Using both porcelain and cast glass my current body of work is informed by the changing landscape and rolling skies that are particular to the Gower Peninsula in Wales.
I combine black and white porcelain to explore qualities of tone, touch and immersion. While cast glass, with its translucent qualities, has the potential to reflect the colours, the changing light and mystery of this wild landscape.
The symmetry of form emphasises how landscape is something which is constantly changing, boundaries between inside and outside dissolve.
Exploring the ceramic and glass making process to me is an endlessly surprising and rewarding experience. I am interested in the multitude of transformations the different materials can go through in the firing process physically but also in the symbolic and metaphysical associations these processes and materials have. My dissertation research drew on the philosophies of the Alchemists, as developing their own personal psychology and understanding of the universe through the technical mastery of physical materials. My work is a an attempt to explore the ceramic and glass processes with this in mind.
With a background in product design, Chenchen is exploring the relationship between ceramic sculptures and functional objects that can provide a chance for people to shift their roles between viewer and user. She designs objects with ambiguous forms that have unspecific functions to leave the decision of utilization to the users.
By maintaining unity of form and the colour black, paired with an array of colour use, and the mixture of slip-casting technique versus hand-built texture, her work draws a conversation on the contrast between mass production and craftsmanship in ceramics, as well as the relation between conscious control and unexpected liberation.
Sun-A Kim sees beauty in the smallest details embedded in the surrounding world. She seeks for the most exquisite patterns and textures found in inconspicuous things that encircle us daily, which she transforms into a unique body of work. Sun-A wishes to expose elements of things that are hidden or from which people are appalled and bring to light their charm. In her current body of work, she magnifies the intricate and delicate characteristics of insects and presents an elegant perspective on that which may be regarded as revolting. And in that way, Sun-A calls attention to a true nature of beauty that exists within both the unnoticed and the apparent, calling for pause and appreciation.
Sun-A Kim was born in South Korea. She is always looking for more experiences from life. Because in contemporary society, it may be difficult to communicate intimately with other individuals, her work becomes an avenue for dialogue and mode of personal connection. To be able to share ideas and channel emotions with an audience brings her diverse inspiration, influence, and great personal happiness. She translates these moments into her creativity and ceramic works.
Lola Lazaro Hinks (b. 1990, London, UK) creates sculptures and photograms to explore light through both material and image.
This body of work, titled Invisible, highlights my research into transparency, and the inherent ability of glass to transmit visible light. My interest here lies in the exploration of light and photosensitivity, especially in how this relates to people, from vision to bodily responses. I would like to expose light as being anything but ‘pure’, to try and capture its ripples, darkness, mystery and humanness.
The aesthetic of my work highlights and exposes the process of making.
Based on a cheap and sentimental ceramic ornament from the past, with only “foreign” stamped on it’s base as identification.
Looking at its innocent appearance and it’s almost forgotten nature, I tell a new story so it is looked upon in a new light. Through resizing and leaving the marks from the process, a contradictory tale of neglect and decay is set against one of glorification.
My work is concerned primarily with a range of processes involved in ceramic production. I want to reveal theseprocessesand leave visible traces of making for the viewer to see and contemplate. The qualities achieved through scanning, CNC milling and mould making are accentuated through the application of glaze and colour. The seams left in place on the work are intended to show an integrity of production and reveal the journey in which the objects came to life.
In these works I am celebrating these beautiful qualities that sit comfortably with other types of handmade ceramic tradition in which the traces of the making are left visible and celebrated.
The delicate glazing accentuates the industrial marks and creates an artificial light source which goes hand in hand with the manufactured processes. 63 x 37 x 21cm.
I am exploring a variety of aspects of the beauty of clay and its transformation into ceramic material. The viscous nature of the glaze is used to accentuate the edges, pool in hollows and form drips. The work explores the qualities of the material and aims to expose and engage the viewer with the remnant qualities of clay; the offcuts and discarded pieces that are often overlooked from other processes such as carving or slab building.
