I wondered if I could create an evocative pedestal sink by placing the sink above the clay counter instead of dropping it down into the counter.  During my ‘preparation’ stage I made sketches of various ways to make the exposed sink bowl into some kind of imagery in addition to its functional attributes as a hand washing basin. 

As my ideas progressed in the form of drawings, I found that I could keep the sink as a fairly conventional bowl, but give evocative meaning to the bowl by virtue of the surrounding items including the pedestal and the mirror that accompany the bowl. By giving human forms to the other parts, a common bowl form takes on new meaning as a vessel. 

Many changes were made during the actual making of the piece. As it turned out, these elaboration stage changes during the clay work were critical and essential part of the piece’s success as an expressive art form.

I make list things and lots of sketches are. I might decide on certain limits such as whether I want function to be important, or I am looking for a sculptural statement. This helps to clarify problem and the project. During the preparation stage it is common to give up, but expect to succeed eventually. These activities serve to both expand the realm of ideas while simultaneously eliminating some of the most untenable ideas. All this is done with the expectation that insight and illumination is on the way.

Insight
Insight emerges from the subconsious because of the previous preparation. The mind is ready to discover it. This is sometimes at a much later date when it is least expected. The problem suddenly has a tentative solution. It is not yet art. It is moving to the next level. Many problem solutions benefit from another round of scenario making.  When a creative idea comes to mind, it effects many other parts of the project. Everything is connected. When one part is done differently, all the other parts need to account for this. It takes a lot of imagination and more experimentation to see what will happen.  I ask myself, “Now that I have a feasible theory or idea, what else would happen if I did it this way, or this way, or this way, etc.

Style?
In art, elaboration has style-specific attributes. Elaboration for minimalist, consists of finding a less complex, yet stronger way to express something. When working as a surrealist, I am free to elaborate from the more bizarre corners of my subconscious. If I am working as an expressionist, it becomes imperative to abandon control and intensify action. If I have an instrumentalist's concern to point out a social or environmental problem, have to worry about the communicative and evocative power of my work.

Elaborate WHAT?
What are my skills and experience that I can use to make it different than if others did it? What will make it distinctive? Why will people be notice it? What makes it evocative?

WHEN?
Not all elaboration is done prior to the main production.  Expect creative changes. Sometimes it seems that there is no sequence, but everything emerges at once.  Lots of elaboration takes place during the process of making something.  It is common to add decoration or make modifications to something at the very end.  It is important to allow flexible sequencing.

Ideas and improvements are appropriate at any point in the creative process. I find that it is best to put aside all the preliminary ideas and sketches when working on the final piece so that I am more attendant to the work itself.

- © marvin bartel 12-10-2002, updated 3-12-08