Nan Smith
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Nan Smith |
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(detail of
life size ceramic figure), airbrushed underglazed and |
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(Full view
of Installation), airbrushed glazed earthenware, steel, aluminum,
wood, |
(For an enlarged view of each image click on the blue title of each piece)
Nan Smith nan@ufl.edu
As a studio artist; my research and creative activity lies within the field of contemporary representational figurative sculpture. Both installations and more intimate polychromed figure sculptures reflect a perspective of the relativity and unity within existence. I focus on life as a transformative journey and human consciousness as evolutionary. My installations incorporate life-sized, hyper-realistic, earthenware figures and airbrushed precision tiles set within a tableaux formed by beautifully crafted metal and wooden constructions. My research synthesizes an individual conceptual direction and visual language, as well as ongoing research in process innovation for ceramics.
" There is no particular section of the world, nor any special group, that may claim truth as an exclusive heritage. It is the rightful possession of every person, and constitutes the equality of all souls before God. If you do not make an effort to know truth, to perceive it beneath the veils that hide it, you will not discover your own real nature and will remain at the mercy of outside forces of "Circumstances". ....
Parmahansa Yogananda
As a sculptor Nan Smith's technical
expertise ranges from innovative
mold-making techniques to airbrush techniques for ceramics.
The forming process:
Molds are taken from life models.
Flexible latex molds are made from originally created plaster
models. Earthenware slabs are press-molded into both the plaster
and latex molds. Figures are assembled, the realism heightened
by modeling and carving and the introduction of fine detailing.
Other sculptural elements are press-molded and or sculpted by
hand.
The Surfacing Process:
Underglazes are applied with an
airbrush onto bisque ware. Cut paper and vinyl stencils are used
to create the patterns and imagery. A transparent matt glaze
is sprayed over the airbrushed underglaze using an air gun to
create a simulation of skin. Textural glazes are painted over
the airbrushed underglaze color to create the deconstructed pattern
on the fabric areas. A
single glaze firing to cone 03 is done in an electric kiln. Post
firing color (bisque stain) is applied using the airbrush.
More information about Nan Smith's studio processes can be found in: Studio Potter, Spring 2000, The NCECA Journal, Spring 2000, Ceramics Monthly, February 1996. Handouts are available at: http://nersp.nerdc.ufl.edu/~nan/
ClayStation
2000: Exhibiting Artists
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