I’ve finally made the seagull body which I was so tentative to make. I wanted it to replace the damaged core of the real bird, which I had to scrap due to its having a very large hole in its right side.
I made multiple casts from a spiked tile I had made previously, and used the resulting plaster cast to make the porcelain body parts for the bird’s torso.
As with taxidermy it is important to sew together the dried, leathered skin back together once the muscled ‘actual body’ has been removed, replacing it with stuffing… I thought that a body made of several parts ‘sewn’ together would be most effective, narratively speaking.
This article though referring to Kintsugi, refers to the use of material as well as to clay, so I think bridges a mental space between the two that anyone who doesn’t live inside of my mind might experience.
Now I have the whole body fired, however, I look at the body and I can’t help but think that the parts are fascinating as abstract pieces. I’ll take photographs of the completed item, and also of the forms as their more abstract shapes.
While I was crafting the shape of the body, with the help of a newspaper model, I couldn’t help but think of the cloud/hug forms which artist Bonnie Kemske makes. I had seen them at the Contemporary Ceramics Centre a while back, and they had really stuck with me.