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final water piece within the site of Peckham rye pine at sexy gardens

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week 8 understanding the function of water fountain

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week 8 understanding the function of water fountain

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In my first week it was all about establish and ideas and slight experimentation. This was derived from my large vessels. I focused on one shape and printed it.

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One of experiments was working with the coil method many artist that I looked at use this preferred method however when I use it I found difficulties. I made my clay too wet and my sausage roll coils to thin the small pot that attempted to make was uneven and soft if I attempt to call your method again, use less water and more precise rolling techniques so that the walls of the clay and stand proper

I experimented to make a clay slab port pot I made one side as it was only an experiment and created little cardboard presses so that I could intent texture into the clay using cardboard meant that there was leftover residue and deformed the imprinted texture. It would’ve been best if I use wood so that all the pieces will come up and leave a perfect press.

I did experimentation with welding from a metal sheet. It took me quite some time to actually be able to form the shape of a bowl had numerous steps of hammering firing. cooling and moe hammering Make an mental the most time-consuming experiment but I’m glad I did it because I understood that it wouldn’t be possible to show my final piece. It took me a week to create a small bowl.

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this was a experimentation in plaster made from a clay vacuum. I just wanted to experience how well plaster will maintain the texture and shape this material was pretty easy to use. this process was more about the clay and how you shaped that the plaster just brought that out further

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week 7 experimenting with materials understanding what I could bring out in my project

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example of that texture adding into my potential final piece of water fountain

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texture design sheets that I could put into my frame, these were derived from patterns and different ways. I looked at braids. from patterns

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I started to create different design sheets that was inspired by her not necessarily in a direct way. The inspiration came from the way it was presented on top of the head the high arches and the swelling patterns. Additionally my focus on hair lead me to African headdress Which resembled crowns to me

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The focal point was her black hair could be transformed into anything. It could be adorned as a crown or shown as pride and presentation throughout my whole project. I needed something to draw on that had the most creativity from modern extravagant hairstyles, operated patterns and simplistic corners from slave times hair had multiple meetings and could create multiple outcomes

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week 6 development sketches and experiment

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week 6 development sketches and experiment

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experimentation with ink using greens blues and purples to resemble water and drawing from the empty spaces to create imagery through somebody’s pieces I saw faces bodies and vessels inspired by a interactive piece at Royal Academy of flow and water and poetry

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Thumbnails was way to look at the work and multiple perspectives using tracing paper and continuously rotating to create different imagery. This thumbnail is derived from my collage of vessels.

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week 5

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week4

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taking the most textual piece I saw and turning it into a metal engraving which I printed onto paper

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I made this in response to a piece I saw at contemporary ceramics it folded into itself and reminded me of waves. I replicate that in my experimentation mesh I would’ve liked to feather this possibly using clay or covering it in Plaza to see if it remains its waving shape.

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Sketching some of these pieces and noting down my thoughts helped solidify new ideas for my work. I’m thinking of creating a series of mixed-media vessels that incorporate elements of my own cultural background and personal experiences. Maybe I’ll experiment with different glazes and forms to reflect the diversity and complexity of identity.

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Today was truly inspiring. I visited the contemporary ceramics exhibit at the city gallery, and it was exactly what I needed to push my project on vessels of identity forward. As soon as I walked into the space, I felt a wave of creativity wash over me. The variety of styles, techniques, and themes was overwhelming in the best way possible

A standout piece was a series of small, delicate bowls, each with a unique, almost haunting glaze. The artist had used a special firing technique that caused the glazes to crack and form intricate patterns, almost like a fingerprint. It struck me how these bowls, though similar in form, each had their own distinct identity. It’s a perfect metaphor for my project: vessels as representations of individual stories within a shared human experience.

I also encountered a set of vessels that were intentionally misshapen, challenging the traditional notions of beauty and functionality in ceramics. These pieces were raw and imperfect, yet profoundly beautiful. They made me reflect on the imperfections and complexities of personal identity. Not all identities are smooth or symmetrical; some are jagged and complex, and that’s what makes them unique.

