MAIN GALLERY

 

Accreditation | Contact the Webmaster | FGCU Directory | An EO/AA/Diversity institution


© FGCU 3/8/2013 1:08:50 PM. This is an official FGCU web page.

Florida Gulf Coast University
10501 FGCU Blvd, South
Fort Myers, FL 33965-6565
(239) 590-1000 or (800) 590-3428

FELIPE MALDONADO

REGENERATIONEM

Senior Project APRIL 2016

The human experience proves the high level of curiosity we hold. We are constantly searching for a new meaning; whether it is in ourselves or in our exterior surroundings, we are constantly changing. Science would call this evolution, others adaptation and some, even survival. Why must our ability to change and adapt sound so harsh? We see it as leaving the old behind and embracing the new, but we should embrace the old and learn from the new.


My creative process is cultivated through self-discovery and the understanding of decisions and their impacts. I embrace clay as a tool of creation and directly link my hands as a guide for creating inanimate life. This results in work that is highly influenced by the ideas of movement and connection. Taking away from daily activities, using a different mindset and allowing the clay and I to have a conversation, coming to a common ground that we can both agree on. This idea begins to touch more on the discovery of movement that my pieces show and allows my work to express a dance between myself, as the potter and my pieces, as my partner. The creation of my pieces allows the idea of pairing to come to life and give the ability for the practice of connection between people to be embraced. This connection creates a sense of place for the individual pieces and allowing people the ability to come together to connect further.


I took Domestic Stoneware and created slabs of clay that would serve as the base for the large platters; I then extruded a thick coil and applied it to serve as the rim of the platter. After throwing the two pieces on the potter’s wheel, I then folded the large rim inward to create a frame for the platters and applied a subtle push of the rim to create movement in the piece. The pieces are then decorated in white slip, have a transfer image applied and are waxed. The remaining waxed white space is carved away and inlayed with a black underglaze to enhance the carving marks. The pieces are then bisque in an electric kiln, where they go to cone 08 (1728 degrees,) once bisque the pieces are taken out and prepped through a meticulous process of glazing that is all done with a spray gun and different pressures in various sections for different results to then be fired off in the gas kiln to cone 10 (2300 degrees.)