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.
Showing posts with label V and A. Show all posts
Showing posts with label V and A. Show all posts
Thursday, 27 March 2008
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
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