Functional pottery [slide] by Frank Bevis Fabens A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts Montana State University Copyright by Frank Bevis Fabens (1986) Abstract: no abstract found in this volume
FUNCTIONAL POTTERY by Frank Bevis Fabens A th e s is subm itted in p a r tia l f u lf illm e n t o f the requirements fo r the degree o f Master o f Fine A rts MONTANA STATE UNIVERSITY Bozeman, Montana May 1986
a/1781 P // / I I Approve I o f a th e sis subm itted by Frank Bevis Fabens This th e s is has been read by each member o f the a u th o r's graduate committee and has been found to be s a tis fa c to ry regarding content, E nglish usage, form a t, c ita tio n s, b ib lio g ra p h ic s ty le, and consistency, and is ready fo r submission to the College o f Graduate S tudies. Date Approved fo r the Major Department Date Head Department Approved fo r the College o f Graduate Studies Date Graduate Dean
m STATEMENT OF PERMISSION TO USE In presenting th is th e s is in p a r tia l f u lf illm e n t o f the requirem ents fo r a m aster's degree a t Montana S tate U n iv e rs ity, I agree th a t the L ib ra ry s h a ll make i t a v a ila b le to borrowers under ru le s o f the L ib ra ry. B rie f quo tatio n s from th is paper are allo w a ble w ith o u t special p e rm issio n, provided th a t accurate acknowledgement o f source is made. Permission fo r extensive q u o tatio n from or reproduction of, th is paper may be granted by my major p ro fe s s o r, o r in h is absence, by the Dean o f L ib ra rie s when, in the o pinion o f e ith e r, the proposed use o f the m a teria l is fo r s c h o la rly purposes. Any copying or use o f the m a te ria l in th is paper fo r fin a n c ia l gain sh a ll not be allowed w ith o ut my w ritte n perm issio n. Date *) / / 3 /
Iv TABLE OF CONTENTS Page APPROVAL... STATEMENT OF PERMISSION TO USE..... TABLE OF CONTENTS... ARTIST'S STATEMENT... ' ' IM iv I LIST OF SLIDES... 3
I ARTIST'S STATEMENT My p o tte ry contains harmony which a ris e s out o f c o n tra d ic tio n. pieces do not appear to be t r a d it io n a lly fu n c tio n a l, ye t they are. The The surface is both r ig id and s o ft. The apparent heaviness o f the forms is d iffe r e n t from the actual w eight. These c o n tra d ic tio n s cre a te a p o tte ry which is in trig u in g and is not understood a t f i r s t glance. An i n i t i a l v is u a l impression o f my sake1 b o ttle c o n tra d ic ts common ideas o f a fu n c tio n a l o b je c t, but upon hand lin g, i t becomes an understandable and fu n c tio n a l p ot. I f something fe e ls good o r works w e ll, i t may change one's idea o f the p o t; consequently, these pots are to be explored w ith fin g e r s. The eye and mind accept lim ite d standards o f fu n c tio n and n o n fu n c tio n, w h ile touch is accountable o n ly to it s e l f. A cup th a t can be held in one hand can be explored three-dim ensional Iy through touch as w ell as through s ig h t. The viewer using both touch and s ig h t w il l gain a more complete understanding o f my p o t's complex planes and surfaces. I have two d iffe r e n t approaches to surface. c la y 's s o ft m a lle a b ility and s e n s it iv it y to touch. One surface captures This surface records the spontaneous random te x tu re s o f c la y r ig h t out o f the bag. The o th e r surface is a r ig id p a tte rn imposed on the form. I t Is a d e lib e ra te and open p a tte rn, co n tin u in g beyond the boundaries o f the form, as i f the pot c o llid e d w ith a plane o f p a tte rn which impressed i t s e l f on the pot.
The p a tte rn becomes sharper In c o n tra s t to the s o fte r c la y su rface, and the crispness o f the p a tte rn h ig h lig h ts the random s o ft c la y surface. 2 My forms are e c c e n tric and Stable and have a heavy look. F la t bottoms and/or wide bases cre a te a grounded fe e lin g and reassuring- s tre n g th. By accepting and fo s te rin g the cumbersome nature o f a s o ft, s o lid lump o f c la y, I tap in to n a tu ra l Iy s ta b le forms. When I add a s p o u t, i t has the same fe e lin g as the body, thereby u n ify in g the pot. Where a handle goes over a p a tte rn, i t takes on th a t p a tte rn, in te g ra tin g I t s e lf in to the form. The pot creates a harmony o f balanced p arts out o f a form which c o n tra d ic ts it s e l f. I t is in the fu n c tio n o f these pots th a t harmony between c o n tra s t ing elements becomes most apparent and is re co n cile d. The sake1 b o ttle forms each have one side which is s o ft and c la y - lik e and very in v itin g to h old. The patterned sid e does not in v ite you to hold as much as to e x p lo re, moving your fin g e rs deep in to the p a tte rn. The treatm ent o f both o f these surfaces im plies a w e ig ht!n ess. There is nothing lig h t about the forms and surfaces o f these pots u n til you p ic k them up. The physical w eight is a jo y, in s p irin g use. C ontrast focuses the senses on the p o s s ib ilit ie s o f fu n c tio n a l pots. Harmony makes the pots liv e a b le and fr ie n d ly. My pots expand the everyday view o f what is p o ssib le in good, fu n c tio n a l pots.
3 LIST OF SLIDES 1. Blue Tea Set P orcelain Teapot I 0"Hx7"Wx6"D 2. Black Sake1 Set P orcelain Sake' B o ttle 5"Hx6"Wx5"D 3. Decanter and Cups P orcelain Decanter 7"Hx6"Wx4"D 4* 4. Celedon Tea Set P orcelain Teapot I ZllHxS1lWxS11D 5. Bone Sake1 Set P orcelain Sake1 B o ttle 6"Hx4"Wx3.5"D 6. Clear Tea Set Porcelain Teapot SiiHx IO11Wx IO11D 7. Coffee Set Porcelain Coffee Pot 11 mhxsmwxs11d 8. Honey Sake1 Set P o rc e la in Sake1 B o ttle 5"Hx4"Wx4"D
6, I 2 $ 3 $
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