(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.
Saturday, 26 April 2008
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.
Friday, 21 December 2007
21.12.07 - Still juggling!
I returned to college on Monday this week as Michel from the French company was arriving at 8.00am on Tuesday morning. He came over to bring some equipment and materials and to demonstrate the infiltration process.Alastair had completed a second tureen base, so I now had one set, plus a tureen with thin handles. The equipment was set up in the cold glass workshop, first experimenting on some test pieces of tureen. By the end of the day all was infiltrated, cured with the UV lamp and dried in the oven, or so I thought.
I carefully packed the two pieces and took them to Paris by Eurostar the following day. When Michel inspected the pieces he thought that they should have been cured and dried in the oven for longer. There were tell-tale blotchy patches which show the uneven curing. Michel had made a second lid for me, so in theory I have two tureens.
The day in Paris was spent making some tests for the black ceramic topcoat. Michel also proposed to make another tureen on their Z Corp machine using 131 powder as it is stronger than the 130 that College uses. It was decided to produce it in black to make the application of the topcoat far easier.
The following day I brought the test samples into College and compared them to a Wedgwood artists proof of an Eduardo Paolozzi Newton sculpture that is in the office. Surprisingly the colour that I thought would be the closest was far too dark, an iron oxide stain being far closer. I photographed the samples against the sculpture and emailed them to Gilles who planned to make up the colour in the lab and send me the results over Christmas.
The next stage will be to return to Paris to collect the pieces some time in January.
Meanwhile, I also had to think about the main project - the M.Phil. Whilst I was in Paris the slip from Ideal Standard arrived, so on Thursday I set up a frame on which to place the mould for casting. The mould is large and heavy, heavier still when full of slip, so I need to be able to turn it over for emptying without the need to lift. The system works well, but the first cast imploded as part of the cast stuck to the mould when I was separating the two halves. The first cast is normally scrapped as it cleans the surface of the mould, for the second cast on Friday I decide to cast the piece slightly thinner, leave it in the mould to dry for longer and to lift off the other side of the mould which may be less likely to stick. As I write this the cast is still in the mould.
It's now 3.00 pm and the cast has been successfully removed from the mould. It looks OK and I'm optimistic about taking further casts as they should come out more easily.
Happy Christmas.
Saturday, 15 December 2007
14.12.07 - End of term juggling
Last weekend was spent finishing off the design presentation for my RSA Design Directions, Ceramic Futures competition entry, the deadline for which is today.
I decided to document the project as a blog, reflecting the fact that the project use digital technology [rapid prototyping] and unconventional ceramic materials.
After returning to College on Tuesday, I went up to RapidformRCA to check on the progress of the build. A test piece had come through but was extremely fragile; one handle had broken, but the piece looked amazing. The next stage was for Alastair, the technician who has been assisting me on this project to strengthen the weak points in the FreeForm software and then have another go at building the piece on the Z Corp RP machine.
Meanwhile, I was also busy chasing the Ideal Standard slip that I’m planning to use to cast my torus form.
On Wednesday I had a tutorial with Martin Smith, primarily to discuss the section of the thesis on Perception that I recently wrote. Comments were positive, with some suggestions about topics that I need to develop or add.
He also said that I should work out what practical work is to be produced for the examination. I mistakenly thought that I had longer to produce those. So the pressure is on.
Over the Christmas period I need to start writing the Context section of the thesis, looking at artists who are exploring similar themes. Most of the work that resonates with me is non-ceramic, which Martin thinks is a problem as the project is rooted in the ceramic medium. I’m not sure how to deal with his own work and need to look more closely at whether should be a candidate for inclusion.
The rest of the week was spent organising my trip to Paris next Wednesday, and liaising with Michel, who is coming over from Paris on Tuesday to bring the equipment that RapidformRCA have ordered and to work on my piece. I have been anxious that the Wedgwoddn’t piece might not be ready in time and couldn’t keep hassling Alastair, as he has plenty of other tasks to be getting on with in the College.
Thursday evening was the department Christmas party, which apparently lived up to its long held reputation; so much that College insisted that we have a security guard!
I thought things would be quiet when I arrived in College on Friday morning but the place was awash with water, plumbers and cleaners. The radiator in the technicians room had burst at 4.00am flooding the glass workshops, clay store, corridor and research area with steaming black water. I helped to get the place straight and 90 minutes later it didn’t look so bad. However, the real damage had been done down below in the research offices.
The rest of Friday was spent trying not to check on Alastair and start thinking about the work I need to produce.
I decided to document the project as a blog, reflecting the fact that the project use digital technology [rapid prototyping] and unconventional ceramic materials.
After returning to College on Tuesday, I went up to RapidformRCA to check on the progress of the build. A test piece had come through but was extremely fragile; one handle had broken, but the piece looked amazing. The next stage was for Alastair, the technician who has been assisting me on this project to strengthen the weak points in the FreeForm software and then have another go at building the piece on the Z Corp RP machine.
