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CERAMICS Research & Development - ADZ6222

NAME: ADLINA RAZAN BINTI RUSLAN COURSE: BA (Hons) CERAMICS PREPARED FOR: DR. NATASHA MAYO, CLAIRE CURNEEN & INGRID MURPHY. CERAMICS Research & Development - ADZ6222. MALAYSIAN BATIK. Why Malaysian Batik?

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CERAMICS Research & Development - ADZ6222

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  1. NAME: ADLINA RAZAN BINTI RUSLANCOURSE: BA (Hons) CERAMICS PREPARED FOR: DR. NATASHA MAYO, CLAIRE CURNEEN & INGRID MURPHY

  2. CERAMICSResearch & Development - ADZ6222

  3. MALAYSIAN BATIK • Why Malaysian Batik? • I was born and raised in Malaysia, and this is one of the Malaysian traditional art that is widely known. • What is the difference between Malaysian batik, and other batik (Indian & Indonesian)? • Malaysian vs Indonesian: Malaysian batik is bright, colourful, and detail. A combination of organic and geometric forms. Indonesian batik colours are very autumn season (brown, black, orange, and red) with repetitions. • Malaysian vs Indian: Malaysian batik follows the Islamic rule which is no humans, and animals forms with abstract organic forms rather than identical to the nature. INDONESIAN BATIK MALAYSIAN BATIK INDIAN BATIK

  4. PAKISTANI HENNA WHY PAKISTANI HENNA? • I am half Pakistani, and my mother’s side are majority Pakistani. We still follow our Pakistani tradition. What is the difference between Pakistani henna and other henna (Indian & Moroccan)?: • Similar to Malaysian batik, Pakistani henna follows Islamic laws when it comes to body decoration; less is more. • Indian henna tends to fill in almost all of the empty spaces. • Moroccan henna focuses on geometric forms. PAKISTANI INDIAN MOROCCAN

  5. YINKA SHONIBARE Artist references These pieces have been part of an International Exhibition of Contemporary Ceramics at the International Academy of Ceramics in Barcelona, Spain 2016. Australian artists exhibiting included Fiona Fell, Janet De Boos, MerronEasson, Michael Keighery, Simone Frazer and more. DOUBLE DUTCH 1994 Acrylic paint on wall; emulsions and acrylic on 50 Dutch wax printed cotton canvases Overall 332 x 588cm; each panel 32 x 32 x 4.5cm PENNY EVANS

  6. WHY FUSION? • To show my heritage which was caused by the British colonisation of Malaya during the 18th century until the 20th century. • Culture appreciation • Representing mixed race • Representing minorities • Representing people who is going through racial ambiguity.

  7. SLIP TRAILING Why slip trailing? • The technique originated from Europe • It mimics the technique of henna application • Able to create the slip consistency similar to henna • Protruding pattern • Meditation

  8. TEST PIECES (SLIPS)

  9. TEST PIECES (SLIP TRAILING) TEST PIECES (GLAZES)

  10. Problems encountered & HOW IT WAS SOLVED • Drying process of the slip trailing • * Temperature and humidity • - The higher the temperature of the weather the quicker it will dry but most importantly, • the humidity of the weather plays a huge roll in the drying process. • - The lower the humidity, the higher the chances of the work to crack, and collapse. • SOLUTION: Blow dry from the inside and outside of my work for 4 minutes with hand motions going • horizontal • Blow dry the plastic cover and the wooden planks and immediately cover the work. The warmth from the • heat gun will give a consistent, gradual drying process. • - The higher the humidity, the better and consistent the drying process is. • Glossy clear glaze instead of clear matte glaze • * Different kilns gives different results but why? • - the size of the kilns; • Bigger kilns (Rhoda) due to big space for better air circulations • Placement of the work: bottom shelves gives the desired results • - Layers of application of the glaze • Sensory overload and anxiety • * Quiet environment

  11. IDEA DEVELOPMENT OF EXHIBITION (SKETCHES)

  12. Exhibition plan

  13. FINAL PHOTOS

  14. Professional Practice EXPOSURE- ADZ6888

  15. SWOT ANALYSIS STRENGTH AMIABLE THOUGHTFUL MULTICULTURAL COMPETENCE OPEN MINDED OPPORTUNITIES CONTRASTING CULTURAL EXPOSURE VOLUNTEERING MADE BY HAND ACADEMIC TRIP (BORDEAUX, FRANCE) EXHIBITIONS

  16. 1 YEAR PLAN • Art teacher in an international schools • List of international schools in Kuala Lumpur (Which I have sent my resume): • Mutiara International Grammar School • The International School of Kuala Lumpur • Garden International School • Other international school (pending resume): • Alice Smith International School • DBS and ICPC needed to apply for a job. Reason: To gain at least 1 year worth of experience in education to apply PGCE

  17. Evidence of Job Application

  18. GENERAL CV

  19. COVER LETTER

  20. CREATIVE CV

  21. 2 YEAR PLAN • Primary PGCE as first option • Secondary PGCE as my second option Action that needs to be taken: • Retake Mathematics GCSE paper if I decided to continue Masters Degree in Wales • Or continue PGCE in England without having to re-sit Mathematics paper Reason: PGCE it is an internationally recognised teaching qualification

  22. 3 TO 5 YEAR PLAN • Apply job as an art teacher in the U.K • Possibility of moving to a different country other than Malaysia, and the U.K hence, PGCE qualification needed • Teaching whilst travelling • Set up my personal website. ( I have bought a domain name) BLOG: https://adlinarazanruslan.wordpress.com/

  23. THANK YOU

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