Wendy Tokaryk

Airbrushed underglazes create a matte surface. Underglaze is efficient because it can be applied to unfired clay requiring only a single firing. I experimented with a commercially produced glass vase to function as a display base. A doily was placed inside the vase; I like the contrast between soft and hard materials.

This bowl underwent two firings. For the first firing, I used a purple underglaze and a different glaze on the exterior. I was unsatisfied with the results so I fired it a second time. When firing, the effect of the off-gassing from the textile burnout of other objects inside the kiln resulted in a chemical reaction and changed the desired colors.

Three blue underglazes were airbrushed onto the exterior surface. During firing, the vessel semi-collapsed inside the kiln. For display purposes, I made a white stand by coiling a slip-coated fabric. Multiple doilies were used to construct the vessel; the details and textures of the textiles remain visible on the surface.

The colors in Van Gogh’s paintings inspired this piece. Growing up, our family tv room had a poster of Van Gogh’s sunflowers. As a child I didn’t know the name of the artist or the historical significance of the image; the maker was anonymous and insignificant, but the work was influential. A crackle glaze was applied to the interior of the yellow vessel. The turquoise plant pot was made for display purposes.

Lilac’s are making an appearance in this work (and appear in some of my new pulp pieces). I loved lilac’s as a child. The peony is also influential. Both of these flowers have a short lifespan; the iris flower blooms for 2-4 days, while the peony blooms and drops its petals within 5-7 days. Some of the ceramic pieces could be considered still life.

I played with two-toned airbrushing on the interior surface. The gradient is evident in many of my relief Doily prints and is strongly influenced by the canon and language of printmaking. As my confidence grew, I stopped doubling up doilies, and used single pieces of textile, allowing for more negative space and light.

I placed a heart doily on the interior bottom of the vessel. I liked the invitation of the bright yellow and the surprise of the heart symbol as one leans over to peer inside. For contrast, I used a white matte pastel glaze (exterior) and a bright yellow underglaze (interior).