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honourable mention from the Victorian Albert I saw Thomas J amongst the statues of Greek goddesses and find English art. The placement of his work was inspirational because not only does his work have a dual meaning but I have it amongst white artist that his work is worthy to be among the Most influential sculptur

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At the Victorian Albert there were classical pieces that had rich literature however I wanted to see more pieces with a modern touch and somewhat abstract as pieces such as folding bowls and geometric shapes as a way to make a contemporary piece of art but something that looks interesting

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within the earlier weeks of my project, I was exploring multiple ways to express identity. I looked more into art as paintings to portray someone’s true feelings. I thought by looking at these paintings I would inspire myself and draw something from their work from this. further my journey and settled on my identity as a waste to express my art

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Project Title: Waters of Heritage: A Fountain of Hair and History

my project will be a 3-D artist installation with peckham Park which symbolises home and heritage from me but also bringing culture history and teaching to the surrounding community

it’s purpose is to be observed giving people an incentive to learn more about my culture but the multi culture society we live in

Concept

Waters of Heritage: A Fountain of Hair and History" is a culturally significant project aimed at celebrating Black identity and heritage through a unique water fountain installation. This fountain will feature elements representing the importance of hair in Black culture and traditional African pottery, using water as a symbol of life, cleansing, and continuity. By integrating sculptural representations of Black hairstyles and incorporating African mud pots, the project will honor the community's resilience and cultural richness. Installed in a public space, it will serve as a reflective art piece and a platform for community engagement through workshops and educational displays, fostering a deeper appreciation of Black cultural heritage.

Evaluation plan

The water fountain will integrate seamlessly into Peckham Rye Park Pond, enhancing the natural surroundings and bring art within the space. The fountain’s flowing water will complement the pond’s tranquility, while the pottery elements will blend with the park’s aesthetic. Community feedback and engagement will confirm the installation's harmony with the environment. I would ideally like to work in clear as will be the best format to represent my project and also have to access other materials that will be able to understand water elements.

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Bibliography

Articles

Benzine, V. (2024). Art Bites: Augusta Savage’s Lost Masterpiece. [online] Artnet News.

African Pottery. (n.d.). Contemporary African Art. https://www.contemporary-african-art.com/african-pottery.html

Strauss, G. (2016, December 7). No electricity? A Low-Tech system keeps things chilled. Science. https://www.nationalgeographic.com/science/article/mohammed-bah-abba-explorer-moments-cooling-technology-helping-Africans

Antoinette, M. (2020, February 18). The history of the Afro and the natural hair movement. The Maria Antoinette. https://themariaantoinette.com/2020/02/17/the-history-of-the-afro-and-the-natural-hair-movement/

Team, F. (2022, April 19). How do water features & pumps work? Fountainland. https://fountainland.com.au/blogs/news/how-do-water-features-work

Books & Movies

Stilson, Jeff. "Good Hair." Directed by Jeff Stilson, 2009.

al-Mansour, Haifaa. "Nappily Ever After." Directed by Haifaa al-Mansour, 2018.

Simien, Justin. "Bad Hair." Directed by Justin Simien, 2020

Jenkins, Barry. "Moonlight." Directed by Barry Jenkins, 2016.

Melfi, Theodore. "Hidden Figures." Directed by Theodore Melfi, 2016.

Ellington, Tameka, Textures: The History of Black Hair.

Galleries museum exhibits and parks

Tate Morden

contemporary ceramics

British museum

victorian Albert

Peckham rye park

royal academy

The Four Winds / Joy of Life Fountain, Hyde Park

Diana Fountain, Bushy Park

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final piece design sheet

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final work within the site

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Exploration into the decadence furniture this was meant to explore the decay and loss of art as we move onto more simplistic ways in this the base of the chair would be covered in beautiful fabric to show the of the seat but the loss of art

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week one
establishing ideas making multiple maps and vision boards to see what  I want out my project changing ideas and moving around  subjects originally I wanted to explore the lost decadence for furniture mainly as seating however, had to change does it feel like this project was more difficult on previous work and I couldn’t really bring something new light then decided to have a walk around London to see what would inspire me I walked throughout new Bond Street as a display there we have creative aspects and then my thoughts to myself that I should do something with containment and confined spaces that involved into vessels however vessels need a theme therefore I looked with myself for my identity as something I was familiar with and passion about, and could incorporate something  beautiful in my art work

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When exposed to sunlight, this panel will generate a voltage which is then directed towards the pump, this powers the submerged impeller inside, which in turn produces the jet or spray of water. Unsurprisingly, solar fountains perform best in countries that enjoy unbroken sunshine.6 Aug 2018

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1. **Pump Placement**: Position the pump intake at a depth that won't harm aquatic life. Placing it closer to the surface can prevent wildlife from getting trapped or injured.

