Dutch Fork High School
Irmo, SC

Student Work
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Student Commentary:
What was your initial idea?
For my concentration I explored how I could incorporate non-ceramic objects into ceramic vessels. My concentration focuses on the relationship between the incorporated object and the ceramic vessel and how each complements and contrasts one another in terms of form, surface, and movement.

How did your idea grow and develop as you worked? You may refer to specific slides as examples.
The idea for my concentration stemmed from a previous class where I studied basket weaving. I wanted to incorporate this technique into ceramic vessels. So as not to look like afterthoughts, a challenge was to incorporate the objects so they accentuated the form of the ceramic vessels. This forced me to consider more creative ways to incorporate the objects into the vessels. As my ideas developed, I began incorporating other non-ceramic materials such as wood, string and metal. By researching other artists who explore combining clay with other materials, I was further able to develop my ideas. Growth is evident in my concentration where the incorporated objects start as purely aesthetic elements and progress to functional and then finally to structural ones. In the first pieces, the materials incorporated into the vessels serve a purely aesthetic function, such as weaving vines and pine straw on the vessels to enhance and accentuate their form and texture. As my concentration evolves, the incorporated objects move from an aesthetic function to a primarily functional role, as shown in the pieces with the driftwood and metal wrench handles. As my concentration progresses further, the incorporated objects evolve from a functional role to a structural one as evident in the conical piece with wooden base, the organic piece with the driftwood base, and the organic piece with the tripod metal pipe base.

Rationale for Score:

• Significant knowledge informs the "aesthetic voice" of this concentration and allowed the student to work with sophistication.
• Knowledge about seemingly unrelated aesthetic traditions in one medium became the dynamic departure point for posing this self-directed problem.
• The student initially explored the compatibility of a range of materials. The initial concentration evolved into a search for materials that would amend and enhance the functionality of form.
• The return to structural concerns in the final three pieces in this concentration emphasizes the organic quality of material and subtly reflects a fusion of discoveries concerning function.

1, view 1. 13” x 9” x 9 ceramic/vines
2, view 1. 6” x 15” x 10” ceramic/yarn
3, view 2 [of 2]. 6” x 15” x 10” ceramic/yarn
4, view 1. 6” x 19” x 9” ceramic/pine straw
5, view 2 [of 4]. 6” x 19” x 9” ceramic/pine straw
6, view 1. 11” x 22” x 7” ceramic/wood
7, view 2 [of 6]. 11” x 22” x 7” ceramic/wood
8, view 1. 9” x 12” x 8” ceramic/metal
9, view 2 [of 8]. 9” x 12” x 8” ceramic/metal
10, view 1. 5” x 27” x 8” ceramic/wood
11, view 1. 12” x 10” x 10” ceramic/wood
12, view 1. 14” x 20” x 16” ceramic/metal