…for the time being.
I spent the week:
• Finishing off the slumped glass insert for a cylinder piece.
• Sorting out my desk, going through all my amassed written stuff, rationalising all the catalogues, essays etc. that I had collected over the 2 years.
• Meeting up with Nadia and Jeremy from InnovationRCA to discuss other sources of funding as I had narrowly missed the Materials Innovation Fellowship. There’s an AHRC Knowledge Catalyst scheme that seems to be perfect for our project. It is going to take some organising as The College and the ‘Enterprise Partner’, i.e. the French company have to complete the application form. I will be the ‘Employee’ so don’t play an official part in the process.
• Packing all my work, tools, materials etc. and finding a van hire company who charge less than £200 for a one-way journey to Kendal!
• And saying good-bye to fellow students. I’m sure I’ll see many of them again and really hope our paths will cross, as they have been a great bunch of talented people.
• Giving a bit of help to Ray and Jeannette by moving pots & furniture around the house in preparation for the replacement of some floorboards and all the carpets.
• Driving the van north for over 6 hours. It felt a bit strange to have to find places for all my London bits and pieces, especially as I don’t know if I’ll be needing to take it back down there in October.
The weekend was spent sorting it all out, then mowing the lawn, picking raspberries up in the woods and generally easing myself into Parkside life again.
Wednesday 16 July 2008
27.06.08 – Research funding
My first weekend at home for many weeks was blessed by terrible weather, cold, strong winds, grey skies and rain. My brother, sister-in-law and new nephew were over from Austria and though they had had a couple of pleasant days, the weather didn’t help in finding things to do with them on Saturday.
Back at College on Tuesday I met Martin to discuss the Innovation Fellowship application. It originally had to be in by Wednesday, but the deadline was extended during the day to Thursday. In one respect I was disappointed as I thought it might reduce my chances, but it meant that I had a bit longer to complete it.
Wednesday was a hectic day, attending the 3D technologies discussion day at the University of the West of England. I gave a short presentation at the end of the day, which attracted some attention, particularly from David Huson, a researcher from Bristol who is specialising in the 3D printing of ceramic materials. At some point in the near future we plan to discuss our projects.
The remainder of the week was focused on the application, Thursday passed in a blur and when Friday came I ran through my application, got some pieces ready for the interview and waited to be called. Eventually the phone rang and down I went to InnovationRCA. Geoff Hollington who I’d met at MaDE was the first of the panel to greet me. From my perspective the interview went well, I think I enthusiastically communicated the important points. Sat writing this on the train north I’m waiting to hear their decision. I’m really not sure of what chance I have, there could be some bright spark who has discovered some whizzy new material, all I can do is wait. It would put my mind at rest to get the Fellowship as I have been promised funds from the French company in order to develop a UK branch of the business. Together I should have a financially secure year ahead, with a very good chance of developing some interesting projects. If I don’t get the fellowship, then it’s back to looking for sponsorship.
Back at College on Tuesday I met Martin to discuss the Innovation Fellowship application. It originally had to be in by Wednesday, but the deadline was extended during the day to Thursday. In one respect I was disappointed as I thought it might reduce my chances, but it meant that I had a bit longer to complete it.
Wednesday was a hectic day, attending the 3D technologies discussion day at the University of the West of England. I gave a short presentation at the end of the day, which attracted some attention, particularly from David Huson, a researcher from Bristol who is specialising in the 3D printing of ceramic materials. At some point in the near future we plan to discuss our projects.
The remainder of the week was focused on the application, Thursday passed in a blur and when Friday came I ran through my application, got some pieces ready for the interview and waited to be called. Eventually the phone rang and down I went to InnovationRCA. Geoff Hollington who I’d met at MaDE was the first of the panel to greet me. From my perspective the interview went well, I think I enthusiastically communicated the important points. Sat writing this on the train north I’m waiting to hear their decision. I’m really not sure of what chance I have, there could be some bright spark who has discovered some whizzy new material, all I can do is wait. It would put my mind at rest to get the Fellowship as I have been promised funds from the French company in order to develop a UK branch of the business. Together I should have a financially secure year ahead, with a very good chance of developing some interesting projects. If I don’t get the fellowship, then it’s back to looking for sponsorship.
Friday 27 June 2008
20.06.08 – Still crazy…
I thought that things might have eased off a little after the show and my exam, but the absence of updates to my blog testifies to how busy things have been.
The aftermath of the show has involved responding to a flow of enquiries from magazines from various parts of the world, arranging for collection of work sold and continuing to put together a research project for next year. I have had to delay the Wedgwood work, as my trip to France meant that I couldn’t meet one of the people that I need to see in order to finalise things.
My examiners had asked for a small revision to the Introduction of the written report, so that went backwards and forwards between Martin, Alison and myself during the early part of the week. It was a pleasant feeling to hand in a final printed copy to the research office on Tuesday.
In the evening I had been invited to the Design London networking evening at Imperial College. Jeremy Myerson from InnovationRCA was there and told me about the Materials Innovation Fellowship sponsored by the London Design Festival. The deadline for applications is Wednesday next week, with interviews on the Friday. So short notice!
I also met the Waribashi group from Imperial who have developed a way of converting previously un-recyclable waste into a very useful material. I was interested to have a conversation with them about using the non-fired ceramic coating with their product. They are interested and willing for tests to take place.
On Wednesday morning it was up and off to Standsted for my flight to Limoges where I was visiting the company who produce the materials used in my Wedgwoodn’t project. At the College (ENSCI) I met Youssef, their new director of research who has been undertaking some very interesting experiments, but more of that at some later stage.
On Thursday we took a trip to Moulins-Yzeurre in the Auvergne to visit a Lycee with an amazing glass department. They become the official French National School of Glass in September and wish to form links with the RCA. They run technically based courses with strong links to industry but need to develop their design and innovation side of the teaching.
I managed to get a WiFi connection whilst in Limoges and download the Innovation Fellowship form, so spent some time thinking about that.
On Friday I actually got home for the first time in 4 or 5 weeks, it was a beautiful evening, the low light bringing out the folds in the land below our house. The garden had grown, (surprise, surprise) and was looking great.
My brother, sister-in-law and nephew were across from Austria for a few days and on Saturday I cooked lunch for them. Vicky unfortunately had to work, but we went round to my parents in the evening for a glass of wine with them. The weather over the weekend was terrible, cold, wet and very windy which didn’t help especially as I realised that I was absolutely knackered from all the activity of the past few weeks.
The aftermath of the show has involved responding to a flow of enquiries from magazines from various parts of the world, arranging for collection of work sold and continuing to put together a research project for next year. I have had to delay the Wedgwood work, as my trip to France meant that I couldn’t meet one of the people that I need to see in order to finalise things.
My examiners had asked for a small revision to the Introduction of the written report, so that went backwards and forwards between Martin, Alison and myself during the early part of the week. It was a pleasant feeling to hand in a final printed copy to the research office on Tuesday.
In the evening I had been invited to the Design London networking evening at Imperial College. Jeremy Myerson from InnovationRCA was there and told me about the Materials Innovation Fellowship sponsored by the London Design Festival. The deadline for applications is Wednesday next week, with interviews on the Friday. So short notice!
I also met the Waribashi group from Imperial who have developed a way of converting previously un-recyclable waste into a very useful material. I was interested to have a conversation with them about using the non-fired ceramic coating with their product. They are interested and willing for tests to take place.
On Wednesday morning it was up and off to Standsted for my flight to Limoges where I was visiting the company who produce the materials used in my Wedgwoodn’t project. At the College (ENSCI) I met Youssef, their new director of research who has been undertaking some very interesting experiments, but more of that at some later stage.
On Thursday we took a trip to Moulins-Yzeurre in the Auvergne to visit a Lycee with an amazing glass department. They become the official French National School of Glass in September and wish to form links with the RCA. They run technically based courses with strong links to industry but need to develop their design and innovation side of the teaching.
I managed to get a WiFi connection whilst in Limoges and download the Innovation Fellowship form, so spent some time thinking about that.
On Friday I actually got home for the first time in 4 or 5 weeks, it was a beautiful evening, the low light bringing out the folds in the land below our house. The garden had grown, (surprise, surprise) and was looking great.
My brother, sister-in-law and nephew were across from Austria for a few days and on Saturday I cooked lunch for them. Vicky unfortunately had to work, but we went round to my parents in the evening for a glass of wine with them. The weather over the weekend was terrible, cold, wet and very windy which didn’t help especially as I realised that I was absolutely knackered from all the activity of the past few weeks.
Friday 13 June 2008
13.06.08 – The Exam
RCA SHOW ONE finished on Sunday evening and everything was packed away, so when Monday came I was free to concentrate on preparing for my exam on Thursday.
I had been advised to re-write my presentation, concentrating on the outcome of the project and future plans, with less emphasis on the background to it.
I discussed the mock exam with Alison on Monday, Liz on Tuesday and Martin on Wednesday, so had pretty consistent opinions of what I needed to say.
When Thursday came I was actually feeling relatively relaxed, certainly far more prepared than for last Thursdays mock exam. I had arranged both test and finished pieces in the Seminar Room and when the panel came in asked them if they would like to inspect the work. The panel was made up of Jeremy Ainsley, the Head of Vehicle Design, who chaired the meeting, Mike Hose, my External Examiner and Alison Britton. My supervisor, Martin Smith sat in as an observer, but couldn’t comment or ask questions. After my presentation, the questioning was good-natured, though I struggled a bit with some of the wording of Mike Hose’s questions. At least I remembered to ask him to elaborate.
After about 45 minutes of questions they seemed happy enough to retire to consider their verdict, leaving Martin and I to discuss the proceedings. They returned ten minutes later and Jeremy Ainsley announced that I had passed. Mike Hose asked if I would re-write the Introduction to my written report as he thought it needed to describe the project in a more engaging way for future readers.
