Hand-built Porcelain Sculptures

Fountain of life (1983) 350 x 310 x 185 mm. Private collection of Hayden Proud. Photographs by Jac De Villiers.


The following ceramic sculptures were hand-built in porcelain and were the first works completed towards my masters degree at UCT, during the first year of study in 1983. The works focused on the mortal's quest for immortality. This series draws upon Celtic mythology. Reference was made to analogous Christian doctrines, the Sacraments of Baptism and the Eucharist  as a means to obtaining immortality.


Quest for immortality - Myths pertaining to immortality.


Fountain of Life (ceramic sculpture above).
Imagery: This sculpture depicts a gaelic version of the Old testament paradise. The christian saints diving into the Waters of Life in search of spiritual regeneration. Rising out of the water they eat the mandorla-shaped nuts that have fallen from the trees and thereby receive divine inspiration. 

Process:
Slab-constructed and modelled in porcelain. The porcelain was tinted, inlaid and brushed with manganese, copper and cobalt oxide. Porcelain 'Mint' glaze (dipped). Fired to 1250 degrees Celsius. A 'Green' star glaze earthenware glaze was applied and fired to 1060 degrees Celsius. Painted with gold lustre and fired to 720 degrees celsius.

Immortality Act (1983) 195 x 200 x 110 mm. Private collection. Photographs by Jac De Villiers.


Imagery: The pretentious mortal is drawn by curiosity to attempt to experience the life of the saints for herself. The waters of life rise up and repel as she approached the well. The saints that swim in it cast her out and abandon her.

Process: Slab constructed and modeled in oxide-tinted porcelain and biscuit-fired to 900 degrees celsius. Porcelain 'Mint' glaze (dipped) Fired to 1250 degrees celsius. The 'fish' was painted in acrylic. 

Man is what he eats (1983) 340 x 370 x 60 mm. Private collection Raymond and Emily Hon. Photographs by Jac De Villiers.

Imagery: The subject, desiring to share in the life of the saints, is dressed in her bathing-constume. Appropriately attired, she can swim in the Waters of Life. She is elevated above a container shaped like a fish, which is analogous to a baptismal font. She is shown at the moment of confrontation with the fish she has caught. She is about to consume the fish which is endowed with divine inspiration and knowledge, and to share in these gifts herself. 

Process:  Slab constructed and modeled in porcelain. the 'water' was made of porcelain, inlaid with cobalt-tinted porcelain. The 'fish' is painted with a peach underglaze colour and biscuit-fired to 900 degrees celsius. Porcelain 'Mint' glaze (dipped'. fired to 1250 degrees celsius. Painted with lustre colours and fired to 720 degrees celsius. The 'fish' was painted with acrylic. 

The Apples of Hesperides. (1983) 335 x 345 x 170 mm. Private collection. Photographs by Jac De Villiers.


Imagery: This sculpture, making reference to Egyptian and Christian iconography, portrays the Soul partaking of the Fruit of Redemption. In the Egyptian mythology the soul, on entering the underworld , is symbolised as a hawk.
The orchard is placed on a rectangular base representing an altar, referring to the sacrifices of Christ in the Eucharist. the fish together with the apples is symbolic of the New Adam who brings healing and deliverance.

Process; slab constructed and modeled in porcelain. The porcelain was tinted, inlaid and brushed with manganese, copper and cobalt oxide. Porcelain 'Mint' glaze (dipped). The 'water' was glazed in a earthenware transparent glaze and fired separately to 1060 degrees celsius. Painted with lustre colours and fired to 720 degrees celsius. 
The 'apples' were painted with a yellow lustre (see detail on the right). The dry lustre was lightly sprayed with paraffin causing it to seperate. An application of red lustre was applied to the wet surface causing the red lustre to move with the paraffin. Once the red lustre and yellow lustre intermingled they produced the third colour which was green.

Immortality attained

Riding High (1984). 210 x 145 x 145 mm.  Private collection of the late John Nowers (ceramist and my mentor.)

This series of 5 ceramic works portrays the journey of the soul towards a spiritually pre-ordained destiny. These works draw strongly on Babylonian mythology and spiritual texts referring or alluding to the resurrection and the rapture as mentioned in Revelations in the Christian bible.

Imagery Riding High (image above) all photographs by Jac de Villiers.

