This project is the building of structural decoration in clay. Joining wheelthrown pieces and building with slabs or coils are the methods used. The work is augmented by a study of the evolution of similar forms in other periods. A list of criteria for evaluating materials and methods is developed. Colored slides of the constructions built for the project are included and the history of each form is discussed.The material presented gives insight into the development of form. The intuitive knowledge gained from the project will be used by the writer as a basis for further exploration of form and can suggest methods and directions for other individuals in their own research. Recommendations are made for stimulating an increased sensitivity to form among high school students.

There is no abstract available for this thesis.

There is no abstract available for this thesis.

This creative project was an in-depth study for the artist. It was a realization of a sculptural idea in the artist’s mind. The study was a personal one in the sense that no reference or outside source of any conscious nature was used. The sculptures that resulted from this study were a unique an creative endeavor on the part of the artist. This project was designed by the artist to solve the problem of effectively putting together two types of properties that clay holds, soft, plastic and organic when wet in contrast to hard, stony, and geometric when fired.

The objective of this creative project was to create a series of cast bronze sculptures that would provide a ground for the exploration of metal patination, a chemical coloration of a metal surface. These bronzes were created using a ceramic shell investment mold and lost-wax cast in the Department of Art foundry facilities. Some of the pieces were cast in parts and either welded together or cold connected by drilling and pinning. Using recipes for hot and cold patinas, chemicals were applied to the bronze surface using a variety of application techniques, resulting in a subtle variation of warm and cool, transparent and opaque colors and tones. / Department of Art

The successful combination of form, color, and content prior to the relief construction movement in the 1960's was usually associated with two-dimensional artwork. The problem, then was whether the artist could successfully combine form, color, and content in three-dimensional sculpture pieces.The content of the work described relates to the artist's personal experiences as an underground uranium miner through the medium of relief sculpture. The successful combination of form, color, and content conveyed the artist's mining experiences to a neophyte audience. The visual variety and motif in the work, however, will not be lost on any members of the audience who are also sculptors.The methods used by the artist included textbook research and studio experimentation to produce a series of pieces which would address the successful combination of form, color, and content. The research also included a study of other artists' use of shape and color in the relief sculpture format. The artist's findings were documented in the form of a thesis paper and also eight relief sculpture pieces which employed a combination of wood and paint. The paint was applied to the wood structure using a heavy impasto technique which completely obscures the wood and allows the artist to manipulate both form and color. The texture invites the viewer to explore the surface and shapes without consciously sorting out what materials are used in the construction of the sculpture. / Department of Art

From Introduction: Creative images which are normally called 'art' can be distinguished as either 'plastic' or visual. Both these forms throughout the history of art have relied to a greater or lesser degree on the use of colour. It is my intention to investigate specifically the changing role which colour has played in sculpture - the 'plastic' media of the visual arts and to chart the technical and aesthetic reasons for the use of colour. This investigation will encompass the historical perspective, the material qualities, aesthetic considerations, transitional codes and methods of approach in sociological frameworks and the examination of colour as a metaphysical element in the presentation of three dimensional media.

This investigation was concerned with developing a procedure for using nonexpendable pattern materials in ceramic shell piece molds. Literature relating to this study indicated that nonexpendable materials, used in whole ceramic shell molds, had been limited to frozen mercury.

The problem of this study is twofold: casting aluminum relief sculptures which have controlled diversified textural properties, and the development of a technical teaching process in the form of a pictorial documentation.

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art, Durban Institute of Technology, Durban, 2004. / This dissertation investigates the use of clay as a medium in contemporary sculpture made between 1980 and 2003. This research focuses specifically on discussing the artists' (both sculptors and ceramists) different approaches and attitudes to working with clay, from construction, manipulation, firing and glazing techniques through to their personal aesthetics and ideas. This dissertation examines how and why the contemporary sculptor trained in Fine Art is increasingly using clay as a medium in which to work. In addition, the candidate discusses the work of ceramic artists that have moved away from the constraints of earlier, more traditional, functional ceramics and have sought to push the boundaries of clay usage in terms of size, scale, mass and concept. Chapter One presents a broad historical overview of the use of clay in sculpture. This overview illustrates the depth and breadth of the use of clay in the making of sculpture, spanning the Nineteenth Century to the Twentieth Century, in order to highlight the significant shift in the use of clay in contemporary sculpture. Chapter Two introduces and discusses a number of contemporary sculptors who work in clay in different ways. Section One examines artists using clay and other materials in the creation of installations. These include Antony Gormley and Andy Goldsworthy. Section Two discusses those artists working with clay in large-scale, including Jun Kaneko and Wilma Cruise. The architectural and environmental use of clay materials is discussed in Section Three; this includes artists John Roloff, who works with the kiln as sculpture and Joyce Kohl, who works with adobe assemblages and steel. / M