After that I was invited up to the Senior Common Room for a lovely lunch, then almost straight back to it. I had a meeting at Imperial College with Nick Leon and Carolyn Runcie of Design London to discuss my plans for a research project at the RCA next year.
Back at the RCA the research cluster greeted me with a bottle of champagne!
Then Ray and Jeannette cracked one open when I got back to the house!
I had been advised to re-write my presentation, concentrating on the outcome of the project and future plans, with less emphasis on the background to it.
I discussed the mock exam with Alison on Monday, Liz on Tuesday and Martin on Wednesday, so had pretty consistent opinions of what I needed to say.
When Thursday came I was actually feeling relatively relaxed, certainly far more prepared than for last Thursdays mock exam. I had arranged both test and finished pieces in the Seminar Room and when the panel came in asked them if they would like to inspect the work. The panel was made up of Jeremy Ainsley, the Head of Vehicle Design, who chaired the meeting, Mike Hose, my External Examiner and Alison Britton. My supervisor, Martin Smith sat in as an observer, but couldn’t comment or ask questions. After my presentation, the questioning was good-natured, though I struggled a bit with some of the wording of Mike Hose’s questions. At least I remembered to ask him to elaborate.
After about 45 minutes of questions they seemed happy enough to retire to consider their verdict, leaving Martin and I to discuss the proceedings. They returned ten minutes later and Jeremy Ainsley announced that I had passed. Mike Hose asked if I would re-write the Introduction to my written report as he thought it needed to describe the project in a more engaging way for future readers.
After that I was invited up to the Senior Common Room for a lovely lunch, then almost straight back to it. I had a meeting at Imperial College with Nick Leon and Carolyn Runcie of Design London to discuss my plans for a research project at the RCA next year.
Back at the RCA the research cluster greeted me with a bottle of champagne!
Then Ray and Jeannette cracked one open when I got back to the house!
08.06.08 – the end of the Show
The last few weeks preparation for the show and my final exam have meant that I haven’t been home at the weekends, hence the absence of blog entries written on the Friday evening train.
It has been a really hectic time, glazing, firing, re-firing, wiring the lighting into some of the pieces etc. After all the effort the show was set up in time and looked surprisingly good. The press visit went well with interest from a number of magazines and independent journalists. The private view was incredibly busy, the Wedgwoodn’t Tureen sold within 45 minutes of the door opening and there has been almost as much interest in the Event Horizon torus piece. In fact, the reaction of people could be included in the evaluation part of the thesis as it creates exactly the ambiguity that I hoped it would. Viewers are unsure of the material used as well as the form. Even Prince Philip was intrigued by my work!
Having my mock exam part way through the show meant that when it happened I didn’t feel totally prepared. I was ‘examined’ by Martin Smith, Alison Britton and Liz Aylieff and it was pretty rigorous. I was at a loss to answer one or two of the questions, so need to prepare answers in case they come up at the real thing on Thursday.
I’ve been chosen to show the Wedgwoodn’t and the Event Horizon piece at New Designers at the beginning of next month. I have never been to the show but am told that it is very useful for making contacts. We’ll see...
On Thursday, after the exam, I had a meeting with Frances and Matt from Wedgwood. It looks like the project to design pieces for the 250th Anniversary is going ahead. There are still some technical issues, but hopefully they will be overcome. First of all, I need to choose the archive pieces that I plan to re-design. My first thoughts are to create a design themed on Charles Darwin’s ‘The Origin of Species’ and current debate about genetics.
It has been a really hectic time, glazing, firing, re-firing, wiring the lighting into some of the pieces etc. After all the effort the show was set up in time and looked surprisingly good. The press visit went well with interest from a number of magazines and independent journalists. The private view was incredibly busy, the Wedgwoodn’t Tureen sold within 45 minutes of the door opening and there has been almost as much interest in the Event Horizon torus piece. In fact, the reaction of people could be included in the evaluation part of the thesis as it creates exactly the ambiguity that I hoped it would. Viewers are unsure of the material used as well as the form. Even Prince Philip was intrigued by my work!
Having my mock exam part way through the show meant that when it happened I didn’t feel totally prepared. I was ‘examined’ by Martin Smith, Alison Britton and Liz Aylieff and it was pretty rigorous. I was at a loss to answer one or two of the questions, so need to prepare answers in case they come up at the real thing on Thursday.
I’ve been chosen to show the Wedgwoodn’t and the Event Horizon piece at New Designers at the beginning of next month. I have never been to the show but am told that it is very useful for making contacts. We’ll see...
On Thursday, after the exam, I had a meeting with Frances and Matt from Wedgwood. It looks like the project to design pieces for the 250th Anniversary is going ahead. There are still some technical issues, but hopefully they will be overcome. First of all, I need to choose the archive pieces that I plan to re-design. My first thoughts are to create a design themed on Charles Darwin’s ‘The Origin of Species’ and current debate about genetics.
Thursday 29 May 2008
SHOW RCA
There's been a great deal of last minute firing and preparation for SHOW ONE which opens on Friday the 30th and runs through until the 8th of June. Alongside Ceramics and Glass there's Painting, Photography , Printmaking, and Gold, Silver, Metal and Jewellery.
There's a break then the Fashion Show, followed by SHOW TWO for the rest of the departments which starts on the 24th June.
Best check the dates and times on the RCA website
Saturday 17 May 2008
16.05.08 – Digital interference
This week I returned to London on Monday, leaving behind the stunning Lake District Spring sunshine. Our eldest daughter, Rowan had come up for the weekend so we went up to Coniston where I had expected to find congestion and parking problems. It was surprisingly quiet and e enjoyed a wonderful walk around Holme Fell, followed by tea and cakes at Yew Tree Farm, the one with the spinning gallery that was used as Hill Top in last years ‘Miss Potter’ film.
In London, I went straight to College and picked up the Wedgwoodn’t Tureen and took it round to show Robin Levien at Studio Levien. He has shown interest in the project and is rigorous in his questioning of what the eco-ceramic actually is. Can it be called ‘ceramic’ if an irreversible heating process hasn’t chemically transformed it? I suggested that it’s time to redefine the word if the eco-ceramic shares all the properties of conventional ceramic. Thorough product testing is required before we get to that stage, but it looks as though it could be necessary.
Tuesday was spent catching up with writing to people and having a look at the latest (June) issue of World of Interiors magazine which has the article about the Wedgwoodn’t Tureen. It has come out well, the facts are all there, and the photography is very good.
I had a meeting with my mentor, Martin Hunt in the afternoon, which was useful for discussing my proposals for next year’s research fellowship. I also had a chance to get some advice about the kind of contract I want to enter into with Wedgwood, if the project goes ahead.
On Wednesday it was up and away in time for the 6.55 Eurostar to Paris where I went to collect the Royal Overseas League Music Award Trophy that I have designed. As usual, it was a last minute affair, Gilles rushing in at the last moment, me with my box poised ready to pack the piece and dash off to the Metro. It was only the following day, discussing the piece with Steve Brown that I had a chance to really look at it. I must admit that my first impressions of the piece were that it looked OK, but Steve was very interested in the fact that it looks like wood, and it has small areas of ‘digital interference’ where it appears that the Zcorp machine has had to improvise. Steve and I discussed how the RM process could be disrupted by letting ‘digital woodworm’ loose in the process. Maybe a ‘virus’ could be written into the design programme, something that creates its own spontaneous growth? Almost like a predatory process found in Nature. It reminds me of the walk on Sunday, pristine Spring growth, and perfect for such a short time before the caterpillars arrive.
Friday brought another early start as I went up to Stoke-on-Trent for a meeting at Wedgwood to discuss the project and access the archive. It was a fruitful visit, they are keen to go ahead, but will get feedback next week after their International Marketing meeting. If there is enthusiasm then I’m in business, if not, then I’m looking for a job at least for the summer.
In London, I went straight to College and picked up the Wedgwoodn’t Tureen and took it round to show Robin Levien at Studio Levien. He has shown interest in the project and is rigorous in his questioning of what the eco-ceramic actually is. Can it be called ‘ceramic’ if an irreversible heating process hasn’t chemically transformed it? I suggested that it’s time to redefine the word if the eco-ceramic shares all the properties of conventional ceramic. Thorough product testing is required before we get to that stage, but it looks as though it could be necessary.
Tuesday was spent catching up with writing to people and having a look at the latest (June) issue of World of Interiors magazine which has the article about the Wedgwoodn’t Tureen. It has come out well, the facts are all there, and the photography is very good.
I had a meeting with my mentor, Martin Hunt in the afternoon, which was useful for discussing my proposals for next year’s research fellowship. I also had a chance to get some advice about the kind of contract I want to enter into with Wedgwood, if the project goes ahead.
On Wednesday it was up and away in time for the 6.55 Eurostar to Paris where I went to collect the Royal Overseas League Music Award Trophy that I have designed. As usual, it was a last minute affair, Gilles rushing in at the last moment, me with my box poised ready to pack the piece and dash off to the Metro. It was only the following day, discussing the piece with Steve Brown that I had a chance to really look at it. I must admit that my first impressions of the piece were that it looked OK, but Steve was very interested in the fact that it looks like wood, and it has small areas of ‘digital interference’ where it appears that the Zcorp machine has had to improvise. Steve and I discussed how the RM process could be disrupted by letting ‘digital woodworm’ loose in the process. Maybe a ‘virus’ could be written into the design programme, something that creates its own spontaneous growth? Almost like a predatory process found in Nature. It reminds me of the walk on Sunday, pristine Spring growth, and perfect for such a short time before the caterpillars arrive.Friday brought another early start as I went up to Stoke-on-Trent for a meeting at Wedgwood to discuss the project and access the archive. It was a fruitful visit, they are keen to go ahead, but will get feedback next week after their International Marketing meeting. If there is enthusiasm then I’m in business, if not, then I’m looking for a job at least for the summer.
