Ceramics Monthly: What sparked your interest and research into interactive whistling vessels?
Kimberlyn Bloise: When I was first contemplating the profession of ceramic artist, I was overwhelmed by the amount of pottery out in the world! What new thing did I have to offer? At the time, I was playing saxophone in my college jazz band, and I eventually realized that I could approach art making from a musical perspective. When I first learned about whistling water vessels, I found them too intimidating. Only once I thoroughly understood the physics of whistles was I ready to tackle the puzzle of whistling vessels. And the puzzle is really what keeps drawing me back to them. There are always new aspects to figure out—chambers, apertures, water capacity and flow, and modes of interaction. Right now I’m attempting to create vessels with multiple apertures to create several harmonious tones all at once.
CM: Your work calls for the viewer to engage both visually and through touch to activate the sound-based components of your whistling vessels. How important is their full activation in a gallery setting? Do you find viewers are hesitant to engage?
KB: Viewers are often hesitant to touch the art, and galleries are often hesitant to allow it. I usually provide galleries with a QR code that links to a video of each piece being handled by myself, so everyone can at least see and hear an activation. Ideally, everyone would be able to personally interact with the art for a more intimate experience. One of the next challenges on the horizon is incorporating a base with a rocking motor. Maybe several of them all rocking and whistling together!
CM: While the larger works are functional as water-holding and sound-producing vessels, you also make a line of whistling mugs that marry traditional functional cup forms with hollow flute-like handles. What was the inspiration for these objects and how do you see this dual function translating to other pottery forms?
KB: Whistling mugs are actually a direct reaction to people’s hesitance to interact with larger pieces. People are more comfortable handling familiar objects like mugs, so these pieces are more accessible to a wider audience. I also wanted to expand upon the concept of functional pottery and explore multifunctionality. I’ve been working on a pitcher with concepts similar to a whistling water vessel that produces a whistle tone when the vessel is returned to level after pouring— another puzzle!
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Ceramics Monthly: What sparked your interest and research into interactive whistling vessels?
Kimberlyn Bloise: When I was first contemplating the profession of ceramic artist, I was overwhelmed by the amount of pottery out in the world! What new thing did I have to offer? At the time, I was playing saxophone in my college jazz band, and I eventually realized that I could approach art making from a musical perspective. When I first learned about whistling water vessels, I found them too intimidating. Only once I thoroughly understood the physics of whistles was I ready to tackle the puzzle of whistling vessels. And the puzzle is really what keeps drawing me back to them. There are always new aspects to figure out—chambers, apertures, water capacity and flow, and modes of interaction. Right now I’m attempting to create vessels with multiple apertures to create several harmonious tones all at once.
CM: Your work calls for the viewer to engage both visually and through touch to activate the sound-based components of your whistling vessels. How important is their full activation in a gallery setting? Do you find viewers are hesitant to engage?
KB: Viewers are often hesitant to touch the art, and galleries are often hesitant to allow it. I usually provide galleries with a QR code that links to a video of each piece being handled by myself, so everyone can at least see and hear an activation. Ideally, everyone would be able to personally interact with the art for a more intimate experience. One of the next challenges on the horizon is incorporating a base with a rocking motor. Maybe several of them all rocking and whistling together!
CM: While the larger works are functional as water-holding and sound-producing vessels, you also make a line of whistling mugs that marry traditional functional cup forms with hollow flute-like handles. What was the inspiration for these objects and how do you see this dual function translating to other pottery forms?
KB: Whistling mugs are actually a direct reaction to people’s hesitance to interact with larger pieces. People are more comfortable handling familiar objects like mugs, so these pieces are more accessible to a wider audience. I also wanted to expand upon the concept of functional pottery and explore multifunctionality. I’ve been working on a pitcher with concepts similar to a whistling water vessel that produces a whistle tone when the vessel is returned to level after pouring— another puzzle!
Photo: Mars Johnson.
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