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SOMEWHERE BETWEEN THE WAVES IS THE BLANK SPACE
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A pasta de porcelana comercial disponível no mercado português tem uma plasticidade excepcionalmente baixa, pelo que não é muito adequada para ser trabalhada à roda ou para ser conformada manualmente. Em estudos anteriores, comecei por desenvolver porcelana com maior plasticidade e criar esculturas usando a técnica de conformação à roda. Ao continuar este trabalho, um dos objectivos foi explorar outra característica importante da porcelana, que é a translucidez. Esta qualidade torna a porcelana única entre os outros materiais cerâmicos. A translucidez é uma parte importante da obra de arte, porque esta comunica por meio da materialidade, forma, cor e composição.
Tornar a porcelana mais plástica e translúcida exigia o uso de matérias-primas opostas, o que implicou o estudo de todas as matérias-primas existentes na porcelana e entender como a translucidez pode ser explorada. Neste trabalho foi estudada a formação do cristal de anortite, um dos componentes que torna a porcelana mais translúcida. O objetivo principal era encontrar uma combinação na composição da porcelana de forma a manter a plasticidade trabalhável enquanto se aumenta também a translucidez. A porcelana produzida durante este trabalho tem plasticidade suficiente para ser conformada à roda e modelada em esculturas. Também possui translucidez que dá suporte ao conceito artístico.
The commercial porcelain available on the Portuguese market has an exceptionally low plasticity and therefor it is not very suitable for wheel throwing or hand building. In my previous studies I was able to develop porcelain with higher plasticity and create sculptures using the wheel throwing technique. When continuing this work, I wished to work on another important quality for the porcelain, which is translucency. This quality makes porcelain unique among other ceramic materials. The translucency is an important part of the artwork as it communicates through the materiality, shape, colour, and composition. Making porcelain plastic and translucent required quite opposite raw materials, which forced me to study every raw material and understand how the translucency can be explored. In this work the formation of anorthite crystal, which is one of the components that makes the porcelain more translucent, was studied. The main aim was to find a combination to keep the workable plasticity while increasing the translucency. The porcelain that was produced had enough plasticity to be thrown on the wheel and to be modelled into sculptures. It also has translucency that supports the artistic concept.
The commercial porcelain available on the Portuguese market has an exceptionally low plasticity and therefor it is not very suitable for wheel throwing or hand building. In my previous studies I was able to develop porcelain with higher plasticity and create sculptures using the wheel throwing technique. When continuing this work, I wished to work on another important quality for the porcelain, which is translucency. This quality makes porcelain unique among other ceramic materials. The translucency is an important part of the artwork as it communicates through the materiality, shape, colour, and composition. Making porcelain plastic and translucent required quite opposite raw materials, which forced me to study every raw material and understand how the translucency can be explored. In this work the formation of anorthite crystal, which is one of the components that makes the porcelain more translucent, was studied. The main aim was to find a combination to keep the workable plasticity while increasing the translucency. The porcelain that was produced had enough plasticity to be thrown on the wheel and to be modelled into sculptures. It also has translucency that supports the artistic concept.
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Porcelain wheel throwing Translucency Plasticity Communication Materiality