Looking back over the past few weeks and there’s been tangible headway made on developing design strategies suited to this process. Sitting this close up, all that movement seems s-l-o-w. The time left available after a day of work has proven once again a constraint, allowing for just an hour here and an hour there to explore this process. The effect of this limitation of time has been to focus exclusively on working on floral motifs while the the details of process becomes more familiar.
Initially, what was wanted was a haptic look to the surface designs, the foremost desire being the need to see the handcrafted quality front and center. I wanted the qualities of these surfaces to lead into qualities of similar in nature found in the forms as well. The emphasis is on subtlety asymmetrical forms. These forms are created using disruptive throwing techniques and hand cut foot rings. The results are proving to be objects of character and comfort.
The belief has been that by making 100 yunomi and chawans using this surface design process, that the project will find a recognizable look and feel, and that by setting out looking for work that prioritizes character and comfort, the work will find itself landing consistently close to the mark that’s being set out by the end of the project.
Practice with purpose.