Sunday 11 May 2008
09.05.08 - getting ready for Show RCA
Now that the thesis has been handed in, it’s down to finishing the practical work in time for the exam and the Final Show. Preparations are going ahead at quite a pace, joiners busy cutting and nailing, trucks delivering materials. The Hockney Gallery is even having a temporary extension! The dates for the first part of the show are 30th May through to the 8th of June. After our show there’s the Fashion show on the 11th, then the second half starts on the 24th. Check the RCA website for full details.I’ve been trying to sort out the glaze problems, trying different levels of Manganese. The results were not very encouraging- all the tests had some pinholing, maybe I should try a lower temperature, as the oxides will flux the glaze. Phillip Wood, one of the visiting glaze experts came in, so I discussed the results with him. He suggested that the recipe is checked on glaze calculation software to see if it’s correctly formulated. He gave me a base recipe for a 1080° glaze that I made up with a 2/2/2/2 addition of copper, manganese, cobalt and iron oxides. He also gave me a matt black glaze recipe. I made up them both and they are in tonight’s firing.
On my way to Euston this afternoon I made time to visit the Wellcome Collection on Euston Road. What an excellent gallery. There was a very moving exhibition of photography called ‘Life before Death’. Large photographs, in pairs of the same person. The first taken a few days before their death, the second taken immediately afterwards. They included people of all ages from infants to the aged. It is a powerful and emotional exhibition.
I went along to see the ‘From Atoms to Patterns’, textile designs for the 1951 Festival of Britain that were based on crystallography images of molecular structures.
Sunday 4 May 2008
02.05.08 – Handing in the thesis!
Friday was the day I handed in my thesis (or written report); three cone bound copies placed on Martin’s desk ready to go down to the Research office.
So far there’s no great overwhelming sense of relief as I’ve still a lot of practical work to complete in time for the examination. The writing is just part of the project, a fundamental part that has stretched me in many ways, but which could not have been completed without the practical work.
In addition, I need to plan ahead for my post-MPhil life. Will it be at the RCA? I certainly hope so, whatever happens I need to be involved with the French company and their revolutionary ceramic materials.
Other activities this week included booking the Eurostar to Paris so that I can collect the ROSL Trophy. I managed to get a little throwing done and make up some glaze tests, which are firing as I write this.
On Thursday evening I went to a bio-nanotechnology evening organised by Design London, held at Imperial College. There was nothing of direct use, probably more of value for the Design Interaction students, but an interesting insight into the future. One of the short talks was by a chap who works for the National Physical Laboratory, a government agency that measures stuff. Sounds boring, doesn’t it. Well this chap spends his time in Second Life, encouraging bright people to get together to discuss ideas around technology. I had no idea that Second Life was being used in this way, but as he explained, it’s all created by the members, so why not?
It was a productive, but tiring week, waking very early on a couple of mornings with my head churning through the various parts of the project.
Back at home this weekend, the spring had finally arrived and I could get out and enjoy it. I mowed the grass, did some gardening and got out for a bike ride. Vicky and I walked Blue through the fields and up through the woods with the purple haze of bluebells and leaves unfurling almost by the minute. A wonderful time of the year and I'm very lucky to live in a place where it can truly be appreciated.
So far there’s no great overwhelming sense of relief as I’ve still a lot of practical work to complete in time for the examination. The writing is just part of the project, a fundamental part that has stretched me in many ways, but which could not have been completed without the practical work.In addition, I need to plan ahead for my post-MPhil life. Will it be at the RCA? I certainly hope so, whatever happens I need to be involved with the French company and their revolutionary ceramic materials.
Other activities this week included booking the Eurostar to Paris so that I can collect the ROSL Trophy. I managed to get a little throwing done and make up some glaze tests, which are firing as I write this.
On Thursday evening I went to a bio-nanotechnology evening organised by Design London, held at Imperial College. There was nothing of direct use, probably more of value for the Design Interaction students, but an interesting insight into the future. One of the short talks was by a chap who works for the National Physical Laboratory, a government agency that measures stuff. Sounds boring, doesn’t it. Well this chap spends his time in Second Life, encouraging bright people to get together to discuss ideas around technology. I had no idea that Second Life was being used in this way, but as he explained, it’s all created by the members, so why not?
It was a productive, but tiring week, waking very early on a couple of mornings with my head churning through the various parts of the project.
Back at home this weekend, the spring had finally arrived and I could get out and enjoy it. I mowed the grass, did some gardening and got out for a bike ride. Vicky and I walked Blue through the fields and up through the woods with the purple haze of bluebells and leaves unfurling almost by the minute. A wonderful time of the year and I'm very lucky to live in a place where it can truly be appreciated.
Saturday 26 April 2008
25.04.08 - Editing the thesis
(or written report, as it should be called)
Again, the week started with a focus on the report. After making further amendments I printed off the whole thing and passed it to Martin to read. That actually gave me a whole day to carry on with the practical work, so I did some throwing and made up a glaze test. It’s a variation of the black reflective glaze with less manganese dioxide. I managed to get a test in Richard’s firing and the results looked much the same s the original. There was a texture in the surface; more of a mottling that I realise is due to not having ball-milled the glaze. So I gave it 4 or 5 hours in the ball mill and dipped another test piece which was put into another glaze firing of Richards, this time to 1140°. Not a straight comparison, I realise, but I’ll get a test into a 1080° firing next week.
I think I’ll try another glaze variant with even less manganese as I hope to get a perfect finish on my pieces.
I threw a number of porcelain mugs, each of a different proportion, some my normal mug shape, but others wider & shallower. I have chosen a lovely satin white glaze, one of Emmanuel Boos tests that will provide a neutral effect, as I’m interested in how the contents will be perceived in use. Applying handles was an interesting exercise. I pulled some handles, but when they were applied they were far to heavy, fine for my earthenware, but totally out of balance for the porcelain. It’s interesting how the material made such a difference, or is it a result of our material associations?
On Thursday morning I greeted Martin with coffee and croissants as I thought we would need sustenance for going through the report that he had spend over 5 hours reading. It was festooned with post-it notes, quite a terrifying sight but Martin reassured me that it wasn’t as bad as it looked. The majority were punctuation or formatting, very few required any serious re-writing, thank goodness. I’m not sure I could face that.
I hope to finish the suggested amendments to the thesis this weekend and perhaps get out to see a film, or go for a decent walk. Spring is finally warming up, Kensington Gardens was looking beautiful this week and I would very much like to get a taste of the Cumbrian spring.
Again, the week started with a focus on the report. After making further amendments I printed off the whole thing and passed it to Martin to read. That actually gave me a whole day to carry on with the practical work, so I did some throwing and made up a glaze test. It’s a variation of the black reflective glaze with less manganese dioxide. I managed to get a test in Richard’s firing and the results looked much the same s the original. There was a texture in the surface; more of a mottling that I realise is due to not having ball-milled the glaze. So I gave it 4 or 5 hours in the ball mill and dipped another test piece which was put into another glaze firing of Richards, this time to 1140°. Not a straight comparison, I realise, but I’ll get a test into a 1080° firing next week.
I think I’ll try another glaze variant with even less manganese as I hope to get a perfect finish on my pieces.
I threw a number of porcelain mugs, each of a different proportion, some my normal mug shape, but others wider & shallower. I have chosen a lovely satin white glaze, one of Emmanuel Boos tests that will provide a neutral effect, as I’m interested in how the contents will be perceived in use. Applying handles was an interesting exercise. I pulled some handles, but when they were applied they were far to heavy, fine for my earthenware, but totally out of balance for the porcelain. It’s interesting how the material made such a difference, or is it a result of our material associations?
On Thursday morning I greeted Martin with coffee and croissants as I thought we would need sustenance for going through the report that he had spend over 5 hours reading. It was festooned with post-it notes, quite a terrifying sight but Martin reassured me that it wasn’t as bad as it looked. The majority were punctuation or formatting, very few required any serious re-writing, thank goodness. I’m not sure I could face that.
I hope to finish the suggested amendments to the thesis this weekend and perhaps get out to see a film, or go for a decent walk. Spring is finally warming up, Kensington Gardens was looking beautiful this week and I would very much like to get a taste of the Cumbrian spring.
Saturday 19 April 2008
18.04.08 – Shuffling the thesis
This week’s focus has been the thesis. I had a tutorial with Martin on Tuesday afternoon where we started to look at the Evaluation section. I returned to my desk with a list of jobs to do in time for Thursday’s session at Martin’s studio.
When Thursday came around I cycled in to College, picked up my thesis and carried on to the far reaches of Clapham. I was greeted at the studio by Martin, with Tallis’s Spem in Allium playing. We laid out the thesis on the office working surface and made our way through each section, looking to see how the parts related to each other. The difference between organising the thesis on screen and shuffling the sheets is similar to handling actual and virtual objects.
The morning ended with the layout of the thesis quite dramatically changed. I had thought that the order was logical but we managed to improve it. Again I came away with a long list of jobs to do!
The other news was that I was selected to make the trophy for the Royal Overseas League music award. It’s to be presented to the winner, Sarah-Jane Brandon a Royal College of Music soprano from New Zealand, at a concert in London's Queen Elizabeth Hall in May. The organisers liked the look of the Wedgwoodn’t Tureen, so I used some of the design data as a starting point. Instead of the piece looking like bone, I made an image of random musical notes. The data was given to Alastair in RapidformRCA, who will put it together over the weekend. I’m relying on Gilles in France to be able to make the piece in time. Having completed the Wedgwoodn’t by the skin of his teeth I’m a little worried that this job will keep me on tenterhooks. It’s bad timing to have this job to do at the same as the thesis but it’s all part of re-positioning myself. It will be useful on the CV and I may make a few contacts.
