Announcement: Grant Recipient
Visual Arts Fellowship Grant No. 21-4819111-AI/FV 2021
Antoinette Badenhorst
Project Title: for a Visual Artist Fellowship (ceramics)
The following comments represent the consensus of the Panelists based on their
discussion.
Strengths:
The panelists felt that the applicant:
● Displayed technical mastery of the work of experimental porcelain vessels
● Applicant pushes the limit of the art form and displays a clean execution of
the final product
● Typically this type of refined work can complicated and difficult to achieve,
but applicant rises to the occasion
● Work samples are beautifully photographed and displayed for viewing
● The applicant showcases individuality and creativity
● The applicant displays an ability to create unique organic shapes that draw
the viewer in and technical mastery to create a high quality blending of color
Concerns:
● None
Recommendations:
● None
The panel recommends funding
Artist Statement
It mostly starts on paper. I have a general theme in my head, and I like to “brainstorm” it on paper. Since I am self-taught, my drawings are more schematic than drawing. (I often said it is much easier to punch a hole in a piece of clay than drawing it on paper!)
I use any clay technique possible. Porcelain behaves somewhat like blown glass when heated. It moves during the liquid phase, but unlike glass that is heated and manipulated outside the kiln before it is placed inside the kiln where it cools down, porcelain is formed outside the kiln. It must go through extended heat work to allow the raw materials to sinter, become vitrified and translucent. Once inside the kiln, the control becomes completely out of reach of the potter. Therefore, the potter must predict beforehand how the clay will behave. Careful design of the porcelain is needed to prevent slumping and tearing of the clay in the kiln.
I like to push the limits of the porcelain and therefor have to use special techniques in the fire.
I use any clay technique possible. Porcelain behaves somewhat like blown glass when heated. It moves during the liquid phase, but unlike glass that is heated and manipulated outside the kiln before it is placed inside the kiln where it cools down, porcelain is formed outside the kiln. It must go through extended heat work to allow the raw materials to sinter, become vitrified and translucent. Once inside the kiln, the control becomes completely out of reach of the potter. Therefore, the potter must predict beforehand how the clay will behave. Careful design of the porcelain is needed to prevent slumping and tearing of the clay in the kiln.
I like to push the limits of the porcelain and therefor have to use special techniques in the fire.
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The clay process is very tedious. I like to refer to porcelain as the “diva of clay”. The diva is “addicted to water”; give her too much and she becomes “drunk” and collapse. Give her too little and she stay ridged. Just enough makes the “diva dance”.
This analogy is a tongue in the cheek reference to the pliability of the medium. The reality is that when it is soft and workable, it is prone to slumping. When it is not slumping, it tends to be ridged and cracks easily. Therefor I have to work with the very narrow window of opportunity, when the clay is just right to work with. |
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To bring my ideas on paper to artistic expression is a slow process. The opportunity to form it is one in which a fine balance between soft and leather hard clay is maintained. Once the clay is trimmed to where I am happy with it, it is normally too dry to alter, so I have to plan carefully. I normally let it sit overnight. Then I alter the clay with a cut and paste technique.
It is best to work on several pieces at once and it is best if I work in series, since the human mind can only express one thing at a time; art expression is no different.
It normally starts with about 20 pieces; 10 formed on the potter’s wheel and 10 either formed in a press mold or by hand. It takes about a week to get the clay dry enough to begin the trimming process. Clay walls must be as even as possible or else it may slump during the liquid phase in the fire.
It normally starts with about 20 pieces; 10 formed on the potter’s wheel and 10 either formed in a press mold or by hand. It takes about a week to get the clay dry enough to begin the trimming process. Clay walls must be as even as possible or else it may slump during the liquid phase in the fire.
If I misjudge the dryness at any time, chances that the clay may deform or crack is possible. Therefore, I have to be constantly alert. The balance between creativity and technique is very fine and it is easy to become absorbed in one of these two. When that happens, I either end up with a technical piece with no content, or an artistic piece that breaks and crack, because I got carried away. Almost all my work is altered and seldom recognized as wheel thrown or press molded and I enjoy the carving process.
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The light and shadow that is formed contributes to the story-line of my work.The overall theme is “Circles, cycles, seasons. Each piece is part of a larger series, drawn from nature with the analogy to human nature; how they respond to their own, or the circumstances of people and events around them.
The rhythms of time flow, but chances of change are always just one moment away: today’s joy is tomorrow’s sorrow. Life today is followed by death. Summer today, is winter next. Sadly, today’s youth is tomorrows old age and it all start from one stagnant place from where life spirals out in circles. |
Clay, interestingly enough, begins as a lifeless lump, made up from tiny platelets that is ready and willing to be formed into objects of beauty. On the potter’s wheel it spirals out. In the hand of the maker, it grows to pieces of beauty or it suddenly breaks down into disaster.
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“Reaching Out” is often the first response after a catastrophe, but then we “move along” while some goes down and others raise “above circumstances” Sometimes we hurt too much to share it with others and we turn into ourselves while there are times when we keep enjoying the smooth rhythm of life around us.
There is an artist in all of us. While some people develop their artistic expression, others enjoy the creative process of artists and some find solace in art, when they cannot voice their feelings themselves. |
PorcelainbyAntoinette bowl available from the artist.
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I like to teach and share my work and knowledge with others. I enjoy the challenges that porcelain brings, but at the same time I like to pay close attention to the small nuances and details of the medium.
This sculpted porcelain vessel is available in the porcelain gallery.
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Although it is hard work, I believe that my peers as well as my direct and broader audiences get some form of stimulation from my work. I cannot work in isolation. I consider my work as a special gift which does not belong to me and it is my obligation to share it with the world around me.
If anyone can associate with that, I feel that I am successful. |
Antoinette maintains a small functional production studio separate from her artwork. See more about that on the Dinnerware pages
Antoinette Badenhorst is a PORCELAIN artist with 40 years of clay experience.
Antoinette is a very passionate potter. Over the years she worked with many styles of pottery in different parts of the world. She specialized in porcelain and her work is in many private and public collections in the world.
see her Biography here
see her Biography here
Over the years she taught potters in various fields of pottery, in different environments and she taught students of all ages and all levels of development.
See her Resume here.
See her Resume here.
Antoinette distinct herself as author of technical articles in many magazines around the world. She wrote exhibition reviews and she reviewed other potters. She is also a curator and show judge.
See her Publications here.
See her Publications here.