Autonomatic


katie bunnell

project_Masons Revisited

This body of work was created for a group show called Hidden Art Curated at Godolphin House, Cornwall. Initiated by Hidden Art Cornwall, the exhibition placed contemporary objects within the period rooms of a Grade 1 listed country house, partly dating back to the 15th century. The plates I created are inspired by a 19th century tableware service made by Mason’s Ironstone China.

I was interested in the idea of design theft and its particular significance in the ceramic industry where decorative motifs have been freely copied from country to country and technical secrets have been leaked amongst close knit ceramic manufacturing communities. Miles Mason stole the recipe for his ‘fake’ china body from a bankrupt competitor and the decorative motifs he used were derived from imported Chinese porcelain. So in the spirit of Mason’s theft I stole his patterns for my designs, using 21st century methods of plagiarism – digital camera, computer aided design software and computer aided manufacturing processes.

I wasn’t interested in ‘repro’ Mason’s, but in making a new version that combined 19th and 21st century aesthetics, creating a hybrid that would be difficult to place historically. This idea gave me an opportunity to explore ways of combining digital and analogue output methods for creating ceramic surface designs.  I extracted a single outline from the central part of the Mason’s plate design and transformed this into a pattern composed entirely of concentric lines.

My next objective was to draw out this complex pattern onto ceramic paper using the digital cutter plotter. I replaced the plotter pens designed for use in the machine with adapted architectural drawing pens filled with ceramic ink and with ceramic under glaze pencils and chalks, and set the machine running to make a drawing. As I hoped, the pens blocked and the pencils blunted and I had to stop the machine to shake the pens and sharpen the pencils. Consequently each drawing of the same image has its own imperfections and idiosyncracies. The final fired images were incredibly fragile and it was not possible to exhibit them. So I returned to computer aided design software to play with the visual characteristics of the imagery and develop a set of designs that could be produced using the digital ceramic decal printer and transferred onto bone china blanks for display alongside the originals in the dresser in the dining room in Godolphin House.

The combination of analogue and digital production methods are still of great interest to me in relation to bringing hand and machine closer together.

projects

:P :P :P :P :P :P :P :P :P :P :P :P
:P :P :P :P :P :P :P :P :P :P :P :P
Bunny Beakers:P :P :P :P :P :P
Digital Flora :P :P :P :P :P :P :P
Masons Revisited :P :P :P :P :P
:P :P :P :P :P :P :P :P :P :P :P :P
:P :P :P :P :P :P :P :P :P :P :P :P
  :P :P :P :P :P :P :P :P :P :P :P :P
:P :P :P :P :P :P :P :P :P :P :P :P
:P :P :P :P :P :P :P :P :P :P :P :P
Ode to Mason :P :P :P :P :P :P
:P :P :P :P :P :P :P :P :P :P :P :P
:P :P :P :P :P :P :P :P :P :P :P :P
:P :P :P :P :P :P :P :P :P :P :P :P

Research Papers: Craft and Digital Technology

team

Dr Katie Bunnell :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P
Dr Justin Marshall  :) :) :) :) :) :) :) :) :) :) :) :) :) :) :) :) :) :) :)
Tavs Jorgensen  {:) {:) {:) {:) {:) {:) {:) {:) {:) {:) {:) {:) {:) {:) {:) {:) {:)
Drummond Masterton  :> :> :> :> :> :> :> :> :> :> :> :>
Adam Stringer  ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;| ;|
Isabelle Risner ;-o ;-o ;-o ;-o ;-o ;-o ;-o ;-o ;-o ;-o ;-o ;-o