2. **Water Flow**: Control the water flow to avoid disrupting the natural habitat of fish and other aquatic creatures. Gentle flow patterns are preferable to maintain a harmonious environment for wildlife.

3. **Cleaning and Maintenance**: Regularly clean the fountain to prevent the buildup of algae or debris that could harm the pond's ecosystem. Use eco-friendly cleaning products to maintain water quality.

4. **Shade and Shelter**: Ensure there are areas of shade and shelter near the fountain for wildlife to retreat to if needed. This provides a safe space for animals to avoid any disturbances caused by the fountain.

By incorporating these considerations into the design and maintenance of the solar panel water fountain, you can enjoy the beauty of the fountain while preserving the natural balance of the park pond for the wildlife.

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basic contemporary water fountain

The majority of water features work in the same way: the water is stored in the reservoir which contains the water while it's not moving through the feature, and a pump is necessary to move the water, usually against gravity. Next you'll see it flowing down as gravity brings it back down to the reservoir

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My project explores the theme of vessels in relation to black identity, drawing inspiration from artists such as El Anatsui, Simone Leigh, and Mano Mani. Throughout my research, heritage of hair and traditional African headdress has been a significant focal point, enriching the cultural context of my work. Experimenting with texture and clay has allowed me to deepen the artistic expression in my project.

The culmination of my exploration manifests in a water fountain as my final piece, symbolizing the historical significance of water within the black community, notably in contexts like the slave trade and the Atlantic. Despite encountering challenges during the creation process, I persevered, reflecting my dedication to the project. This dissertation represents a profound journey into the exploration of black identity through art vessels, merging historical narratives with contemporary artistic expression.

throughout my whole project, I was struggling with my theme to express what i wanted clay was hardest something similar to the piece I wanted to achieve my cool research was derived from hair and African pottery. Two elements I wanted to combined. My final piece could’ve been improved by using a different technique. Slap technique would’ve gave it more sleep and finish look and painting and painting what created that finish that lacks the Grayscale is okay as it gives this home-made earthy a pill additionally I would like to see my peas on the actual sites within the pond within its functional features actually having a water pump to display its purpose.

I’m happy that some elements were able to come through my final piece I achieved the artwork I wanted however it could’ve been developed further additional texture and colour would’ve made it more autistic will do better next time it’s focusing more on clay work actually exploring that technique more

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Do you have a dual meaning is represented the cramped conditions upon the ships, people having to control their body, Della, another person to simply breathe

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Images captured from Kings Road as it is a walk at the daily to, and from work always

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public installations is crucial as they serve as integral components of our shared urban environment, shaping our cultural landscape and influencing community dynamics. Understanding how the public interacts with these pieces is vital for assessing their impact and ensuring their effective integration into public spaces. While installations may occasionally impede pedestrian flow, they also offer unique opportunities for engagement, sparking dialogue, contemplation, and fostering a sense of collective identity. Thus, thorough research enables us to optimize the placement, design, and accessibility of public installations, enriching our urban experience while minimizing potential disruptions.

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https://docs.google.com/forms/d/e/1FAIpQLScBehfKUySbVEkaeUXkZzTqinmdZ_jC0g3NfxZDV_6b5kDAjQ/formResponse

Link to the survey

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Away to get people to do. My survey is having a QR codes posted through local peoples letterboxes direct to them to the Google Docs where they could fill out the survey initially having flyers that tell them of the common events how much they can also scan

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Target Audience for Installation Art Piece in Peckham Rye Park

Primary Audience:

Local Black Community:

Age Range: All ages, with specific sub-targets such as families, young adults, and elders.

Interests: Heritage, community identity, cultural pride, education, art.

Purpose: To inspire, celebrate, and educate about African culture, heritage, and the significance of hair within the Black experience.

Secondary Audience:

Art Enthusiasts and Educators:

Age Range: Young adults to seniors.

Interests: Contemporary art, installation art, cultural exhibitions, education.

Purpose: To provide an educational experience about the Black aesthetic and the intersection of art and culture.