Meanwhile, I was also busy chasing the Ideal Standard slip that I’m planning to use to cast my torus form.
On Wednesday I had a tutorial with Martin Smith, primarily to discuss the section of the thesis on Perception that I recently wrote. Comments were positive, with some suggestions about topics that I need to develop or add.
He also said that I should work out what practical work is to be produced for the examination. I mistakenly thought that I had longer to produce those. So the pressure is on.
Over the Christmas period I need to start writing the Context section of the thesis, looking at artists who are exploring similar themes. Most of the work that resonates with me is non-ceramic, which Martin thinks is a problem as the project is rooted in the ceramic medium. I’m not sure how to deal with his own work and need to look more closely at whether should be a candidate for inclusion.
The rest of the week was spent organising my trip to Paris next Wednesday, and liaising with Michel, who is coming over from Paris on Tuesday to bring the equipment that RapidformRCA have ordered and to work on my piece. I have been anxious that the Wedgwoddn’t piece might not be ready in time and couldn’t keep hassling Alastair, as he has plenty of other tasks to be getting on with in the College.
Thursday evening was the department Christmas party, which apparently lived up to its long held reputation; so much that College insisted that we have a security guard!
I thought things would be quiet when I arrived in College on Friday morning but the place was awash with water, plumbers and cleaners. The radiator in the technicians room had burst at 4.00am flooding the glass workshops, clay store, corridor and research area with steaming black water. I helped to get the place straight and 90 minutes later it didn’t look so bad. However, the real damage had been done down below in the research offices.
The rest of Friday was spent trying not to check on Alastair and start thinking about the work I need to produce.
Saturday, 8 December 2007
07.12.07 - Ceramic Futures & the Future of Ceramics
The RSA project has been the focus this week, though on Monday I drove through very heavy rain to the Ideal Standard factory at Middlewich. The containers had arrived so we filled 6 of them. I hadn’t realised that they would be so heavy, but the slip is 1.9 kilos per litre so one container weighs about 40 kilos.
On Tuesday I arrived at College to Tavs Jorgensen enthusing about the lid of my Wedgwoodnt tureen. I rushed upstairs to Rapidform feeling like Christmas had arrived early! The lid, had turned out really well, far more beautiful than I expected. Alastair was finishing the preparation of the base section on Freeform software though his time is spent juggling other projects as well.
On Tuesday afternoon I had a meeting with Jeremy Myerson in Innovation for advice on the questions that should be asked at Wednesday’s meeting with the French company. He gave me a list of very practical points to clarify. I also asked about how Research Associate positions operate within the College. He mentioned Innovation Fellowships where sponsorship comes from various sources for the project. In this case there would be the French, possibly someone from within the industry here, made {DTI] and possibly the London Design Festival. I need the backing of the Ceramics & Glass department as the project would be based there and there may be some cost implications. Martin is interested in the materials, but needs to know more before committing himself.
Wednesday’s meeting with the French company to arrange collaboration went very well. Both parties are enthusiastic about working together. There will have to be a non-disclosure agreement between College and the company as some of the materials are still in development and haven’t been patented yet. This may need to be mutual in case the RCA develop new applications or products.
Martin Watmough from Rapidform kindly invited me to a meeting with Robin Levien and his team on Friday. They were over at College to discuss Rapid Manufacture, Martin giving them a tour and talking them through the various systems. It was a great opportunity for me to talk about the French ceramic materials and their potential. There was a bit of a disagreement about just how revolutionary they are and whether they are truly ceramic, according to the definition of ceramic [made of clay and irreversibly hardened by heat]. That seemed to pass and when I mentioned my interest in an Innovation Fellowship he offered to be the Industrial partner. For me, that is a very important part of the jigsaw.
In the afternoon, Grace came down from Middlesex University and after having a look round the C & G Work in Progress show we went over to the Serpentine Gallery where there is a stunning show of light installations by Anthony McCall. They are computer programmed moving images of lines and wave patterns projected through smoke. The effect is mesmerising, the light appears as gossamer thin material that you can walk through and engage with. Each viewpoint gives a different perspective, looking from within a shape is quite different from observing from outside. We were both stunned by the magic and beauty of the art. I need to go again, now that I know what to expect and be more analytical. Maybe the exhibition would make a good topic for a research seminar meeting.
On Tuesday I arrived at College to Tavs Jorgensen enthusing about the lid of my Wedgwoodnt tureen. I rushed upstairs to Rapidform feeling like Christmas had arrived early! The lid, had turned out really well, far more beautiful than I expected. Alastair was finishing the preparation of the base section on Freeform software though his time is spent juggling other projects as well.
