Concept
I am creating a ceramic candle holder that will later become part of my brand of metal luminaires, which reinterpret folk crafts. The surface will feature perforations inspired by the motif of Krestecka embroidery. I am interested in combining ceramics and light in a single object, where a traditional textile motif is translated into a different material form.
Krestetskaya Row
Material and Form
The object is formed from white ceramic clay. I build the shape from individual layers of clay, joining them together with slip. This method allows for manual control over the geometry and preserves subtle marks of the process. The next stage will involve cutting slits into the surface—these will become part of the future fixture’s structure.At this stage, the form is created in a small scale, convenient for handwork. The final dimensions will be refined after firing, taking into account material shrinkage.
Sketch
On two opposing faces, I plan to place a stylized embroidery ornament. The other two faces will feature an image of a horse and a Mother Goddess motif.
Workflow and Experiments
I am currently exploring form, proportion, and the method of joining layers. Separately, I am experimenting with future perforations—their size, rhythm, and placement on the surface. It is important to me to find a solution where the cutouts function simultaneously as a graphic design element and as a way for the ceramic to interact with light.
During the process, I created two preliminary versions of the candlestick to test different methods of creating cutouts.In the first version, I waited for the clay to dry, transferred a sketch of the planned cutouts onto the surface, and plan to drill them after firing.
In the second variation, I made the incisions directly into the raw clay using a cutter in two different sizes. By doing this, I am testing two different working methods and want to determine which one allows for a more precise and convenient rendering of the desired pattern.
What you will do
After completing the form and creating the candleholder openings, it must be prepared for firing. In the final stage, I plan to cover it with a clear glaze, preserving the natural white color of the ceramic body and the handmade texture. After firing, the interaction of the openings with light will be tested.
Ceramic Painting Workshop at the School of Design
Master: Alexey Vladimirovich Kapninsky