Local Schools and Educational Institutions:

Age Range: Students aged 6-18, university students.

Interests: Cultural history, art education, community projects.

Purpose: To use the installation as an educational tool to teach students about Black heritage and the importance of cultural representation in art.

Tourists and Visitors:

Age Range: All ages.

Interests: Cultural tourism, public art, educational experiences.

Purpose: To offer an immersive and educational experience about the Black aesthetic and its connection to African culture and heritage.

Local Community Groups and Organizations:

Age Range: Adults.

Interests: Community engagement, cultural events, heritage projects.

Purpose: To foster community pride and engagement through the celebration of Black culture and heritage.

Communication Strategies

Promotion Channels:

Social Media: Use platforms like Instagram, Twitter, and Facebook to share the story behind the installation, highlight the cultural significance, and engage with the community.

Local Media: Collaborate with local newspapers, radio stations, and community newsletters to spread awareness.

Partnerships: Partner with local schools, art galleries, and cultural organizations to promote the installation and organize educational tours.

Community Events: Host events in Peckham Rye Park, such as guided tours, art workshops, and cultural performances related to the installation.

Messaging:

Celebratory Tone: Emphasize the celebration of Black culture and heritage.

Educational Focus: Highlight the educational aspects of the installation, teaching about African culture, the significance of hair, and the Black aesthetic.

Community Pride: Promote the installation as a source of community pride, showcasing the rich cultural history and identity of the local Black community.

Goals

Inspiration and Education: To inspire and educate visitors about the rich heritage and cultural significance of the Black experience, particularly in relation to hair and African culture.

Community Engagement: To engage the local community, fostering a sense of pride and belonging through the celebration of their cultural heritage.

Cultural Celebration: To celebrate Black culture and heritage, creating a space where it is recognized, appreciated, and preserved.

Artistic Expression: To provide a platform for artistic expression that highlights the Black aesthetic and its historical and cultural roots.

By targeting these audiences and using effective communication strategies, the installation can become a meaningful and impactful piece that celebrates and educates about Black culture and heritage in Peckham Rye Park.

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Wayne Tasker is an artist whose work encompasses a variety of media, including painting, sculpture, and mixed media installations. His art is characterized by its intricate textures, dynamic forms, and thematic explorations of identity, nature, and human experience.

Overview of Wayne Tasker's Work

Mixed Media Installations:

Tasker’s installations are immersive and often utilize both natural and synthetic materials. These installations create layered environments that invite viewers to engage deeply with the space. The interplay between natural elements like wood and stone with man-made materials such as metal and plastic highlights the tension and harmony between nature and human intervention.

Sculpture:

Tasker’s sculptures frequently incorporate organic forms and intricate textures. These works resemble natural phenomena such as tree bark, coral reefs, or geological formations, emphasizing the beauty and complexity of the natural world. His sculptures are often large-scale and invite viewers to contemplate environmental issues and the impact of human activity on nature.

Painting and Drawing:

In his two-dimensional works, Tasker often blends traditional painting techniques with collage and assemblage. His use of vibrant colors and varied textures creates dynamic and expressive compositions. These pieces explore themes of fragmentation and cohesion, reflecting the multifaceted nature of human identity and experience.

Themes and Inspirations

Nature and Environment:

Tasker’s work is deeply influenced by the natural world. He draws inspiration from the textures, forms, and patterns found in nature, such as tree bark, rocks, and water. This inspiration is evident in the organic shapes and detailed surfaces of his sculptures and installations. His work often comments on environmental issues, encouraging viewers to consider the relationship between humans and the natural world.

Human Experience and Identity:

Tasker explores themes of identity, culture, and human experience in his art. His use of fragmented and layered imagery reflects the complexity of personal and collective identity. By incorporating diverse materials and textures, he creates works that speak to the multiplicity of experiences and perspectives that shape human life.

Material Exploration:

An essential aspect of Tasker’s work is his innovative use of materials. He often combines traditional art materials with found objects, creating unexpected juxtapositions and rich textural contrasts. This approach allows him to explore new aesthetic possibilities and to comment on the interplay between the natural and manufactured worlds.