When Thursday came around I cycled in to College, picked up my thesis and carried on to the far reaches of Clapham. I was greeted at the studio by Martin, with Tallis’s Spem in Allium playing. We laid out the thesis on the office working surface and made our way through each section, looking to see how the parts related to each other. The difference between organising the thesis on screen and shuffling the sheets is similar to handling actual and virtual objects.
The morning ended with the layout of the thesis quite dramatically changed. I had thought that the order was logical but we managed to improve it. Again I came away with a long list of jobs to do!
The other news was that I was selected to make the trophy for the Royal Overseas League music award. It’s to be presented to the winner, Sarah-Jane Brandon a Royal College of Music soprano from New Zealand, at a concert in London's Queen Elizabeth Hall in May. The organisers liked the look of the Wedgwoodn’t Tureen, so I used some of the design data as a starting point. Instead of the piece looking like bone, I made an image of random musical notes. The data was given to Alastair in RapidformRCA, who will put it together over the weekend. I’m relying on Gilles in France to be able to make the piece in time. Having completed the Wedgwoodn’t by the skin of his teeth I’m a little worried that this job will keep me on tenterhooks. It’s bad timing to have this job to do at the same as the thesis but it’s all part of re-positioning myself. It will be useful on the CV and I may make a few contacts.
Wednesday 16 April 2008
11.04.08 - Evaluation, continued
Sitting here on the Friday evening train the week feels like it caught up with me. It’s been a busy one, as I expected it would be, balancing the thesis with events following the Wedgwoodn’t Tureen project.
Arriving at College on Tuesday I quickly got ready for the World of Interiors journalist and photographer who spent most of the afternoon with me. I learned a lot from the photographer, the use of natural light and the way that I was positioned to create an image that would fill a double spread or a single page. He used film, as Rupert the editor prefers the quality to digital. I’m looking forward to seeing the article, which will be in the June issue.
Wednesday afternoon was scheduled for a tutorial with Martin to discuss the Evaluation section of the thesis. Interestingly, he looked up the word ‘thesis’ and found that the definition includes the practical work as it is also used to advance the argument. So what I’ve been calling the thesis is actually the written report. I have a number of points to amend and some additions to make. There isn’t much time left to fit everything in place so I don’t fancy the idea of starting a whole new lot of reading.
In the evening I went over to Brick Lane to see the fashion show that Grace had arranged for the Middlesex first year students. Understandably she was very nervous, but everything ran smoothly. I enjoyed meeting her friend Coco, she’s a lovely girl and they are obviously good friends.
On Thursday morning I took the Wedgwoodn’t piece over to MaDE, the `Material and Design Exchange to talk to the mentors about applying for a SPARK award. It was a very worthwhile meeting, with lots of enthusiasm for the project and plenty of good advice. I need to keep that project moving along, but must give the MPhil priority at the moment.
The rest of Thursday and Friday were spent making alterations to the Evaluation section and writing the Conclusion section of the written report.
The weekend is likely to be filled with writing, but hopefully there’ll be time to get out into the fields and woods with Vicky and Blue.
Arriving at College on Tuesday I quickly got ready for the World of Interiors journalist and photographer who spent most of the afternoon with me. I learned a lot from the photographer, the use of natural light and the way that I was positioned to create an image that would fill a double spread or a single page. He used film, as Rupert the editor prefers the quality to digital. I’m looking forward to seeing the article, which will be in the June issue.
Wednesday afternoon was scheduled for a tutorial with Martin to discuss the Evaluation section of the thesis. Interestingly, he looked up the word ‘thesis’ and found that the definition includes the practical work as it is also used to advance the argument. So what I’ve been calling the thesis is actually the written report. I have a number of points to amend and some additions to make. There isn’t much time left to fit everything in place so I don’t fancy the idea of starting a whole new lot of reading.
In the evening I went over to Brick Lane to see the fashion show that Grace had arranged for the Middlesex first year students. Understandably she was very nervous, but everything ran smoothly. I enjoyed meeting her friend Coco, she’s a lovely girl and they are obviously good friends.
On Thursday morning I took the Wedgwoodn’t piece over to MaDE, the `Material and Design Exchange to talk to the mentors about applying for a SPARK award. It was a very worthwhile meeting, with lots of enthusiasm for the project and plenty of good advice. I need to keep that project moving along, but must give the MPhil priority at the moment.
The rest of Thursday and Friday were spent making alterations to the Evaluation section and writing the Conclusion section of the written report.
The weekend is likely to be filled with writing, but hopefully there’ll be time to get out into the fields and woods with Vicky and Blue.
29.02.08
Sorry,this one's out of sync as I forgot to publish it!
Arrived at College, dropped off my things and went straight down to the Lecture theatre for the research presentations. I arrived partway through the session, but still managed to see three of them before it was my turn. It seemed to go OK, but sitting there waiting I was a little alarmed that Emmanuel was discussing the relationship of poetry to his project. As usual, he has strong views and can appear uncompromising. I used the first verse of the Elizabeth Cook poem ‘Bowl’ in my presentation, and explained to Emmanuel that it had been chosen, not because of poetic merit but because it demonstrated someone verbalising the act of looking at a ceramic container and going beyond its material associations.
Quite a chunk of emotional energy was burned up during the week trying to pin down the date when I could collect my tureen from the company in France. Having been told I could go on Wednesday I was about to book the tickets when I received a call to say that it would not be ready. As I was working for Ceramic Art London from Thursday through until Sunday, I was disappointed as one of the designers from Denby Pottery planned to see me on Friday and Martin Watmough had the Vice President of Z Corp visiting. It would have been really useful to have a Wedgwoodn’t Tureen to show them. But I’m in other people’s hands so to a certain extent I have to go with it.
The meeting on Friday with Gary Hawley and his colleague Thomas was very interesting as they have a Z Corp machine that is use every day. I am very keen to take the conversation further and hope to be able to visit them before too long.
Ceramic Art London went very well, setting up was smooth and exhibitors seemed happy with the help on hand. I looked after the ‘Discovery Programme’, the series of lectures and demonstrations that included the film of my wife Vicky’s ceramic installation to commemorate the Morecambe Bay Chinese Cocklers tragedy. I saw the final version for the first time that includes the final section of the ‘stones’ being covered by the tide. It adds a very poignant ending to the film that is appropriately slow paced.
Arrived at College, dropped off my things and went straight down to the Lecture theatre for the research presentations. I arrived partway through the session, but still managed to see three of them before it was my turn. It seemed to go OK, but sitting there waiting I was a little alarmed that Emmanuel was discussing the relationship of poetry to his project. As usual, he has strong views and can appear uncompromising. I used the first verse of the Elizabeth Cook poem ‘Bowl’ in my presentation, and explained to Emmanuel that it had been chosen, not because of poetic merit but because it demonstrated someone verbalising the act of looking at a ceramic container and going beyond its material associations.
Quite a chunk of emotional energy was burned up during the week trying to pin down the date when I could collect my tureen from the company in France. Having been told I could go on Wednesday I was about to book the tickets when I received a call to say that it would not be ready. As I was working for Ceramic Art London from Thursday through until Sunday, I was disappointed as one of the designers from Denby Pottery planned to see me on Friday and Martin Watmough had the Vice President of Z Corp visiting. It would have been really useful to have a Wedgwoodn’t Tureen to show them. But I’m in other people’s hands so to a certain extent I have to go with it.
The meeting on Friday with Gary Hawley and his colleague Thomas was very interesting as they have a Z Corp machine that is use every day. I am very keen to take the conversation further and hope to be able to visit them before too long.
Ceramic Art London went very well, setting up was smooth and exhibitors seemed happy with the help on hand. I looked after the ‘Discovery Programme’, the series of lectures and demonstrations that included the film of my wife Vicky’s ceramic installation to commemorate the Morecambe Bay Chinese Cocklers tragedy. I saw the final version for the first time that includes the final section of the ‘stones’ being covered by the tide. It adds a very poignant ending to the film that is appropriately slow paced.
Wednesday 9 April 2008
04.04.08 – Evaluation
The first part of the Easter break was spent at my brother’s in Austria. Vicky and I went out for a few days to meet our new nephew Luke, who is my brother & sister-in-law’s first child. Chris is like a dog with two tails!
After what we thought was going to be a brief trip back to winter, our landing at Stanstead was delayed by snow. The rest of Easter was cold, but I did manage to get out for some good walks with Vicky and Blue.
Apart from settling back in Cumbrian life, I spent many long days writing up the Evaluation section of the thesis. It’s a demanding section, pulling together themes explored during the project and relating them to other peoples work. A lot of time was spent thinking and writing about how I allow for subjectivity in the evaluation of this project. I had originally planned to have an evaluation and a conclusion but they seem to have morphed into one. I emailed my efforts to Martin and Alison, so I’ll see what they say.
In addition to all this, I'm looking for generative software to use on the Wedgwood project (if it goes ahead). Sometimes called algorithmic geometry software it can be used to generate 'natural' forms such as bone structure or plant growth. If anyone out there can point me in the direction of Rhino compatible software I'd be very grateful.
Next week is going to be a busy one, with World of Interiors interview as soon as I get in on Tuesday, tutorial on Wednesday afternoon, Grace’s fashion show at Brick Lane in the evening. Thursday morning I have a meeting to discuss applying for a SMART award towards next year’s research fellowship.
After what we thought was going to be a brief trip back to winter, our landing at Stanstead was delayed by snow. The rest of Easter was cold, but I did manage to get out for some good walks with Vicky and Blue.
