“Tippy toes” ceramic object

by Eyvind Solli Norway

300
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+
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Description

With a self-imposed limit of maximum 10 kg clay per object, the shape, volume, and size are explored together with a research on how much manipulation clay needs to change the visual perception of the object – from one form to another.

The main thought and desire around this current work are made to be perceived as a play with gravity, the objects are created and placed in a nervous balance point that gives the impression that the objects could to fall to the ground or collapse at any moment.
The objects are made upside down by stacking single coils of clay on top of each other and are mended together one by one with one stroke of a finger, dragging the clay downwards on to the coil underneath to create the intricate texture.
When completed the objects are flipped to allow the viewers access to the inside as well as the outside of the object.

No glaze is added, instead, there is a use of different types of clay, with a wish to use the natural colors and different characteristics of the clay itself, highlighting the texture and the surface on the inside and outside where smooth meets the coarse.

*All measurements are approximate.

Dimensions LxWxH
Weight (kg)

3

Material

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About Eyvind Solli Visit Showroom →

Eyvind Solli Andreassen is previously trained as a sheetmetal worker and welder, after 4 years working at a shipyard, he moved from Porsgrunn to Oslo and enrolled at the Oslo National Academy of the Arts where he recived an MFA in Medium and Material based art, A varied academic and vocational background is reflected in a similarly varied use of materials and media, with a focus on bigger installations in wood and sculptures and objects in metal and ceramics. I want to explore shape, volume and size and are searching for how much I have to manipulate clay to change the visual perception of the object - from one form to another. The main thought and desire around my current work is made to be perceived as a play with gravity, the objects are created and placed in a nervous balance point that gives the impression that the objects are about to collapse or fall to the ground at any moment. Both the broken remains of an objected that’s been shattered from falling from a balancing point and the objects that are proudly tiptoeing on the edge of a metal rod or pedestal edge are a constant reminder of this. The object are completely free of glaze and are instead made of different types of clay, with a desire to use the natural colors and different characteristics of the clay itself, highlighting the texture and the surface on the inside and outside where smooth meets the coarse.
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