Art 448 Lab 001:
Molds and Glazes Calculations
with Brian Kluge
About this Course: In Art Metals I, we will explore basic jewelry techniques. Additionally, we will build into metal fabrication dealing with piercing, soldering and forming.
About Metals: The Metals program at UW-Madison, one of the oldest and most respected Metals programs in the country, challenges students to learn about the making of art through specific materials, techniques, history, and the cultural meaning of metalsmithing and jewelry design.
With approximately 4,500 square feet of instructional and studio space our facilities include acetylene and propane torches, annealing booths, band and jig saws, centrifugal and vacuum casting equipment, digital projectors, enameling and electroforming equipment, flex shafts at every work station, a gas forge, a large selection of anvils, hammers and stakes for raising, forming and forging, lathes, milling machines and drill presses, mold making equipment, a dedicated polishing room, rolling mills, a sand blaster, sheet metal working equipment, shears, spray booths, spray etchers, and a full complement of hand tools. We also have a library/resource center with a computer for Art Metals students to use.
July 10 –
Contact Brian Kluge
Meet Your Professor
“I have come to notice that there exist certain predispositions that we share as human beings. These preferences run deeper than cultural values and social norms, operating at a subconscious level to shape some of the fundamental aspects of human experience. My current bodies of work reflect an ongoing exploration of some of these predilections. In this work I am dealing primarily with archetypal geometric forms, a palette of ‘basic color’, and an allusion to artifacts.
In my practice, I press clay into a variety of molds to produce simple geometric forms. Through this working process I am able to achieve a deep surface texture that reveals materiality and process while maintaining forms with precise geometry. I primarily employ variations of spheres and cubes, both in whole and in fragment as a starting point for my work. I am attracted to these forms because the possibility for meaning is open-ended and because of their minimal simplicity.
My color palette consists of red, yellow, green, and blue. These colors are the core of a color theory I refer to as basic color. Over time I have noticed they make up the predominant colors in the designed world—children’s goods are a prime example of this—and I believe they strike an emotional resonance. In addition to these colors I use variations of white and the dark brown of my clay body. I have formulated this clay to fire to a rich, purplish brown that blackens at the edges of the form. The unique look of this fired clay is meant to emulate the freshness found in wetter stages of the clay as well as to provide me with the energy savings of a once-fired finished surface. The areas of white are produced with terra sigillata, either to attract attention to certain aspects of the form or as a base layer for brighter colors. Though often used in monochromatic swatches, the areas of color contain a great deal of variation and tend to look weathered due to my application process. This aids the visual allusion to artifact.
Similar to an artifact, my sculptural objects convey a sense of familiarity in fabrication—a human being made this—while retaining an overall sense of mystery concerning time or place. It is my intention to leave the narrative possibilities unformed in order to heighten a strictly sensory experience of the object or installation. Ultimately, I am engrossed in the ability of the understated, quiet object to engage subconscious triggers. In this way I intend for my work to invite a surprising moment of introspection, emotional response, and discovery.” — Brian Kluge, Statement