古董餐具喷砂制成的浮雕

艺术家卡罗琳在她2015年的系列追踪中，利用一系列复杂的喷砂将绘制的2D图像转换为纹理化的3D浮雕，并重新制作了几个陶瓷板。她在接受休斯顿当代工艺中心(Houston Center for Contemporary Craft)采访时解释说：在[追踪系列]中，我通过一个反复蒙版和喷砂的过程，一步一步地移除釉料和印刷图像。喷砂时，沙子会把所有坚硬的东西都侵蚀掉。任何柔软而有弹性的东西，比如我用来遮盖的胶水，都会残留下来，沙子无法穿透。我一层一层地往下画，把图案渲染成三维的，直到图像被转换成类似于印痕或x光的东西，就好像图像的记忆已经沉入了底片。通过每一件艺术品，斯鲁特不仅参考了应用到盘子上的图像的历史，而且还参考了二手物体本身，同时创造了一些全新的东西。

From the series Tracing, 2015. Reworked second hand ceramics. Ø 24 cm Collection West Norway Museum of Decorative Art, Bergen (N)Trying to imagine the original state of these rough-edged antique plates is part of the intention behind these sculptures by Helskini-based artist Caroline Slotte (previously), whose artworks often involve aspects of memory and the physical reduction of objects while still retaining the original meaning. For her 2015 series Tracing, Slotte reworked several ceramic plates utilizing a complex sequence of masking and sandblasting to transform painted 2D images into textural 3D reliefs. She explains in an interview with the Houston Center for Contemporary Craft:In [the] Tracing Series, I used a process of repeated masking and sandblasting to remove the glaze and the printed imagery step-by-step. When sandblasting the sand eats away on everything hard. Anything soft and flexible, such as the glue I use for masking, remains, the sand cannot penetrate it. I work my way down, layer by layer, rendering the motif three-dimensional, until the image is transformed into something resembling an imprint or an X-ray, as though a memory of the image had sunk into the plate.Through each artwork Slotte references not only the history of an image applied to a plate, but also the second-hand object itself, while creating something entirely new. You can see more of her work at Ferrin Contemporary. From the series Tracing, 2015. Reworked second hand ceramics. Ø 22 cmFrom the series Tracing, 2015. Reworked second hand ceramics. Ø 27 cm