Artistic Techniques

Textural Complexity:

Tasker’s art is known for its intricate textures, achieved through the careful manipulation of materials. In his sculptures, he often uses techniques such as carving, casting, and assemblage to create detailed surfaces that invite tactile exploration.

Layering and Assemblage:

In both his two-dimensional and three-dimensional works, Tasker employs layering and assemblage techniques. By combining various materials and elements, he creates compositions that are visually and conceptually rich. This method allows him to explore themes of fragmentation, unity, and transformation.

Color and Form:

Tasker’s use of color is both expressive and symbolic. He often employs vibrant hues to create dynamic contrasts and to evoke emotional responses. His forms, whether organic or abstract, are carefully crafted to convey movement and life.

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Mano Mani, a contemporary artist known for her dynamic and textural sculptures, creates works that often resemble natural forms and organic structures. Her art is particularly striking in how it evokes the texture and movement of hair, with many pieces featuring protruding elements that form a silhouette reminiscent of a head. This quality can resonate deeply on a personal level, especially when considering how these forms relate to one's own experiences and cultural identity.

Artwork of Mano Mani

Textural Sculptures:

Mani’s sculptures are characterized by their intricate textures and forms that mimic natural elements. She often uses materials such as wire, fibers, and found objects to create dense, tactile surfaces. The repetitive patterns and organic shapes in her work suggest the flow and structure of hair.

Silhouettes and Protrusions:

Many of Mani’s pieces feature protruding elements that extend from the main form, creating a silhouette that can be likened to a head. These elements, often wiry or fibrous, evoke the appearance of hair strands, adding a sense of movement and life to the sculptures.

Organic and Abstract Forms:

Her use of organic and abstract forms allows for multiple interpretations. While some viewers may see natural landscapes or biological structures, others might perceive personal and cultural symbols, such as hair and head shapes.

Relation to Personal Artwork

As an artist, you might find significant parallels between Mani’s work and your own, especially if your art also explores themes related to hair, identity, and culture. Here’s how you can draw connections between her art and your personal practice:

Exploring Hair as a Theme:

If your artwork focuses on hair, consider how Mani’s approach to texture and form can inform your own work. Her use of materials that mimic the look and feel of hair can inspire you to experiment with new techniques and mediums to capture the essence of hair in your sculptures.

Silhouette and Identity:

The head-like silhouettes in Mani’s work can be a powerful metaphor for identity. You can explore this in your art by creating pieces that use hair-like textures to form profiles or heads, symbolizing the connection between hair and personal or cultural identity.

Textural Experimentation:

Mani’s intricate textural details can encourage you to experiment with different materials to achieve similar effects. Whether using wire, fabric, or other fibrous materials, consider how these textures can convey the movement and complexity of hair in your own sculptures.

Personal Reflection

Reflecting on how Mani’s work reminds you of hair can deepen your understanding of your own artistic journey. Hair often carries significant cultural and personal meaning, symbolizing beauty, identity, and heritage. By relating Mani’s protruding, head-like forms to your own experiences, you can create art that not only explores these themes but also resonates with a broader audience.

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Magdalene Odundo is a renowned Kenyan-born British ceramic artist whose works are celebrated for their elegant forms and rich cultural references. Her ceramics are characterized by their intricate textures and sculptural qualities, often reminiscent of traditional African headwear and silhouettes.

Texture and Form in Odundo’s Work

Ceramic Technique:

Odundo employs traditional hand-building techniques, such as coiling and pinching, to create her vessels. She meticulously burnishes the surfaces of her pots, achieving a smooth, almost glass-like finish. This labor-intensive process results in a tactile quality that invites close inspection and interaction.

Surface Treatments:

The surfaces of Odundo's ceramics are often treated with slips and oxides, creating variations in color and texture. The interplay between matte and glossy finishes, along with the subtle gradations of color, enhances the visual and tactile experience of her work.

Cultural Inspirations

African Headwear and Silhouettes:

Odundo’s vessels often evoke the shapes of traditional African headwear and silhouettes. The elongated necks and rounded bases of her pots can be seen as abstracted references to the elegant and often elaborate forms of headgear found in various African cultures. This connection imbues her work with a sense of cultural heritage and identity.

African Pottery Traditions:

Her work is deeply inspired by the pottery traditions of Kenya and other parts of Africa. She draws on the techniques and aesthetics of these traditions, while also infusing her own contemporary sensibilities. This blend of the traditional and the modern creates a unique and resonant body of work.

