PROCESS DOCUMENTATION
In the Studio
The Evolution of Prima
Prototyping, material testing, and construction — the path from a Polymer clay mock-up held in the hand to a 4-foot tall suspended figure. Ballet postures were chosen to challenge normative standards around what kinds of bodies can do ballet, and to celebrate the ways that fat bodies occupy and move through space.
01
BLACK POLYMER CLAY · MOCK-UP
First Form
The Prima Series begins in the hand — a quick mock-up made from black polymer clay that served as the impetus for the exploration of ballet poses.
02
SURFACE STUDIES
I tested a variety of clay bodies and finishes to determine which would be used for the final figure. i knew that I wanted the figures to be dark and so i started by testing different kinds of black clay in addition to terra cotta, white stoneware, porcelain, and white earthenware clays. I ultimately chose terra cotta because of its the texture and the way it carried dark glazes.
Materials Testing
i find that constructing pieces is often easier than finishing them. I find raw, still wet clay to be beautiful in its own right. as it dries and is fired it shrinks and the color shifts. deep rich terra becomes orange. the fired piece loses some of its vitality, which you hope to recapture through the right finishing technique. the right finish can completely transform a piece for better or worse. While i tested a number of glazes, englobes, and slips I decided that i wanted a semi-matte finish and so went with a black englobe recipe.
Glaze Testing
03
TERRA COTTA · COIL AND SLAB
I constructed the figure using coil and slab building techniques. The bottom half of the figure was constructed upside down on the table.
Coil and Slab Building
I then flipped it around and placed it into an armature so that i could build up the torso.
04
TERRA COTTA · SUSPENSION STUDY
Testing Suspension
I then built a small terra cotta maquette in order to test suspension and glaze. the glaze did not turn out like the test, but the suspension worked beautifully.