This sculpture portrays a woman riding the crest of a wave on an inflatable dolphin. The dolphin, usually symbolic of a saviour and a guide, is paradoxically spotted like a leopard. This dolphin, however, represents a false friend.  The woman is portrayed in a moment of self-assurance oblivious to treachery. 

Process:

Slab constructed and modeled in red and white stone ware clay and porcelain. Painted with stained earthenware slips and underglaze colours and bisquit fired to 900 degrees Celsius. Transparent earthenware glaze (dipped). fired to 1060 degrees Celsius. 

Transit of the soul to the Blessed West (1984). 195 x 180 x 155 mm. Private collection.


Transit of the soul to the Blessed West (1984):
With reference made to the story of Jonah and the whale and its connotations of the resurrection, this sculpture represents the embarkation of the soul to the new Jerusalem. The soul awaits 'her' ascension on the back of a whale endowed with the gift of flight, indicated by the substitution of rotor blades for its soul.

Process:
Slab constructed and modeled in red and white stone ware clay and porcelain. The base was constructed from red stoneware . Painted with stained earthenware slips and underglaze colours and bisquit fired to 900 degrees Celsius. Transparent earthenware glaze (dipped). fired to 1060 degrees Celsius. 

Journey to the underworld secured (1984). 310 x 160 x 145 mm. Private collection.


Journey to the underworld secured (1984). Imagery:
This sculpture portrays the Mortal's endeavour to reach the highest realms of heaven. With aid of an eagle and a pillar of cloud , she soars upwards as the world shrinks below. The eagle is a symbol of mediation between heaven and earth, and the pillar of cloud is an indication of God's guidance to the people of Israel lost in the wilderness.

Process:
Slab constructed and modeled in red and white stone ware clay and porcelain. The base was constructed from red stoneware . Painted with stained earthenware slips and underglaze colours and bisquit fired to 900 degrees Celsius. Transparent earthenware glaze (dipped). fired to 1060 degrees Celsius. 

Rapture (1984). 355 x 225 x 225 mm. Private collection. Collection Bruce Arnott (professor and mentor)


Rapture (1984):
The woman symbolises the bride of Christ, who is propelled into the heavenly kingdom. The volcano signifies an entrance into Hades, the realm of the dead and damned in the centre of the earth. Hades is where death takes place, prior to rebirth and illumination. The bride rises ecstatically of her own spiritual volition and through the forces of her expulsion from Hades, from which she has been redeemed.

Source;
'Up from the grave He arose, with a mighty triumph o'er His foes; he rose a Victor from the dark domain, and He lives for ever with His saints to reign' (Anglican hymn)

Process:

Slab constructed and modeled in red and white stone ware clay and porcelain. The base was constructed from red stoneware . Painted with stained earthenware slips and underglaze colours and bisquit fired to 900 degrees Celsius. Transparent earthenware glaze (dipped). fired to 1060 degrees Celsius. Oasis Road (1984). 215 x 320 x 210 mm. Private collection.

Oasis Road (1984) Imagery:

This sculpture portrays the church awaiting the long-expected return of the Messiah. The saints carry their travelling-bags, in the shape of a fish, indicating their predestined journey to resurrection and immortality. They sit on a playground rocking-horse situated in a wasteland. This situation recalls Noah's ark, containing the chosen people who awaited the deluge, God's punishment of s sinful world.

Process:

Slab constructed and modeled in red and white stone ware clay and porcelain. The base was constructed from red stoneware . Painted with stained earthenware slips and underglaze colours and bisquit fired to 900 degrees Celsius. Transparent earthenware glaze (dipped). fired to 1060 degrees Celsius. 

Horse and Rider

Horse and Rider (1985) 500 X 490 X 250 mm, collection Carl Landsberg. Photograph Jac De Villiers. 

Imagery;

This piece marks the beginning of the final series of ceramic sculptures produced for my masters degree program at UCT (graduated in 1986), derived from an investigation of myths pertaining to eschatology, i.e. the science of the four last things; death, judgement, heaven and hell. The sculpture represents and androgynous figure of Hope, which draws together related heroes from the traditions of western European and Mediterranean mythology; Christ the Messiah; Isis, Venus and Mary as the Queen of Heaven; Apollo who slew the serpent, and Bacchus the promote of civilization.

The figure of hope is riding an animal that can swim like a fish, fly like Pegasus, and is striped like a tiger. The fusion of these aspects enables Hope to confront dangerous, elemental forces.