Global Influences:

In addition to African influences, Odundo’s work reflects a wide range of global ceramic traditions, including those from Asia and the Americas. This eclectic mix of inspirations underscores the universal language of pottery and the interconnectedness of cultures.

Key Themes and Concepts

Female Form:

Many of Odundo's pieces are inspired by the female form. The curves and contours of her vessels often mimic the lines of the human body, celebrating the beauty and strength of femininity. This thematic focus adds a layer of personal and cultural meaning to her work.

Transformation and Identity:

Odundo’s work explores themes of transformation and identity. The process of shaping and firing clay mirrors broader themes of growth and change, reflecting her own journey as an artist navigating different cultural landscapes.

Notable Works

Untitled Vessels:

Odundo’s untitled vessels, with their smooth surfaces and elegant forms, are among her most iconic works. These pieces often feature elongated necks and bulbous bodies, reminiscent of traditional African headwear and the human silhouette.

Red and Black Series:

In these series, Odundo employs a rich palette of red and black slips, creating dramatic and visually striking pieces. The contrast between the colors and the varied surface textures highlight her skill and creativity.

Influence and Legacy

Magdalene Odundo’s work has had a profound impact on contemporary ceramics, bridging traditional African art forms with modernist aesthetics. Her meticulous attention to texture and form, combined with her cultural references, creates works that are both timeless and deeply rooted in heritage.

For young black girls, Odundo’s journey and achievements serve as an inspiring example of how cultural heritage can be honored and transformed through art. Her success illustrates the importance of embracing one's identity and the power of creativity to transcend cultural boundaries.

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Simone Leigh is a contemporary American artist whose work primarily focuses on black female identity, exploring themes of race, history, and the experiences of black women. She is particularly known for her innovative use of texture in her sculptures, which often incorporate materials like ceramics, bronze, and raffia. Her inspirations are deeply rooted in African traditions, as well as the sociopolitical history of black women.

Texture in Simone Leigh's Work

Ceramics:

Leigh’s ceramics are characterized by their tactile quality. She employs traditional hand-building techniques, creating organic forms that often reference the human body. The surface textures of her ceramics range from smooth and polished to rough and grooved, inviting viewers to engage with the works on a sensory level. This tactile approach emphasizes the physical presence and resilience of black female bodies.

Bronze:

In her bronze sculptures, Leigh often combines smooth, reflective surfaces with intricate, detailed textures. The contrast in textures highlights the duality of strength and vulnerability, which is a recurring theme in her work.

Raffia and Other Natural Materials:

Leigh frequently uses raffia and other natural materials in her installations, creating dense, textured surfaces that evoke traditional African art forms. These materials add a sense of movement and life to her sculptures, as well as a connection to nature and the earth.

Inspiration and Influences

African Art and Traditions:

Leigh draws heavily from African art, particularly the ceramic traditions of various African cultures. She is inspired by the functional and spiritual roles that ceramics play in these societies. This influence is evident in her use of organic forms and traditional techniques.

Black Feminist Thought:

Leigh’s work is deeply informed by black feminist theory. She explores the historical and contemporary experiences of black women, often highlighting themes of community, care, and resilience. Writers such as bell hooks and Audre Lorde have influenced her exploration of black female subjectivity.

Historical and Sociopolitical Contexts:

Leigh’s sculptures often reference historical figures and events related to black women’s history. Her work brings to light the often-overlooked contributions and experiences of black women, using texture and form to convey complex narratives of strength and endurance.

Notable Works

Brick House (2019):

This large-scale bronze sculpture features a female figure with a skirt that resembles a hut or a beehive, symbolizing both protection and community. The texture of the skirt contrasts with the smoothness of the figure’s torso, creating a dynamic interplay of surfaces.

Cupboard VIII (2021):

Part of her “Cupboard” series, this ceramic piece combines smooth, rounded forms with rough, patterned surfaces. The work evokes traditional African pottery while exploring themes of domesticity and care.

Free People’s Medical Clinic (2014):

In this installation, Leigh created a temporary clinic that provided free healthcare services. The project combined sculpture, performance, and community engagement, highlighting the intersections of art, care, and activism.