Apart from settling back in Cumbrian life, I spent many long days writing up the Evaluation section of the thesis. It’s a demanding section, pulling together themes explored during the project and relating them to other peoples work. A lot of time was spent thinking and writing about how I allow for subjectivity in the evaluation of this project. I had originally planned to have an evaluation and a conclusion but they seem to have morphed into one. I emailed my efforts to Martin and Alison, so I’ll see what they say.
In addition to all this, I'm looking for generative software to use on the Wedgwood project (if it goes ahead). Sometimes called algorithmic geometry software it can be used to generate 'natural' forms such as bone structure or plant growth. If anyone out there can point me in the direction of Rhino compatible software I'd be very grateful.
Next week is going to be a busy one, with World of Interiors interview as soon as I get in on Tuesday, tutorial on Wednesday afternoon, Grace’s fashion show at Brick Lane in the evening. Thursday morning I have a meeting to discuss applying for a SMART award towards next year’s research fellowship.
Thursday 27 March 2008
27.03.08 - The Result
The wait to hear the result of the RSA competition is over. I receive a phone call at my brother's house in Austria to say that the letter had arrived at Ray & Jeannette's house in London. Before I came home for Easter I had asked them to open it and let me know.
It's good news, The Wedgwoodn't Tureen has won a cash award to be used to further my career. I plan to use it to continue working with the eco-ceramic materials and to start investigating whether they can be used on a biodegradable substrate. The winners are also awarded Fellowship of the RSA.
I'm pleased that all the hard work has paid off and very grateful to everyone that has assisted and encouraged me. Alastair in RapidformRCA is definitely owed a pint or two!
After returning from Austria on Sunday, I have been concentrating on writing the thesis. This stage is fairly straightforward, recording the practical work, but it sets off thoughts of what will be discussed in the evaluation section. That is likely to be a time-consuming section, as everything has to come together in a well reasoned and well supported way. Steve has lent me a book that will have an influence on that section. It's called 'Thinking Through Craft' by Glenn Adamson, his supervisor from the V&A. It was published to coincide with the V&A/Crafts Council 'Out of the Ordinary' exhibition that was shown over the winter. I've only just started reading it, so need to spend more time reading and digesting it before discussing it's contents in relation to my work.
It's good news, The Wedgwoodn't Tureen has won a cash award to be used to further my career. I plan to use it to continue working with the eco-ceramic materials and to start investigating whether they can be used on a biodegradable substrate. The winners are also awarded Fellowship of the RSA.
I'm pleased that all the hard work has paid off and very grateful to everyone that has assisted and encouraged me. Alastair in RapidformRCA is definitely owed a pint or two!
After returning from Austria on Sunday, I have been concentrating on writing the thesis. This stage is fairly straightforward, recording the practical work, but it sets off thoughts of what will be discussed in the evaluation section. That is likely to be a time-consuming section, as everything has to come together in a well reasoned and well supported way. Steve has lent me a book that will have an influence on that section. It's called 'Thinking Through Craft' by Glenn Adamson, his supervisor from the V&A. It was published to coincide with the V&A/Crafts Council 'Out of the Ordinary' exhibition that was shown over the winter. I've only just started reading it, so need to spend more time reading and digesting it before discussing it's contents in relation to my work.
Saturday 15 March 2008
14.03.08 - The Wedgwoodn’t [continued]
After teaching in Carlisle on Monday I caught the evening train down to London. I had to be at the RSA for the Design Directions Ceramic Futures competition at 10 am the following morning so couldn’t catch my usual train.
The interview, at the smart RSA building just off the Strand, went well. The panel of judges, which included Martin Hunt were genuinely enthusiastic about the project, but at this stage I don’t know the results. We were told that we would receive notification before Easter, so I have up to a week or so to wait. I really don’t know how I have faired; I think the Wedgwoodn’t project fits into the RSA criteria very well, it’s about innovation after all, I’ll just have to wait and see.
After returning to College I continued with the practical work, throwing, casting, turning and firing the kiln a couple of times.
On Thursday I went up to Wedgwood with Martin Smith and Tavs Jorgensen. They were going up to discuss the re-establishment of links between the company and the RCA. We had a good look around the factory where Wedgwood is committed to continuing the production of their prestige ranges. Apparently the Japanese, who are a major market won’t buy the work unless it’s made in England.
After lunch, we returned to the Design Studio to discuss my project. I met Angela Hull, the prestige manager, who along with the rest of the team seems like someone that will be enjoyable to work with. I have some work to do before designing gets underway; they need a costing for the Wedgwoodn’t piece to enable them to work out feasibility and numbers.
I have spent some time thinking about the pieces that I would like to re-interpret, there’s the First Day Vase and an Acorn Vase that I would like to have a go at.
Co-incidentally I was looking at the MoMA on-line exhibition of the Design and the Elastic Mind show and found the work of Neri Oxman, an MIT researcher with a background in architecture and interests in ecology and computer modelling. She has used algorithmic generative modelling software to produce some architectural models. I spent some time trying to find out more about the technology, and have emailed her. I expect there are students at College who know something about it or students across at Imperial College. One way or another I’ll find out more.
If anyone reading this can point me in the right direction I'd be really grateful.
The interview, at the smart RSA building just off the Strand, went well. The panel of judges, which included Martin Hunt were genuinely enthusiastic about the project, but at this stage I don’t know the results. We were told that we would receive notification before Easter, so I have up to a week or so to wait. I really don’t know how I have faired; I think the Wedgwoodn’t project fits into the RSA criteria very well, it’s about innovation after all, I’ll just have to wait and see.
After returning to College I continued with the practical work, throwing, casting, turning and firing the kiln a couple of times.
On Thursday I went up to Wedgwood with Martin Smith and Tavs Jorgensen. They were going up to discuss the re-establishment of links between the company and the RCA. We had a good look around the factory where Wedgwood is committed to continuing the production of their prestige ranges. Apparently the Japanese, who are a major market won’t buy the work unless it’s made in England.
After lunch, we returned to the Design Studio to discuss my project. I met Angela Hull, the prestige manager, who along with the rest of the team seems like someone that will be enjoyable to work with. I have some work to do before designing gets underway; they need a costing for the Wedgwoodn’t piece to enable them to work out feasibility and numbers.
I have spent some time thinking about the pieces that I would like to re-interpret, there’s the First Day Vase and an Acorn Vase that I would like to have a go at.
Co-incidentally I was looking at the MoMA on-line exhibition of the Design and the Elastic Mind show and found the work of Neri Oxman, an MIT researcher with a background in architecture and interests in ecology and computer modelling. She has used algorithmic generative modelling software to produce some architectural models. I spent some time trying to find out more about the technology, and have emailed her. I expect there are students at College who know something about it or students across at Imperial College. One way or another I’ll find out more.
If anyone reading this can point me in the right direction I'd be really grateful.
Saturday 8 March 2008
07.03.08 – The Complete Tureen
After a late Sunday night tidying up after Ceramic Art London, I had a very early start so that I could catch the 6.30 Eurostar to Paris.
I enjoy the journey by train, it’s certainly the best way to travel long distances.
Michel greeted me at the lab, taking me immediately to see the completed Wedgwoodn’t Tureen. My first impression was relief and excitement that the project had actually been achieved. On closer inspection, the surface finish was not quite as smooth as I expected, but Michel said that Gilles would be bringing in a second piece that he was still working on. Whilst waiting for Gilles to arrive, Michel and I discussed some of the technical aspects of the material and process in order for me to put forward strong applications for awards to fund my proposed research associate post.
About half an hour before I was due to leave Gilles turned up with a superb Tureen. It has the correct shade and sheen to match black ‘Basalt’ or ‘Jasper’ and the surface texture is much smoother. They have spent many hours working on this project and I am very grateful for their assistance and the support of Rapidform back at the RCA.
I packed the pieces very carefully and headed back to London, arriving just in time for my meeting at Wedgwood on Regent Street. I met the Design manager, Matthew Harrison, who listened to my explanation of the technology involved in producing the piece. He then brought in Frances Mossman, Wedgwood’s Global Design Manager who is really enthusiastic and would like me produce a range of similar work for the 250th anniversary next year. Though exciting, the implications will need careful thought. I have less than 2 months to complete my M.Phil and that mustn’t be put at risk.
The rest of the week passed in a blur, juggling throwing, slipcasting and making arrangements for next weeks visit to Wedgwood at Barlaston. By chance Martin Smith and Tavs had planned to meet the Design team to discuss re-establishing a connection between Wedgwood and the department and it seemed a convenient opportunity to join them. Martin Watmough from Rapidform is also coming to discuss the technical side of the project and to offer Wedgwood a service.
This week also saw interviews taking place and again I was asked to sit it on the Research student applications. There are some strong candidates this year, all of them would add something to the department and to the Research cluster.
Just before I left on Friday we got together to make the final choices. So there will be excited and relieved applicants, as well as some disappointed ones.
The coming weekend is likely to be a busy one, balancing the demands of College with a home life that needs some catching up on.
I enjoy the journey by train, it’s certainly the best way to travel long distances.
Michel greeted me at the lab, taking me immediately to see the completed Wedgwoodn’t Tureen. My first impression was relief and excitement that the project had actually been achieved. On closer inspection, the surface finish was not quite as smooth as I expected, but Michel said that Gilles would be bringing in a second piece that he was still working on. Whilst waiting for Gilles to arrive, Michel and I discussed some of the technical aspects of the material and process in order for me to put forward strong applications for awards to fund my proposed research associate post.
About half an hour before I was due to leave Gilles turned up with a superb Tureen. It has the correct shade and sheen to match black ‘Basalt’ or ‘Jasper’ and the surface texture is much smoother. They have spent many hours working on this project and I am very grateful for their assistance and the support of Rapidform back at the RCA.
