southeast. He holds a BFA from Northern Arizona University and an MA and MFA from the University of Iowa. His artwork investigates our inherent human wonderment of the unknown and the methods, mythological or otherwise, for how we give structure to unknown elements of our observed, unobserved, and unobservable world. His work has been exhibited in over 60 national and international exhibitions, including 7 solo exhibitions.
In addition to his studio practice, he is the founder and author of Arttaxis.org, a growing online network of over 250 contemporary artists that serves as a way to keep artists and viewers connected and communicating about ceramic art. Widely used as a resource by the general public, academia, and professional artists, Artaxis.org provides the opportunity to view a wide array of work relevant to the critical discourse in contemporary ceramic art. Indiana University has awarded him with two IU Trustees Teaching Awards in the last three years, as well as two Summer Faculty Fellowships in the last four years to pursue his creative research. He is also the founder of The Open Crowd Project, a collaborative 3D printing project that uses 3D scanning and printing technology to print groups of people spread out by large distances. Currently, he is living in New Albany, Indiana with his wife Tiffany and their two dogs, Oliver and Oslo. More information about his work and studio practice can be found on his Facebook Studio Page as well as well as his Twitter Account
"My work opens the opportunity for the private study of a new personal contemporary archeology where predefined facts are irrelevant and imagination is imperative. With a sense of awe and wonder, the reaction to the work asks questions of what, where, when, and who; these questions being the necessary steps toward the development of a story – a narrative unique to each viewer. Personal stories, remembrances, and ideas coalesce to create a new private mythology, thereby giving order and comprehension to imagined scenarios and things not understood. Striving to reside in myth, this work gives the viewer clues as to where to begin their story and purposely eliminates the boundaries of where to finish it. Through the avenues of curious thought the viewer looks inward; participation and collaboration with the work ultimately yields the development of a finished narrative for the work. Of critical importance is the viewer’s process of participation in the final outcome of the work. Right or wrong stories do not exist, therefore validation of the personal narrative lives within a meaningful and honest interaction with the work. Universal to the human condition, wonderment of the unknown has no cultural imports, no territorial boundaries, no language barriers; it is inherent in all of us." -Brian Harper
Brian Harper has influenced my work by helping me see that others can see different things. I always knew this was a common known fat in life, but I never took it to heart. Brian demonstrates that it is good to question the viewer and let them see whatever they see based on their on personal experiences. There are no more boundaries once I let go of my piece and put it on display. However, Brian was interested in nature and the natural fact of art. Therefore, he was an inspiration for the glaze and the creation of my fun function along with Michael Eden because he let me use symbol colors to display the beauty of my piece. I used black and white which are neutral colors to be interpreted any way. The form is very cognac which sis related to nature but it does not have a recognizable form which helps the viewer make it their own.
cite: http://www.brianharperstudio.com