dc.contributor.advisor |
Watson, R |
en |
dc.contributor.advisor |
Smith, A |
en |
dc.contributor.author |
Tilson, Jack |
en |
dc.date.accessioned |
2016-02-26T01:08:08Z |
en |
dc.date.issued |
2015 |
en |
dc.identifier.citation |
2015 |
en |
dc.identifier.uri |
http://hdl.handle.net/2292/28295 |
en |
dc.description |
Full text is available to authenticated members of The University of Auckland only. |
en |
dc.description.abstract |
Urgently gathering information from a multitude of sources has led to a multifaceted interaction. Procedural failure is vital. Certain cups and vases let water run through them, several pots look as if their glazes will continue to run and the most refined bowls shatter if heated too quickly. An opposing stress has arisen within the making, as artistic freedom allows failure to be renegotiated. However, certain pieces do communicate a kinship with tradition, such as the conical bowl forms or floriated dishes. Diversity is a strategy that creates agency between works. Throwing clay on the wheel is the central generative method. Thrown forms are adjusted to suit the materials, which were mostly gathered from the immediate surroundings of Auckland. The actions are direct, the markings of the maker are recorded. The concept of petrification is used to investigate objects within certain environments. An informal arrangement on a makeshift construction extends the interaction to systems of display. Open format digital learning is embodied in the making. Studying digitized archives has impacted upon the works through the shifting approaches and attitudes taken. The observation of multiplicity results in differing interpretations of cultural objects. The exploration of pottery systems has led to a focus on structural colouration in glazes. Microstructures create a pseudo-chromatic blue which has a different effect to colour derived from pigments. The colouring mechanism is comparable to the Raleigh scattering of sunlight in the atmosphere. 1 The variety of materials, processes, historical references and unexpected outcomes suggest malleability. Alternative ways of interacting with the commonplace surface when understandings are thought of as fluid, changeable yet interconnected. |
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dc.publisher |
ResearchSpace@Auckland |
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dc.relation.ispartof |
Masters Thesis - University of Auckland |
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dc.relation.isreferencedby |
UoA99265074600602091 |
en |
dc.rights |
Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. |
en |
dc.rights |
Restricted Item. Available to authenticated members of The University of Auckland. |
en |
dc.rights.uri |
https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm |
en |
dc.rights.uri |
http://creativecommons.org/licenses/by-nc-sa/3.0/nz/ |
en |
dc.title |
Malleable Histories and Interferences |
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dc.type |
Thesis |
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thesis.degree.discipline |
Fine Arts |
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thesis.degree.grantor |
The University of Auckland |
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thesis.degree.level |
Masters |
en |
dc.rights.holder |
Copyright: The Author |
en |
pubs.elements-id |
523570 |
en |
pubs.record-created-at-source-date |
2016-02-26 |
en |
dc.identifier.wikidata |
Q112910933 |
|