I packed the pieces very carefully and headed back to London, arriving just in time for my meeting at Wedgwood on Regent Street. I met the Design manager, Matthew Harrison, who listened to my explanation of the technology involved in producing the piece. He then brought in Frances Mossman, Wedgwood’s Global Design Manager who is really enthusiastic and would like me produce a range of similar work for the 250th anniversary next year. Though exciting, the implications will need careful thought. I have less than 2 months to complete my M.Phil and that mustn’t be put at risk.
The rest of the week passed in a blur, juggling throwing, slipcasting and making arrangements for next weeks visit to Wedgwood at Barlaston. By chance Martin Smith and Tavs had planned to meet the Design team to discuss re-establishing a connection between Wedgwood and the department and it seemed a convenient opportunity to join them. Martin Watmough from Rapidform is also coming to discuss the technical side of the project and to offer Wedgwood a service.
This week also saw interviews taking place and again I was asked to sit it on the Research student applications. There are some strong candidates this year, all of them would add something to the department and to the Research cluster.
Just before I left on Friday we got together to make the final choices. So there will be excited and relieved applicants, as well as some disappointed ones.
The coming weekend is likely to be a busy one, balancing the demands of College with a home life that needs some catching up on.
Wednesday 27 February 2008
22.02.08: Poetry and Pottery
Deadlines are starting to loom, not just the completion of my thesis and practical work, but more imminent ones such as the Research Forum next Tuesday, where we have to give a short presentation on the current state of our research. We only have 15 to 20 minutes each, but it’s seems to take me a disproportionate amount of time to prepare for it. The audience is likely to be small, but will probably include staff from both the School of Applied Art and the Research Office.
The other deadline is the RSA Ceramic Futures competition interview to be held on the 11th March for which I am relying on the French company to complete the black tureen on time. Ideally, I should have it now so that it can be photographed and included in my presentation, and Martin Watmough from RapidformRCA has asked if it will be available next week for a visit he is having from the Vice-President of Z Corp. I have emailed and telephoned the company but feel a little in the dark, as I have no idea when it will be ready for collection. They have promised to complete it on time but I feel that last minute is almost the same as too late.
On a more positive note, a very successful glaze test came out of the kiln this week. The piece had been biscuit fired to 1140˚C then glazed with a metallic black glaze to the same temperature. Once the ‘bloom’ was polished off, the surface was just what I’m looking for, highly reflective and smooth, with no visible crazing.
The other enjoyable incident happened, surprisingly on the tube on Thursday. I spotted one of the Poems on the Underground, one by Elizabeth Cook called ‘Bowl’ that perfectly compliments my project.
‘Give me a bowl, wide
and shallow. Patient
to light as a landscape open
to the weight
of a deepening sky.’ *
Trying to memorise it on the tube literally and metaphorically transported me to another place [Liverpool St and home in Cumbria].
Earlier in the week I had seen another of the Poems on the Underground, this time called Maple Bridge. The first part is a translation by the poet Gary Snyder of a Tang dynasty poem, an almost haiku like description of night-time on the river, hearing the distant bell of a monastery. The accompanying poem is by the translator, set at the same location describing the scene in 2005.
Again, the effect is to transport the reader out of the uncomfortable physical confines of the tube to a place in the imagination. For me the discovery of a poem is always unexpected, as my mind is usually busy with ‘London’ thoughts, making the experience the more enjoyable for it.
* From ‘Bowl’ by Elizabeth Cook, published by Worple Press 2006
The other deadline is the RSA Ceramic Futures competition interview to be held on the 11th March for which I am relying on the French company to complete the black tureen on time. Ideally, I should have it now so that it can be photographed and included in my presentation, and Martin Watmough from RapidformRCA has asked if it will be available next week for a visit he is having from the Vice-President of Z Corp. I have emailed and telephoned the company but feel a little in the dark, as I have no idea when it will be ready for collection. They have promised to complete it on time but I feel that last minute is almost the same as too late.
On a more positive note, a very successful glaze test came out of the kiln this week. The piece had been biscuit fired to 1140˚C then glazed with a metallic black glaze to the same temperature. Once the ‘bloom’ was polished off, the surface was just what I’m looking for, highly reflective and smooth, with no visible crazing.
The other enjoyable incident happened, surprisingly on the tube on Thursday. I spotted one of the Poems on the Underground, one by Elizabeth Cook called ‘Bowl’ that perfectly compliments my project.
‘Give me a bowl, wide
and shallow. Patient
to light as a landscape open
to the weight
of a deepening sky.’ *
Trying to memorise it on the tube literally and metaphorically transported me to another place [Liverpool St and home in Cumbria].
Earlier in the week I had seen another of the Poems on the Underground, this time called Maple Bridge. The first part is a translation by the poet Gary Snyder of a Tang dynasty poem, an almost haiku like description of night-time on the river, hearing the distant bell of a monastery. The accompanying poem is by the translator, set at the same location describing the scene in 2005.
Again, the effect is to transport the reader out of the uncomfortable physical confines of the tube to a place in the imagination. For me the discovery of a poem is always unexpected, as my mind is usually busy with ‘London’ thoughts, making the experience the more enjoyable for it.
* From ‘Bowl’ by Elizabeth Cook, published by Worple Press 2006
Saturday 16 February 2008
15.02.08 - Frankfurt
The past two weeks have passed very quickly, partly because I didn’t have my usual weekend at home but spent it in Frankfurt.
The week leading up to the trip is now a bit of a blur- what comes to mind are casting, glaze tests, writing and trying to organise the rapid prototyping of the glass blowing mould.
Friday morning soon came around and I made my way to Heathrow to meet Kathryn Hearn and her students from Central St. Martins. They organise a trip to Ambiente, the ceramics, glass and product design show each year. I thought I would join them to gain an idea of what is happening in Industrial ceramic design and to make contact with potential partners for the research fellowship.
The show is held at the enormous Messe, there are 9 or 10 halls, many of which have 5 floors! There are buses to take the thousands of visitors from one end to the other.
Over the 4 days of the show, I made contact with a number of firms, both glass and ceramic and have since followed up with emails giving some more information about the materials and technology I hope to work with next year.
Frankfurt is a pleasant enough place, the river running through the centre adds a bit of character to what I perceive may be a fairly boring financial centre, with an ever changing population of Messe visitors.
By Tuesday I was certainly ready to return to College and rest my aching feet.
The rest of the week went well, all practical stuff, including some hopeful glaze tests. The mirror black glaze is proving to be unreliable, with blisters appearing randomly. I had biscuit fired some fireclay casting slip, test pieces to 1080 and 1200 that were then glazed with the 2 black glazes and fired to 1140. The results are surprisingly good, considering the glaze has been taken 60 degrees higher than it is designed to go. I then re-fired 2 pieces that had been badly blistered, one of which needed some extra glaze and they came out better, but not perfect. I’ll try taking the temperature up a bit more. One of the glazes has an attractive speckle, which I need to remove if possible, so that was balled milled for a few hours today, whilst I went on a semi-useful photography course.
During the week I was invited to Limoges for a demonstration of treating and preparing the RP glass blowing mould for use. I would like to attend, but am worried about the amount of writing and making that still needs to be done.
The week leading up to the trip is now a bit of a blur- what comes to mind are casting, glaze tests, writing and trying to organise the rapid prototyping of the glass blowing mould.
Friday morning soon came around and I made my way to Heathrow to meet Kathryn Hearn and her students from Central St. Martins. They organise a trip to Ambiente, the ceramics, glass and product design show each year. I thought I would join them to gain an idea of what is happening in Industrial ceramic design and to make contact with potential partners for the research fellowship.
The show is held at the enormous Messe, there are 9 or 10 halls, many of which have 5 floors! There are buses to take the thousands of visitors from one end to the other.
Over the 4 days of the show, I made contact with a number of firms, both glass and ceramic and have since followed up with emails giving some more information about the materials and technology I hope to work with next year.
Frankfurt is a pleasant enough place, the river running through the centre adds a bit of character to what I perceive may be a fairly boring financial centre, with an ever changing population of Messe visitors.
By Tuesday I was certainly ready to return to College and rest my aching feet.
The rest of the week went well, all practical stuff, including some hopeful glaze tests. The mirror black glaze is proving to be unreliable, with blisters appearing randomly. I had biscuit fired some fireclay casting slip, test pieces to 1080 and 1200 that were then glazed with the 2 black glazes and fired to 1140. The results are surprisingly good, considering the glaze has been taken 60 degrees higher than it is designed to go. I then re-fired 2 pieces that had been badly blistered, one of which needed some extra glaze and they came out better, but not perfect. I’ll try taking the temperature up a bit more. One of the glazes has an attractive speckle, which I need to remove if possible, so that was balled milled for a few hours today, whilst I went on a semi-useful photography course.
During the week I was invited to Limoges for a demonstration of treating and preparing the RP glass blowing mould for use. I would like to attend, but am worried about the amount of writing and making that still needs to be done.
Sunday 3 February 2008
01.02.08
This week has been spent working on a mixture of tasks.
I finished designing the glass moulds on Rhino 3D. They are intended for production on the Z Corp machine in RapidformRCA, then infiltrated and cured. They should then be able to comfortably withstand the heat of rotation blowing. I first designed a piece to test both the materials and how the glass would fit the form, but decided that it was more productive to design a piece that related directly to my project.
Last weekends unfinished writing on ‘Sensing the Container’ gave me plenty to think about during the week. I revisited the Anthony McCall exhibition at the Serpentine Gallery and saw a number of connections to my thoughts on form and formlessness. The light, projected through smoke across a darkened room takes on a material quality that is not dissimilar to water or a translucent liquid like the Darjeeling tea that I drink. Being able to enter the beam of light, and engage with it, dramatically changes the experience of the space. The boundaries of the gallery completely dissolve; there is virtually no sense of anything apart from the slowly shifting form of the projected light and the image it creates on the wall.