On Tuesday afternoon I had a meeting with Jeremy Myerson in Innovation for advice on the questions that should be asked at Wednesday’s meeting with the French company. He gave me a list of very practical points to clarify. I also asked about how Research Associate positions operate within the College. He mentioned Innovation Fellowships where sponsorship comes from various sources for the project. In this case there would be the French, possibly someone from within the industry here, made {DTI] and possibly the London Design Festival. I need the backing of the Ceramics & Glass department as the project would be based there and there may be some cost implications. Martin is interested in the materials, but needs to know more before committing himself.
Wednesday’s meeting with the French company to arrange collaboration went very well. Both parties are enthusiastic about working together. There will have to be a non-disclosure agreement between College and the company as some of the materials are still in development and haven’t been patented yet. This may need to be mutual in case the RCA develop new applications or products.
Martin Watmough from Rapidform kindly invited me to a meeting with Robin Levien and his team on Friday. They were over at College to discuss Rapid Manufacture, Martin giving them a tour and talking them through the various systems. It was a great opportunity for me to talk about the French ceramic materials and their potential. There was a bit of a disagreement about just how revolutionary they are and whether they are truly ceramic, according to the definition of ceramic [made of clay and irreversibly hardened by heat]. That seemed to pass and when I mentioned my interest in an Innovation Fellowship he offered to be the Industrial partner. For me, that is a very important part of the jigsaw.
In the afternoon, Grace came down from Middlesex University and after having a look round the C & G Work in Progress show we went over to the Serpentine Gallery where there is a stunning show of light installations by Anthony McCall. They are computer programmed moving images of lines and wave patterns projected through smoke. The effect is mesmerising, the light appears as gossamer thin material that you can walk through and engage with. Each viewpoint gives a different perspective, looking from within a shape is quite different from observing from outside. We were both stunned by the magic and beauty of the art. I need to go again, now that I know what to expect and be more analytical. Maybe the exhibition would make a good topic for a research seminar meeting.
Saturday, 1 December 2007
30.11.07
It was another busy week of juggling my main project and the RSA Ceramic Futures entry.
In addition the Ceramics and Glass department is holding the Work in Progress show. Tensions mounted at one point, but the show looks great, the bonus this year being the inclusion of the First Years. They have completed one 7-week project and the results are very accomplished.
I was disappointed with the last couple of kiln firings; the black glaze is too thin, uneven or blistered. At home things haven’t been any better as most of the work has cracked!
The RSA entry has taken quite a few hours work, partly refining the design to help Alastair in RapidformRCA to be able to apply the texture. I had been thinking about how to submit the design work to the RSA, the guidelines suggest sketchbook, mounting work on A3 board etc. but that doesn’t appeal. The project is all about the application of new technology and innovative materials, so I wanted to reflect this approach in the supporting material. I have decided to present it as a blog- http://www.wedgwoodnt.blogspot.com
that I can print off sections from as necessary. It can also be put onto CD that I hope will be interactive.
My torus mould has been sat gathering dust since it was made. I was away in France, and then my contact at Ideal Standard has been on holiday. In addition I had some trouble finding plastic containers for the fireclay slip. They should now have been delivered so I plan to go to the factory next Monday.
I have also managed to continue writing my essay on perception, just over 2000 words so far and not finished. I must canvas the opinions of some of my fellow researchers.
I have missed a few potentially interesting lectures at College and there are one or two exhibitions that I must see. However well organised I try to be, there never seem to be enough hours in the week.
In addition the Ceramics and Glass department is holding the Work in Progress show. Tensions mounted at one point, but the show looks great, the bonus this year being the inclusion of the First Years. They have completed one 7-week project and the results are very accomplished.I was disappointed with the last couple of kiln firings; the black glaze is too thin, uneven or blistered. At home things haven’t been any better as most of the work has cracked!
The RSA entry has taken quite a few hours work, partly refining the design to help Alastair in RapidformRCA to be able to apply the texture. I had been thinking about how to submit the design work to the RSA, the guidelines suggest sketchbook, mounting work on A3 board etc. but that doesn’t appeal. The project is all about the application of new technology and innovative materials, so I wanted to reflect this approach in the supporting material. I have decided to present it as a blog- http://www.wedgwoodnt.blogspot.com
that I can print off sections from as necessary. It can also be put onto CD that I hope will be interactive.
My torus mould has been sat gathering dust since it was made. I was away in France, and then my contact at Ideal Standard has been on holiday. In addition I had some trouble finding plastic containers for the fireclay slip. They should now have been delivered so I plan to go to the factory next Monday.
I have also managed to continue writing my essay on perception, just over 2000 words so far and not finished. I must canvas the opinions of some of my fellow researchers.
I have missed a few potentially interesting lectures at College and there are one or two exhibitions that I must see. However well organised I try to be, there never seem to be enough hours in the week.
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