In the second year, Metta took a different approach on her craft. She was surprised on how un-perplexly perplexed she was with Mosaic 15. In between the year, she had a brief long distance romance that indirectly refined her vulnerability and senses towards her crafts. While at the same time struck by anxiety and depression of her well being that brings her into spiritual healing through meditation retreats. She recalled that moment as enlightening
In Mosaic 16, Metta learnt that it only took three main combination to complete an infinity knot; which has always been obvious on the first place. She developed her technique from slab cutting into slab building which extends the time needed to complete each puzzle piece. From wedging the clay, flattening it into slabs, waiting for the right clay consistency, cutting it into shape, building the walls, coiling the edges until burnishing the surface of the piece, each took precise and consistent treatment into the crafts.
The clay that she used was Anagama stoneware that Gaya has personally developed through their clay recipe to gave different outlook on the firing effects. It creates more of a warm sandy tone with hints of algae. The sheltered area implies raw matte bronze surface, while the fumed area implies purple haze look. In the are that were exposed to the ash, projects a very unique glazy gradients as it goes from orange spectrums towards olives.
Throughout this piece Metta has given each puzzle piece a meaning in which relates directly towards what Primer/Primary, Sekunder/Secondary and Tersier/Tertiary means to her and what matters for her well being, as they symbolise each of her ideology of the progress on disfiguring/configuring life.
Primer holds the main figure in the mosaic as it holds the four corners in the infinity knot combination.
They holds the core of Metta's life foundation which are compassion, gratitude, positive thinking and determination.
There are eight Sekunder involved in this mosaic as its placed on the borders of the piece that outlined the structure of the piece.
Which emphasise the boundaries that Metta applies as the border of her life structure which are courage, kindness, health, happiness, letting go, peace, passion, honesty and sustainability.
Ten Tersier pieces are presenting the paths as it connects through Primer and Sekunder to complete the final artwork.
They are the path to make the whole ideology collaborates, these path are the mediums and source of inspiration that Metta utilise to communicate her work; that are mostly evolves in photography, film and crafts that carries humanity, culture and art values. Where as the rest of the paths are kept unknown as they revitalise life.
MOSAIC 16 FRONT
Ceramics Tableware. 120 x 90cm. Ubud, Indonesia | Anagama Stoneware. Anagama Wood-firing, 1250c. No Slips Applied. Rice Straws Effects
GALLERY BRUSHSTROKE & FIRE WORKSHOP WITH HILLARY KANE AND TROY E. BUNGART
Photo courtesy of Metta Setiandi and Gaya Ceramic Arts Centre | 05 - 19 June 2016. Ubud, Bali. Indonesia
Utopic. Meticulous. Perfectionist
From paper to clay. Metta was introduced with clay for the first time as a new medium of expression. She brought her adoration of paper cutting to clay. Implementing all of her ideal through the meticulous attention to details and arrangement of the mosaic. She loved the idea of letting go of her expectation once the piece is fired. Yet, not aware on how much of an Utopian she was.
© Metta Setiandi