I am focusing on my piece of pumpkin in this reflection. To start building my pieces, I cut the clay with a wire cutter. There was a slight technical problem while cutting the clay due to the length of the wire. I should have wound the wire more to shorten the length so it is easier to cut through. After that, I set up the canvas on the table and began creating my pieces. I began my creation by started wedging the clay. It was a little difficult to wedge the clay because it was too thick. I then tried to use my palm to press the surface so it is smooth.
First of all, I would make a basic structure of my pumpkin. I molded the clay into the shape of a ball and pressed the top of the ball a little bit so it looks like the shape of a pumpkin. The texture of the clay was too dry so I kept spraying water on my hand while moulding it. In order to show the line and pattern of the pumpkin, I used the side of the pointing tool which the middle part is thicker and the front and the back side is thinner to sculpt the sphere. I was trying to make it look more realistic by creating the dents of the pumpkin. I used the needle tool to carve the lines and pattern but it did not create a three shape-dimensional look as good as pressing the dents. I then used my thumb to emphasize the dents and to smooth the trace of the tool with water so it looks more naturally.
The design of the pumpkin was inspired by Kusama Yayoi who’s an artist from Japan. All of her pieces contained pattern of dots. My piece is a ceramic work with imagination. The dots line up from the biggest ones in the center and gradually decrease the size of the dots. While looking at the pumpkin, it generates certain movement of the dots while the eyes of a viewer move from the biggest dots to the smallest dots. This might be hidden magic of the dots as if they could move. To create the effect, I used all sizes of pointing tools including the biggest, the medium, the smallest and the needle tool respectively to press dots on the surface of my pumpkin. This feature helps to create the three-dimensional look of a pumpkin. Moreover, the contrast of the sizes of the dots create an emphasis. The pattern and rhythm of the dots create a sense of unity. Moreover, the contrast of the size of the dots create an emphasis and focal point while looking at it.
I used a ribbon tool to groove the solid pumpkin from the bottom so the inside is hollow. This technique allows more space inside the pumpkin to avoid slab from blending in the kiln. After I was done with the pumpkin. I took some new clay and rolled it into a coil which was the shape of a snake to make the vine. I then coiled it into the shape of a spring because I wanted my pumpkin to look cuter and lively. To put the vine onto my pumpkin, I used a scratching tool to score and slip the the bottom surface of the coil onto the top of the pumpkin and put a little slip on it. I then pressed them a little bit to make sure they don’t fall apart. This technique would make the texture of two separated surfaces rougher so the two pieces of clay will stick together firmly. To the final completion, I adjusted some rough surface of the pumpkin by watering my finger and smooth the surface to make sure the overall quality is good.
In my peer’s work, I saw how Yujinia includes the line and pattern of a driftwood. She maintained almost the entire shape of the clay. The engraving lines are very vivid and detailed which make the whole piece look really realistic. She used the needle tool to carve the lines carefully. Her work is an imitation of the actual driftwood. The form of her work meets the standard of realism.
If I have a chance to improve this project, I would like to add more details to parts of my piece. The lines and pattern can be more aligned and accurate. I think I should try to retain the depth of the chiselling lines and the distance of each dot should be more consistent. Also, the shape on the top of the rhizome part did not stand out as significant as it should. I should highlight the dents and make it more obvious by carving the lines and increasing the up and down of the surface. To salute the master, I would like to make a bigger scale of the pumpkin if I can redo my piece. Overall, I think my piece of work expresses the sense of harmony and balance.