Process;

Press- moulded and handbuilt with red and white stoneware clay, and bisquit fired to 900 degrees Celsius. Painted with oxides, stained slips and underglaze colours and fired to 900  degrees Celsius. The 'horse' was wax resisted. Glazed in a transparent earthenware glaze (sprayed). Fired to 1060 degrees C. Painted with coloured lustres and fired to 720 degrees C. 

Series of drawings to refine the final shape and form of the sculpture.

Initiation

Initiation (1984), 360 X 210 x 160 mm (detail). Collection Peter Amm. Photograph Jac De Villiers.

Imagery:

With Reference made to the story of Jonah in the whale and its connotations of death and rebirth, this sculpture depicts the soul diving from the mouth of a cat. The cat is a symbol of darkness and death and depicts the entrance to Hades situated at the bottom of the mountain. The woman represents the soul, delivered and redeemed from darkness, and initiated into the light of salvation.Two versions of this sculpture were produced.

Initiation (1984), 360 X 210 x 160 mm. Private Collection. Photograph Jac De Villiers.

Two versions of this sculpture were produced. The first (image above) was press-moulded and handbuilt in red and white stoneware clay. The cotton material was dipped in a stained earthenware slip and draped over the base. Stained slips and underglaze colours were painted and flicked on with a toothbrush at the leather-hard stage. Bisquit-fired to 900 degrees Celsius. Additional underglaze colours were applied with an airbrush. The figure was glazed in transparent earthenware glaze (dipped). Entire piece fired to 1060 degrees Celsius.

Initiation (1984), 360 X 210 x 160 mm. Collection Peter Amm. Photograph Jac De Villiers.

The second version was also press-moulded and handbuilt in red and white stoneware clay but included a porcelain figurine. The burnished base was glazed with a raku glaze and fired to 1000 degrees Celsius - cupric sulphate was painted on the burnished areas heated slowly with a blowtorch. The cat was fired in a stoneware reduction kiln whilst the porcelain figurine fired to 1250 in a oxidation firing. The various parts were attached with adhesives.

Drawings for Immortality gained series (1984).

Ouroboros

Ouroboros (1985), 320 X 385 X 190 mm, Collection of Riana Du Preez, Photograph Jac De Villiers.

Imagery:

This sculpture represents Psyche, the soul, in a deep sleep on a bed in the form of a lustful tail-biting creature symbolising the alpha and omega, Ouroboros, or the beginning and the end of a souls pilgrimage from earth to heaven. The swan, as a symbol of purity and the righteousness of God, is an extension of Psyche's right arm which lies on her breast as a gesture of her submission to the will of God and the gift of eternal life.

Source:

Milton refers to the story of Cupid and Psyche in the conclusion of his Comus:

'Celestial Cupid, her famed son, advanced, Holds his dear Psyche, sweet entranced , After her wandering labors long, Till free consent the Gods among Make her his eternal bride...'

Thomas Bulfinch writes that the story of Cupid is commonly considered allegorical. He notes  that the Greek name for a butterfly is Psyche, and that the same word means 'soul'. Therefore he concludes that Psyche is the human Soul cleansed by trials and tribulations.

Process:

Press-moulded and hand built in white stoneware clay and bisquit fired  to 900 degrees Celsius. Painted with manganese oxide and a blue under-glaze colour. Brushed with a wirebrush to reveal the clay body. The figure was glazed in a transparent glaze (painted), and fired to 1060 degrees Celsius. Painted with yellow lustre and fired to 720 degrees Celsius. 

Below is the drawing for the ceramic series based on myths pertaining to immortality.

Mother of Prostitutes

Mother of Prostitutes 1985. (side view), 380 X 500 X 210 mm, Private Collection. Photographer Jac De Villiers.

Imagery:
This sculpture represents the epitome of greed, lust and power. The main figure is Mother Earth exploited. The lustful creatures are her offspring. They rape, burn and devour her. The tail is the counterpart of male domination.

Source;
Revelations in the Christian Bible 17; 1, 2, 5, 16 & 3.

Mother of Prostitutes (1985) (side view), 380 X 500 X 210 mm, Private Collection. Photographer Jac De Villiers.


Process;
Press-moulded and hand-built with red and white stoneware clay and bisquit fired to 900 degrees Celsius. Airbrushed and painted with oxides, stained earthenware slips and under-glaze colours. A graphic approach to colour application was established. This was achieved by sacrificing through the painted slips and under-glaze colours to reveal the various layers. The body of the figure was wax -resisted. Glazed in a transparent earthenware glaze (sprayed). Fired to 1060 degrees Celsius. The 'flames' were painted with onglaze colours and fired to 780 degrees Celsius.

