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CERA 398B/4A

Clay is involved in all aspects of living in the city. Ranging between the scale of architecture and the intimacy of personal space, ceramics can be both functional and decorative. In this course we will examine the way clay currently exists in the city, indoors and out, above ground and under, while expanding on its relationship to the built environment. We will be searching for new and meaningful ways to enhance the urban environment of Montreal through temporary site-specific ceramic art interventions in public areas on the Concordia campus. Clay offers a particular advantage as a material for public art due to its of versatility, durability, and historic use. Mold making, slip casting and low fire finishing will be the primary techniques demonstrated. This course offers the opportunity to focus both theoretically and technically on a semester-long project comprised of several phases that build to a final installation. No prerequisite courses in ceramics required.

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Snapshots of Gaia Wark's installation, christened "Migration" by others

Ida Zhang

Studies in Blue and White

snapshots of Irene Lepiesza' installation....
(Please forgive me if I have the title of your piece wrong!)


This project is a riff on the acanthus motif, the exuberant foliage that characterized the capitals of Corinthian columns and has subsequently spread throughout the art and architecture of the western world.
According to Vitruvius, Callimachus, an ancient Greek architect and sculptor, found his inspiration for the acanthus motif while walking by the grave of a young Corinthian girl; he noticed the acanthus vine growing up vigorously through a votive basket that had been placed on the ground beside the child's tomb. Vital force and regeneration have thus always been a central aspect of the iconography of the acanthus plant.
The terra cotta facade of the former Royal George Apartments, now incorporated into the east side of Concordia University's McConnell building, features an acanthus-like motif high up on the cornices under the roof of the building. Looking at this architectural preservation over the course of the changing seasons suggested to me that the imagery could be enlarged beyond the natural world's cycles of growth, decline and renewal to include these patterns in the built environment. Similar forces give rise to continuity and change in both the physical and cultural realms.
This project involves two types of ceramic elements. Fallen leaf-like elements, which have sometimes been given a human face, are suggestive of mortal beings and artifactual shards. The vertical elements are meant to evoke growth, reminiscent not only of sprouting plants in the spring, but also the human torso and architectural columns.
The project addresses the issues of growth, decline, reinvention and commemoration.

More from last week....

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Snapshots from last Wednesday of Annie-Cecile Tremblay's installation "Portraits de Famille" in the EV Building and of Lily Lanken's installation (shells) in the courtyard of the VA building
14th Apr 2011, 02:56   comments (0)

Les Dauphines

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Hélène d'Agostino, 36 ceramic dolphins, 2011

Flotsam and Jetsam

Snapshots of Lily Lanken's installation in the courtyard of the VA building

Students Reflecting

Snapshots of the class visiting Annie-Cecile Tremblay's installation "Portraits de Famille" in the EV Building last Wednesday...