Sharon Weaving exhibits at the Kiln.
A few weeks ago University of Natal art student, Sharon Weaving, approached Fran to use the Kiln at the Karkloof Farmers Market as a venue for the examination of her work. So, for the next week the Kiln is hers and her examiners. Next Saturday we will be back in and her work will be on view along with ours.
So, before I post photographs a short blurb on Sharon….
“I have always been passionate about art and craft. Whether ceramics, beadwork or knitting I find that creating with my hands is exciting, fulfilling and therapeutic. My passion stems from my Mom’s love for all handcrafts and the enjoyment she derives from experiencing a new craft and passing on her knowledge. I am excited to hear about the activities of new craft movements currently on the go. These are worldwide initiatives motivated by like-minded artists / crafters, young and old, encouraging people to appreciate all that is handmade. I think this is wonderful as these movements promote the ‘funky’ aspects of craft, and how contemporary art and craft can be used in development, activism and therapy. I believe that art and craft are such an important part of life and should be promoted as such.
I was first introduced to ceramics by attending underglaze painting classes which later progressed to running a ‘ceramic-painting’ studio from home. My passion for ceramics continued and I decided to study a BA (Visual Art) at UKZN, followed by Honours and Masters majoring in Ceramics. I started hand-building with porcelain in my Honours year, demonstrating an exploration of texture and translucency in my work. My ideas progressed further with the piercing of the vessel surface to create shadows.
The casting of shadows continued into the body of work that I now present. I started making geometric structural forms which were dipped in paper porcelain and fired to 1200˚C. The fired structure assumed a soft, organic quality in its slumped state which I found appealing, and continued to play with this element of ‘chance outcome’. Whilst working with these forms I discovered that I wanted to achieve a greater organic quality of form and decided to make the frames myself to have more command over the final product.
Countless test pieces later I discovered the composition of material, process and clay body suitable to create my recent works. Each piece is individually crocheted, dipped into an ‘engobe’ and dried over a mould. Once dry, the pieces are fired to 1200˚C, burning away the crochet cotton , leaving a hollow, fragile, porcelain structure each of which casts its own unique delicate shadow. I am very excited to have been able to use an age-old craft such as crochet in an unconventional manner thus illustrating that there is a place for time-honoured crafts in contemporary ceramics and other art forms.“