First sound experiments

image_5The first bells were hewn from different stoneware clay bodies, all thrown on the wheel. They were a response to a Senses project brief set by my ceramic teacher at Emily Carr, Julie York. Sound and hearing was the clear choice to focus on for the project and something Nathanael also resonated with, telling me that he would always test his ceramic wares for good tonal qualities when they emerged from the kiln. He advised me about the more tinny tones that came about through high firing and glazing which my experimentation confirmed. Bisque firing produced beautiful humming notes and the larger, thinner vessels rang out for longer. It was very relaxing and satisfying work producing these bells and great practice as I was a complete novice on the wheel beforehand. It also marked the first time Nathanael and I would work together making ceramics. We sat side by side on our respective wheels and he would guide me through the process step by step. He proved to be the most attentive teacher and my heart swelled as I watched his beautiful vessels take shape.image(1)
The changers were a mix of found natural items (drift wood, rocks) and bead shop finds (crystals, glass beads, lava rocks) and were strung on hemp rope with clay beads to secure on the inside. It was challenging to get them to the exact length to hit the inside lip of each bell and something I envisioned taking a couple of hours saw me in the studio until after midnight, phew!image_3
The finished installation took shape around the huge, ancient, yellow crane on Granville Island very early in the morning before my first critique. I was satisfied but could see room to expand upon the theme and produce something that was more dramatic and transforming of its environment.
Little did I know I would have the opportunity to do exactly that much sooner then I could have envisioned.

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