Conclusion

Simone Leigh’s innovative use of texture and her profound inspirations make her a pivotal figure in contemporary art. Her work not only celebrates the resilience and beauty of black women but also challenges viewers to engage with the rich, complex histories that shape their identities. For young black girls, Leigh's art serves as a powerful testament to the importance of representation, cultural heritage, and the transformative power of art.

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El Anatsui, a Ghanaian artist renowned for his innovative use of materials, provides a profound source of inspiration, especially for young black girls interested in the arts. His work challenges traditional art forms and emphasizes themes of transformation, history, and identity.

Background and Influence

El Anatsui was born in 1944 in Ghana and has spent much of his career teaching and working in Nigeria. His art reflects a deep connection to African traditions, yet it also engages with global contemporary art practices. Anatsui's signature pieces are large-scale installations made from discarded materials like bottle caps, aluminum, and copper wire. These materials are meticulously woven and stitched together to create intricate, tapestry-like sculptures.

Themes and Techniques

Transformation and Recycling:

Anatsui's choice of materials speaks to the concept of transformation. He takes discarded items and turns them into beautiful, valuable art, demonstrating how art can be a tool for change and redemption. This can inspire young black girls to see potential and beauty in overlooked or discarded aspects of their own lives and communities.

Cultural Heritage and History:

His works often reflect on African history and colonialism. The bottle caps, for instance, symbolize the transatlantic slave trade and the exchange of goods and cultures. Understanding these themes can deepen a young artist's appreciation for their heritage and the complex history that shapes their identity.

Innovation and Creativity:

Anatsui's innovative techniques challenge traditional definitions of sculpture and painting. His art blurs the boundaries between these mediums, encouraging young artists to think outside conventional artistic norms and explore their unique styles.

Form my perspective , El Anatsui's journey from Ghana to international acclaim can be particularly inspiring. His success story illustrates that one's background or starting point does not limit their potential. His emphasis on using local, accessible materials shows that great art can come from humble beginnings and that creativity and resourcefulness are key.
Additionally, as I work in industry of consumerism within alcohol, I can gauge an understanding on the imagery that he’s trying to portray. Additionally, the harm that it does with a look at me and see what it being the base of our economy

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Metal plate in Graving to make in sheets

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Experimenting with mesh, wire to see how it behaves to see if you would hold of his shape and structure

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Metal plate hammering taken from a square sheet of aluminium, beaten into a bowl. Mold repeatedly fired, iced in water and hammered again to resemble the round shape of a function and bowl
This is tasking as it was a continuous repetition of steps hammering out all the dents and smoothing overall  bowl

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Attempting the coil pot  method having difficulty because my coils were not the same thickness, and I made my clay  to moist
Avoid this next time, I pray making long strips of clay that will be the thickness of my pinky finger so that I can be proportionate and not adding so much water

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The clay face was inspired, bye traditional tribal masks will be used in rituals and ceremonies. I made this as a possibility to adorn my peace

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Ink print from a metal plates, engraving

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this was more a prototype rather than final peace, it would be painted terracotta and placed on pedestal the pipes into weaving through the piece would be where the water comes through small house will be at the bottom parts water drip through onto the pedestal not necessarily a practical drinking fountain but a piece were the water could flow like a water installation which reaches to drink from the bath

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making it in clay to later vac form because the scale of clay i didn’t have the time or the skills to make a proper clay vase do make alternative i’m vac form
i would paint the inside terracotta to give that eathy traditional feel and later reapply the adorments

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making cardboard mocks

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Experimental drawings of ways, I can incorporate my research into my final designs of a water, Fountain

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Design development of a silhouette, I want the pots to have a fun element, feel like actual people with stories

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Experimental development drawing of a w wall fountain combined with texture elements

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Textured design development from my favourite piece at contemporary ceramics. This is the element of the water fountain and Texture

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Is the relevant drawing was incorporating artist response I did of the small people that represented the lives transported from the Caribbean and Africa places. They did not wish to go have them look over the water was symbolic because most of the time wondering where they’re going or where they would end up, but know that they left their souls within the water in. The bottom of the piece was resemble a map similar, but not exact to the roots that the HMS Windrush took combined with the transatlantic slave trade map

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Weather design development in that gauge in different ways I could have the placement of the focal point, maybe have a look round it over the ball or surrounding half of it