I managed to resurrect our research seminar group a.k.a. the Cake club for a meeting at the V&A on Thursday. We met to discuss the ‘Out of the Ordinary’ exhibition, then were treated to tea and cakes by Heike in the wonderful Morris room of the cafe. There were mixed feelings about the exhibition, it was not greeted with complete enthusiasm. The glasswork of Susan Collis for instance, was generally regarded as literal, leaving little for the imagination, whereas the intricately carved plants and flowers by Yoshihiro Suda were appreciated both for the dedication of achieving such a high level of craftsmanship and their poetic quality. For me the positive aspect of the exhibition is that it is labelled as ‘craft’. From my perspective of 20 plus years making functional pots and now having the luxury of time away from the studio to redefine my future practice, I am excited by the attempts to redefine and reposition ‘craft’.
I finished designing the glass moulds on Rhino 3D. They are intended for production on the Z Corp machine in RapidformRCA, then infiltrated and cured. They should then be able to comfortably withstand the heat of rotation blowing. I first designed a piece to test both the materials and how the glass would fit the form, but decided that it was more productive to design a piece that related directly to my project.
Last weekends unfinished writing on ‘Sensing the Container’ gave me plenty to think about during the week. I revisited the Anthony McCall exhibition at the Serpentine Gallery and saw a number of connections to my thoughts on form and formlessness. The light, projected through smoke across a darkened room takes on a material quality that is not dissimilar to water or a translucent liquid like the Darjeeling tea that I drink. Being able to enter the beam of light, and engage with it, dramatically changes the experience of the space. The boundaries of the gallery completely dissolve; there is virtually no sense of anything apart from the slowly shifting form of the projected light and the image it creates on the wall.
I managed to resurrect our research seminar group a.k.a. the Cake club for a meeting at the V&A on Thursday. We met to discuss the ‘Out of the Ordinary’ exhibition, then were treated to tea and cakes by Heike in the wonderful Morris room of the cafe. There were mixed feelings about the exhibition, it was not greeted with complete enthusiasm. The glasswork of Susan Collis for instance, was generally regarded as literal, leaving little for the imagination, whereas the intricately carved plants and flowers by Yoshihiro Suda were appreciated both for the dedication of achieving such a high level of craftsmanship and their poetic quality. For me the positive aspect of the exhibition is that it is labelled as ‘craft’. From my perspective of 20 plus years making functional pots and now having the luxury of time away from the studio to redefine my future practice, I am excited by the attempts to redefine and reposition ‘craft’.
Sunday 27 January 2008
Thoughts from Matthew Collings ‘This is Civilisation’ series 4th programme – Uncertainty. [1]
Matthew Collings purports that art since the Impressionists is created by artists to reflect Western mans uncertainty in understanding the world around him. Previously, art was used to support man’s understanding of the world, backing up political and religious doctrines.
As advances in science provide answers to the fundamental questions of how we relate to the natural world, some of which were previously answered by religion, many people question their relationship to the society with which they are obliged to engage.
In the part of the world that I inhabit, employment for most people brings wealth well beyond their basic needs. Though potentially rich in material terms, the price paid in both physical and mental health terms, relationships with partners and family members etc. are considered by some to outweigh the gains. However, there are few alternative ways to successfully negotiate our modern world. Rejection of the system usually results in economic hardship and alienation from conforming members of society. Frustrations are sometimes negatively channelled into excessive consumption and violence, but can also lead, perhaps subconsciously into acts of creativity like gardening, and other outdoor activities that bring us into contact with the elemental forces.
The creative process can also be engaged with indirectly, through visits to galleries. Artists have always operated at the fringes of society, and are seen in many societies almost as shamans. They are the natural conduits through which questions can be asked, not to provide definite answers but to encourage debate and allow the participant to find their way of engaging with the modern world. Installation artist Clare Twomey says:
“I hope my work raises more questions than answers; the viewer is in control of the level in which they engage” [2]
Where does ceramics fit in to this dialogue? Only at its fringes? Studio ceramics, though a dominant force through the middle 50 or 60 years of the 20th century is now seen by many as side-lined, having no relationship to contemporary art. The word ‘Craft’ has been under attack for some years, being seen as the poor, or no relation to Art. There are now attempts to rehabilitate the word in exhibitions such as the joint V & A/Crafts Council ‘Out of the Ordinary – Spectacular Craft’. It’s not the craft that we are comfortable with; there may be superb craftsmanship but there’s no function, it’s cerebral work, posing questions, making observations. The exhibitors [what do they call themselves?] may specialise in the materials and techniques of one craft, but perhaps for the first time that is the subject of some of their work, not just the vehicle. The viewer takes away an experience, not a gewgaw.
The ‘Out of the Ordinary’ exhibition is the flux that is helping to forge a new definition of ‘craft’. With our world juggling sustainability and over-consumption, green issues and the latest ‘must-haves’ craft is beginning to be part of the solution, not part of the problem.
[1] Broadcast on Channel 4, 15.12.07
[2] ‘On the Cusp’, Clare Twomey. Ceramic Review 229 Jan/Feb 2008, p.48.
As advances in science provide answers to the fundamental questions of how we relate to the natural world, some of which were previously answered by religion, many people question their relationship to the society with which they are obliged to engage.
In the part of the world that I inhabit, employment for most people brings wealth well beyond their basic needs. Though potentially rich in material terms, the price paid in both physical and mental health terms, relationships with partners and family members etc. are considered by some to outweigh the gains. However, there are few alternative ways to successfully negotiate our modern world. Rejection of the system usually results in economic hardship and alienation from conforming members of society. Frustrations are sometimes negatively channelled into excessive consumption and violence, but can also lead, perhaps subconsciously into acts of creativity like gardening, and other outdoor activities that bring us into contact with the elemental forces.
The creative process can also be engaged with indirectly, through visits to galleries. Artists have always operated at the fringes of society, and are seen in many societies almost as shamans. They are the natural conduits through which questions can be asked, not to provide definite answers but to encourage debate and allow the participant to find their way of engaging with the modern world. Installation artist Clare Twomey says:
“I hope my work raises more questions than answers; the viewer is in control of the level in which they engage” [2]
Where does ceramics fit in to this dialogue? Only at its fringes? Studio ceramics, though a dominant force through the middle 50 or 60 years of the 20th century is now seen by many as side-lined, having no relationship to contemporary art. The word ‘Craft’ has been under attack for some years, being seen as the poor, or no relation to Art. There are now attempts to rehabilitate the word in exhibitions such as the joint V & A/Crafts Council ‘Out of the Ordinary – Spectacular Craft’. It’s not the craft that we are comfortable with; there may be superb craftsmanship but there’s no function, it’s cerebral work, posing questions, making observations. The exhibitors [what do they call themselves?] may specialise in the materials and techniques of one craft, but perhaps for the first time that is the subject of some of their work, not just the vehicle. The viewer takes away an experience, not a gewgaw.
The ‘Out of the Ordinary’ exhibition is the flux that is helping to forge a new definition of ‘craft’. With our world juggling sustainability and over-consumption, green issues and the latest ‘must-haves’ craft is beginning to be part of the solution, not part of the problem.
[1] Broadcast on Channel 4, 15.12.07
[2] ‘On the Cusp’, Clare Twomey. Ceramic Review 229 Jan/Feb 2008, p.48.
26.01.08
This week has been a rollercoaster- with some good progress made at College in both areas of writing and making.
My Tuesday morning train journey was spent designing some glass pieces that could be produced using rapid prototyped moulds. The moulds need to infiltrated and cured and then will withstand considerable heat. They can also be used for low temperature metal casting. When I was previously at the company in Paris, I saw a mould that had been used to cast aluminium. The surface didn’t appear to have been affected at all by the hot metal.
On Wednesday I went over to Paris to collect the Wedgwoodnt Tureen that had been made in black for me. It is to have a black ceramic coating made to look like Wedgwood black jasper. Unfortunately when I arrived Gilles was rushing between labs trying to prepare the right mixture for the coating. As the afternoon continued it was clear that he was struggling and I came home empty handed in the evening. The black tureen looked excellent, it appears more ‘see through’ than the white version. On Thursday I heard that the Wedgwoodn’t Project has been shortlisted for the RSA Ceramic Futures competition. The interview is on March 11th and there’s some preparation work to do beforehand.
I then had a tutorial with Martin, primarily to discuss the ‘Context’ section of the thesis. He raised a few points that I need to address, but fundamentally he was happy with it. I now have to start tackling the ‘Making’ section, once I’ve gone through the whole ‘Sensing’ section to see how its three parts read as a whole.
Through the week I had been casting and firing the kiln, on Thursday I added some manganese dioxide to the Potclays glaze in an attempt to make it more metallic.
The results came out on Friday and they are the most successful yet. The cone form looked very interesting with red or white light inside it, creating a volume of floating light in the central space.
Friday afternoon was spent at the V&A having a look around Collect. I felt overwhelmed by so many beautiful objects, but underwhelmed by a lack of content in quite a lot of the work. As Chris Lefteri says in his introduction to ‘Ingredients’ “…the importance of an object and its physical manifestation has diminished… new technologies have provided consumers with a new level of engagement with the object.”[1] I was looking for story telling in the objects, something that I could emotionally engage with, and something beyond the well crafted.
I returned to the V&A later for their Friday Late, an evening of themed ‘craft’ related activities, some of which were participatory. There was Ballroom dancing on a beautifully stencilled, icing sugar dance floor, casting your finger or toe in chocolate, a graphic design ‘playgroup’ and some interesting time-lapse films. I managed to be roped into a Charlie Chaplin impersonators Victoria sponge production line, having to dress in bowler hat, false moustache, walking cane, apron and latex gloves! It was a bit of fun and I was given a piece cake as a thank-you.