Final Drawing in Ballpoint pen for the sculpture titled Mother of Prostitutes.

Preparatory Drawing in ballpoint pen; Mother of Prostitutes.

For with you is the Fountain of Life

For with you is the Fountain of Life(front view), 640 X 500 X 360 mm Collection and copyright with the photographer Jac De Villiers.

Process:

Press-moulded and hand built extensions with red and white stoneware clay, and bisquit-fired to 900 degrees Celsius. Airbrushed and painted with under glaze colours. The 'clouds' were painted with various under glaze colours and scratched to reveal the various layers beneath.. Fired to 900 degrees Celsius. Areas were wax-resisted and glazed in a transparent earthenware glaze (sprayed). Fired to 1060 degrees Celsius. Painted with over glaze colours and lustres and fired to 720 degrees Celsius. The 'table-cloth' was painted in a acrylic.

Imagery:

From the front this sculpture depicts the face of Jehovah the law-giver and enforcer. The body and head are predominantly blue, and this together with the stars and the clouds, are indicative of the concept of God's transcendence and infinity. Symmetrically on either side of the magic head of Jehovah are forms evocative of the sweetness inside the strength of Jehovah. Inside the central block is depicted a fountain from which the River of Life gushes forth, pouring in rivulets down a series of curved steps that lead up to the throne of Jehovah.

For with you is the Fountain of Life. (back view).

From the back the sculpture represents 'Jehovah Jireh' God the provider. The all seeing eyes of God survey mankind from behind reliefs depicting the quadromorph - the four symbols of the evangelists. The eagles claw represents St. John; the lion's paw represents St. Mark; the calf's hoof represents St Luke; and the human hand, the angel of St. Matthew. The symbols appear from behind a form representing the rays of the rising ' Sun of Righteousness ' which is an allusion to the 'son of Righteousness', God become man - Jesus Christ.

The form of the sun paradoxically represents a recess symbolising the tomb, from which the 'Son of righteousness' rose on the third day.

Before the sun and the tomb is set a table bearing a plate on which is placed the Fruit of Eternal Life.

Portrait of the artist (1985) with the sculpture in studio of the photographer Jac De Villier

Leda and the Swan

Leda and the Swan (1986) MFA work, 210x 420x125. Collection Peter Amm (his previous home displaying the work is featured below) 


This particular work is one of my favourite sculptures. Made during my masters at UCT in 1986, it is the first work to feature on this blog specifically as a Gallery. Every so often I will feature an earlier work, the archival label will feature as a Gallery with the date - e.g. Gallery 1986 (as in this case). Visitors to the blog will be able to access all previous works this particular way. 

Ceramic Technique. 
Press- moulded in white stoneware clay. Airbrushed and painted with stained earthenware slips and under-glaze colours. A matt-black glaze was used as the base colour for the tongue. The 'fish' and 'asparagus' were glazed in a transparent earthenware glaze (painted on) Fired to 1060 degrees Celsius.  

Leda and the Swan - visual reference. (left) Greek god Zeus in the form of a swan (with Leda) Late Roman sculpture.


Imagery of Ceramic Sculpture: 
The mortal achieving immortality is represented sailing on a ship to the underworld. The figurehead, a swan, symbol of purity and the righteousness of God, ensures a happy death and safe journey to the underworld. 'Greek mythology is full of animal symbolism. Zeus, the father of the gods, often approaches a girl he desires in the shape of a swan, a bull or an eagle (Jung, Carl J. Man and his symbols). The protuberant tongue is symbolic of a change from darkness to light. The subject is enticed to become impregnated by the spirit, represented as God's phallus in the form of an asparagus. The asparagus pierces the Veil that once separated the mortal from immortality. The fish is symbolic of immortality; hence the metamorphosis of the two blissful twins, Youth and Joy.Zeus, the father of the gods, often approaches a girl he desires in the shape of a swan, a bull or an eagle (Jung, Carl J. Man and his symbols).






















Peter Amm house, featuring the sculpture, Glen Beach, Cape Town. as cited in the Fair Lady Magazine in April of 1986. 

View of the atrium of the house; view towards the sea.

The stoep; view of the sea and the mountains.