Pandaji's Blog

Art, research, education


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More Found Objects


I had a great find on the way home at the corner of Turner and Varden Streets after felt class.

List of found items:

1. Non-stick frying pan medium size, great for pancakes. (I already have one very small and two very large frying pans found at Glastonbury, but not a medium size)

2. Two thermos cups and three wooden photo frames, one of which contained a map with the corner where I found everything, only someone had circled the next corner!!

I gave Dave the frames for his artwork and the mugs have been added to my festival/camping collection.

3. A new white phone that is now next to my old one that Mark gave me in 1979!! The old phone actually still works, so if anyone needs a cord phone, I have a spare one now!!

4. A box of bright red bulldog clips from Paperchase.

5. I also found these old wooden hangers on the way home from felt class, but in Turville Street off Redchurch.

I haven’t counted, but there must be thirty of them. Better start hanging up my clothes!!

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Lifelong Fable of the Long Life Label: some insights


The George Tavern exhibition space

David Fried and Manda Helal

LIFE LONG FABLE OF THE LONG LIFE LABEL

On view through March 10, 2011

The George Tavern

373 Commercial Road, London  E1 0LA

Tel: 0207 790 7335

http://www.thegeorgetavern.co.uk

The exhibition space is a room in a building with heritage status, so a wooden framework has been constructed across the ceiling for work to be hung from. This structure inspired me to include work that could be shown alongside Dave’s paintings. Creating the work in different places and putting it altogether in my small living space meant I had been physically close to it, and it felt gigantic, so initially I was concerned that it would be dwarfed by the huge size of the room.

In keeping with the tradition of serendipitous findings, I came across loads of chain two days before hanging the show!! Special thanks to Brian from Glickman’s hardware store in Watney Market who has helped me out for my thirty three years of living in the East End. While bemoaning the disappearance of all the fishing tackle shops, he declared himself to be a fisherman and provided us with his end-reels of really strong monfilament line.

dcpb and Redhead

After hanging the work, it felt like a lot of things I had been doing for years had come together—a life long fable of collage. Amazing to see it all in an uncluttered, dimly lit environment. What I had thought was humorous turned into something more scary. The heads especially have that effect. Unlike at home where they are hung close together and can’t move, in this space they are never still. It was when people started commenting on the effect they had on them, I realised that I had made something startling. An image of the redhead on the invitation was enough for one person to decide not to come and see the work. The beads and found objects blend so well together that people couldn’t distinguish between the metal and ceramic. They tapped the work to find out!!

South wall view

We did not specify who had made what, and I was surprised when friends and family—who I thought had seen the work before—were asking whose work was whose. The paintings and ceramics compliment each other, and the exhibition feels like a single installation. It is wonderful to get some feedback, especially from strangers. Somehow it means more if someone you don’t know appreciates the work.


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Same image, different techniques


For this project, I wanted to show how different techniques can be used to produce the same image on a tile. The image I chose is of a bird perched on a pot.

Top left

Paper resist on red clay with honey glaze. An image is cut out of newspaper and wetted enough to put onto a red clay tile so that it sticks and seals with no air bubbles. Then a coat of white slip is applied so that it covers the paper cutout and the rest of the tile. After allowing the slip to dry, the paper cutout is carefully removed. Any white slip that may have leaked under the cut out image can be removed from the image using a sharp carving tool. The tile is bisque fired and then glazed using a red iron or honey glaze, and fired again. The end result shows the difference in colour of the honey glaze over red clay and white slip.

Middle left

Sgraffito image. A red clay tile is coated with slip which is allowed to dry. Using a sgraffito tool, the image is carved out through the white slip to the red clay underneath. The tile is then fired and glazed with clear glaze, and fired again.

Bottom left

Paper resist with transfers. A red clay tile is coated with black slip and allowed to dry. A paper resist image is cut out from newspaper and placed the opposite way round from the image on the top left tile. Then white slip is applied, only using one coat so that brushstrokes can be seen. The tile is bisque fired, then glazed using earthenware clear glaze, and fired again. Transfers are then cut out in shape of the image and applied to glazed tile which is then fired a third time.

Top right

Paper resist with clear glaze. A red clay tile is coated with black slip and allowed to dry. A paper resist image is cut out from newspaper and wetted. The image is placed the opposite way round from the image on the top left tile. Then white slip is applied, only using one coat so that brushstrokes can be seen. The tile is bisque fired, then glazed using earthenware clear glaze, and fired again. The end result shows the two slip colours. The colour for the image needs to be applied before the background colour.

Middle right

Monoprint on red clay tile. To make the monoprint, a piece of cotton cloth is coated with three layers of white slip. A hairdryer is used to dry each layer until it is slightly tacky, before applying the next layer. While the last layer is still tacky, an image is drawn through the layers of slip, through to the cloth. The slip colour of the image is then applied until it fills the incised lines of the drawing. When the slip is tacky-dry, two more coats of white slip are applied using the same technique as before. When the final layer of white slip is tacky-dry, place the tile onto the print and turn it over to rub the print onto the tile. The tile is bisque fired, then glazed using earthenware clear glaze, and fired again.

Bottom right

A wetted paper resist image is applied to a red clay tile that has been coated with black slip (as in top right tile). White slip is then applied and the paper image is removed. Next, wax is applied to the tile in a circle over the image and allowed to dry. The image is coated with speedwell blue underglaze mixed with water. The tile is bisque fired, clear glazed, and fired again.