Saturday morning was spent in College, continuing to develop the glass mould design, and then it was an afternoon spent on the slow train home to Cumbria, writing up this entry.
[1] Ingredients, a Materials project by Chris Lefteri. No. 2 Sept 2007 www.moreingredients.com
My Tuesday morning train journey was spent designing some glass pieces that could be produced using rapid prototyped moulds. The moulds need to infiltrated and cured and then will withstand considerable heat. They can also be used for low temperature metal casting. When I was previously at the company in Paris, I saw a mould that had been used to cast aluminium. The surface didn’t appear to have been affected at all by the hot metal.
On Wednesday I went over to Paris to collect the Wedgwoodnt Tureen that had been made in black for me. It is to have a black ceramic coating made to look like Wedgwood black jasper. Unfortunately when I arrived Gilles was rushing between labs trying to prepare the right mixture for the coating. As the afternoon continued it was clear that he was struggling and I came home empty handed in the evening. The black tureen looked excellent, it appears more ‘see through’ than the white version. On Thursday I heard that the Wedgwoodn’t Project has been shortlisted for the RSA Ceramic Futures competition. The interview is on March 11th and there’s some preparation work to do beforehand.
I then had a tutorial with Martin, primarily to discuss the ‘Context’ section of the thesis. He raised a few points that I need to address, but fundamentally he was happy with it. I now have to start tackling the ‘Making’ section, once I’ve gone through the whole ‘Sensing’ section to see how its three parts read as a whole.
Through the week I had been casting and firing the kiln, on Thursday I added some manganese dioxide to the Potclays glaze in an attempt to make it more metallic.
The results came out on Friday and they are the most successful yet. The cone form looked very interesting with red or white light inside it, creating a volume of floating light in the central space.Friday afternoon was spent at the V&A having a look around Collect. I felt overwhelmed by so many beautiful objects, but underwhelmed by a lack of content in quite a lot of the work. As Chris Lefteri says in his introduction to ‘Ingredients’ “…the importance of an object and its physical manifestation has diminished… new technologies have provided consumers with a new level of engagement with the object.”[1] I was looking for story telling in the objects, something that I could emotionally engage with, and something beyond the well crafted.
I returned to the V&A later for their Friday Late, an evening of themed ‘craft’ related activities, some of which were participatory. There was Ballroom dancing on a beautifully stencilled, icing sugar dance floor, casting your finger or toe in chocolate, a graphic design ‘playgroup’ and some interesting time-lapse films. I managed to be roped into a Charlie Chaplin impersonators Victoria sponge production line, having to dress in bowler hat, false moustache, walking cane, apron and latex gloves! It was a bit of fun and I was given a piece cake as a thank-you.
Saturday morning was spent in College, continuing to develop the glass mould design, and then it was an afternoon spent on the slow train home to Cumbria, writing up this entry.
[1] Ingredients, a Materials project by Chris Lefteri. No. 2 Sept 2007 www.moreingredients.com
Thursday 24 January 2008
18.01.08 – Thinking about Making
The decision of what pieces to produce for my examination is not an easy one to come to. The torus form is satisfactory, but the big question hangs over the cylinder/disc pieces. I am concerned about how they relate to the torus form and their similarity to Martin Smith’s work. This is a risk when similar themes are being explored through simple geometric forms. The inclusion of light [and possibly liquid] in my pieces will distinguish them to a certain extent, but links are bound to be made. It is a subject that I must raise with Martin at my postponed tutorial.
I took 3 more successful casts of the torus, biscuit fired the first three, two of which are seconds but were used as glaze tests later in the week. The metallic glaze that I made from Liz Aylieff’s recipe is causing me problems that I cannot afford the time to deal with at present. It is still blistering so I bought a small amount of similar glaze from Potclays. I managed to get a test into another student’s firing on Wednesday, the results are OK, black and shiny but it doesn’t have the metallic quality of the one Liz gave me. I may be able to add more manganese to it but that may risk a return to the blistering.
In preparation for making the cylinder series I threw a large wall section from which I took a plaster cast.
In contrast to the practical work, at this stage of the project the writing seems to be more manageable, or at least predictable. The thesis has a structure, I know what the contents are, the subjects to be explored, and I have just to get on with it.
On Thursday I had a rare evening out with other folk from College. We went to see Paso Doble at the Barbican, a performance by two artists using 10 tons of clay as their medium to tell the story of evolution and man’s impact on the environment. It was an extremely energetic performance, spectacularly creative. Clay and pots were pivotal to this theatrical event, so it will be interesting to see how [or whether] the ceramics media respond.
I took 3 more successful casts of the torus, biscuit fired the first three, two of which are seconds but were used as glaze tests later in the week. The metallic glaze that I made from Liz Aylieff’s recipe is causing me problems that I cannot afford the time to deal with at present. It is still blistering so I bought a small amount of similar glaze from Potclays. I managed to get a test into another student’s firing on Wednesday, the results are OK, black and shiny but it doesn’t have the metallic quality of the one Liz gave me. I may be able to add more manganese to it but that may risk a return to the blistering.
In preparation for making the cylinder series I threw a large wall section from which I took a plaster cast.
In contrast to the practical work, at this stage of the project the writing seems to be more manageable, or at least predictable. The thesis has a structure, I know what the contents are, the subjects to be explored, and I have just to get on with it.
On Thursday I had a rare evening out with other folk from College. We went to see Paso Doble at the Barbican, a performance by two artists using 10 tons of clay as their medium to tell the story of evolution and man’s impact on the environment. It was an extremely energetic performance, spectacularly creative. Clay and pots were pivotal to this theatrical event, so it will be interesting to see how [or whether] the ceramics media respond.
Sunday 13 January 2008
11.01.08 - Decision time
I came down to College on Monday this week, planning to make an effective start to the term.
Everything was in place for the casting of the torus mould and I managed to cast one each day. I shouldn’t be surprised that there is so much to learn each time a new form is attempted. With the torus I had to develop a sequence whereby I could handle the heavy mould allowing for careful filling, emptying and the removal of the cast. Correct timing is crucial, the cast has to be of the correct thickness, it has to be left in the mould until it’s firm enough to be removed without it distorting etc. etc.
By Friday I had 2 perfect casts and two slightly less than perfect. Thursday’s had imploded, probably when the slip was drained from the mould. I had applied talc to the surface of the mould that may have contributed to the problem.
I had a quick chat with my supervisor, Martin Smith, about the writing that I had done over Christmas. He agreed that there should be a stronger narrative throughout the section, so that’s something I need to attend to before long.
I spent some time thinking about the rest of the practical work that I need to produce over the next couple of months. The torus form relates well to the thesis, the cylinder pieces explore perception but they don’t relate well to each other and the cylinder strongly remind me of some of Martin’s work. The mirror black glaze links the two forms but the resemblance to Martin’s work is something I need to discuss with him.
Meanwhile, I need to carefully think and design forms that relate well as a group, and can illustrate the thesis.
So the plan for this weekend is to work on the designs and reread the writing. Plus I would quite like a bit of home life!
Rhino rendering of disc 11. I plan to incorporate 'lightwire' in the groove just below the rim.
Rhino rendering of disc 12. In this one the 'lightwire' is planned to fit in the groove where the wall meets the base.
Everything was in place for the casting of the torus mould and I managed to cast one each day. I shouldn’t be surprised that there is so much to learn each time a new form is attempted. With the torus I had to develop a sequence whereby I could handle the heavy mould allowing for careful filling, emptying and the removal of the cast. Correct timing is crucial, the cast has to be of the correct thickness, it has to be left in the mould until it’s firm enough to be removed without it distorting etc. etc.
By Friday I had 2 perfect casts and two slightly less than perfect. Thursday’s had imploded, probably when the slip was drained from the mould. I had applied talc to the surface of the mould that may have contributed to the problem.
I had a quick chat with my supervisor, Martin Smith, about the writing that I had done over Christmas. He agreed that there should be a stronger narrative throughout the section, so that’s something I need to attend to before long.
I spent some time thinking about the rest of the practical work that I need to produce over the next couple of months. The torus form relates well to the thesis, the cylinder pieces explore perception but they don’t relate well to each other and the cylinder strongly remind me of some of Martin’s work. The mirror black glaze links the two forms but the resemblance to Martin’s work is something I need to discuss with him.
Meanwhile, I need to carefully think and design forms that relate well as a group, and can illustrate the thesis.
So the plan for this weekend is to work on the designs and reread the writing. Plus I would quite like a bit of home life!
Rhino rendering of disc 11. I plan to incorporate 'lightwire' in the groove just below the rim.
Rhino rendering of disc 12. In this one the 'lightwire' is planned to fit in the groove where the wall meets the base.
Tuesday 8 January 2008
04.01.08 - Christmas Vacation
I was home for 2 weeks over Christmas and New Year and it was lovely to have the time to settle back into life in Cumbria with family and friends. Walking the dog across the fields, gathering firewood, cutting back brambles and that sort of thing mean a lot to me.
Some weekends during term it’s difficult to switch off from College, so the longer break allowed me to change gear a little and see the project in perspective. I think it’s essential to be able to step away from time to time.
Having said all that I spent a substantial part of the break writing up the Context section of the thesis. I feel quite happy with it so far, knowing that it is a useful starting point. I’m sure some revision will be necessary, but it’s one of the more demanding parts of the thesis so I’m pleased to have got it to this stage.
Some weekends during term it’s difficult to switch off from College, so the longer break allowed me to change gear a little and see the project in perspective. I think it’s essential to be able to step away from time to time.
Having said all that I spent a substantial part of the break writing up the Context section of the thesis. I feel quite happy with it so far, knowing that it is a useful starting point. I’m sure some revision will be necessary, but it’s one of the more demanding parts of the thesis so I’m pleased to have got it to this stage.
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