The clay is cut straight from the bag with a wire cutter leaving indelible marks in the slabs. They are subsequently thrown down confidently to create a composition. Significantly, there is never an attempt to adjust or undo a move once it is made, only to balance the composition with the next slab. The overall process of construction is never interfered with and embraces an element of chance.
Terracotta with lead tin glaze
I love water. When I am in the sea, I am completely present and see the world from a different perspective. My work is an exploration of this sense of immersion articulated in an experiential way. It is informed by personal, shared experiences and memories of immersion. My research has led me to create installation and interaction based work in glass focused on restricted viewing, light and sound.
My study of immersion has led me to create two separate but related projects; Shorebreak, a sculpture based installation and The Most Charming Creatures, an installation of sculptural blown glass.
The focus of my work this year has been the compelling materiality of the clay and my deep connection to it. Clay is a beautiful substance with which to work, malleable, compliant and sensual. It possesses a will of its own and so the process between maker and clay becomes a conversation, an intimate dialogue. To completely immerse oneself in making by hand is a very human and enormously gratifying and valuable experience.
The body of work for the second year of my MA explores the processes of Nerikomi and Kintsugi for the creation of unique and decorative ceramic objects. Nerikomi focuses full attention on the manipulated porcelain clay. Coloured with stains and oxides, and using hand-building techniques, patterns are created within the material. Kintsugi, embraces the imperfections that can occur during the processes involved in the construction and firing. My fascination with both techniques is not only that the clay and pattern combine to become the material of the object, but also, the true character and materiality of the clay can be exploited and brought to centre stage. When manipulated, the plasticity of the clay encourages movement, forming naturally soft lines, which appear to drift in and out of focus within the designs. Kintsugi becomes a precious scar, reminding us that strength and beauty exists in fragility.
“Art is serious play — a chance for children to glimpse their own creative power.”
- Grayson Perry.
I have always been intrigued by the playfulness and elegance of children's toys and how the forms invite engagement. Using hot glass I am exploring form, texture, scale, and space to excite the viewer. In one group of objects I wish to draw the viewer in to explore the internal space, the play of light and shadow on the form and the optical qualities of solid glass. In another group I am playing with stacked components, using them like children's building blocks to create towers where each form, colour and texture has a relationship with the others, whether they are complimentary or shocking, comfortable or jarring.
Emily Stapleton Jefferis (b. 1992) is an artist living and working in London. Often inspired by nature's multiple patterns and shapes, she uses clay as a medium which allows her to engage with her entire body.
This body of work draws upon the materiality of clay to explore states of flux and growth. Pieces rise from the ground, shifting, morphing and reaching; engaging the viewer with their human scale. They are a terrain of the body, of the landscape, of touch, of memory.
Ian's work is influenced by a wide range of social, political, historical and technical traditions and conventions from many different cultures. Many of his works use stories, characters and metaphors to explore ideas exploring the paradox of vulnerability and strength as part of the human condition. A wide range of iconography as well as the use of semiotic method is used to create a slow, intimate and engaging experience for the viewer. The work is designed to offer a more meditative experience counter to the experience of the 'glimpse' culture of so much contemporary visual culture.
Warmth and comfort invite people to experience a material differently. A medium known for being cold and brittle, these pieces express instead feelings of pleasure, softness and welcoming. Movement of colours, light and unrestricted lines create sublime forms that are allowed to transmit themselves away from being definite and possess a life of their own.
Alice Walton (b. 1987) creates sculptural one off ceramic forms.
My latest work is inspired by London’s urban environment, by place and journey. It incorporates my fascination for noticing mundane street objects, passed by in our everyday lives. It is a consideration of the unnoticed, an examination of unseen things in our environment and a re-evaluation of them.
I work with coloured clay throughout its plastic states, aiming to highlight the meditative process of the material. I investigate how everyday objects like concrete bollards, brickwork and pipework can transcend into unusual and extraordinary objects and in turn form a new abstract landscape. My sculptural and abstract forms explore complex and intense surface textures and intend to provoke intrigue.
Hua’s installation brings you to a world that is not restricted to a timeline, a world where time frames overlap. Meat comes in the shape of a hook - hooks of flesh. Chains that are a symbol of restraint now show fragility. Everything is metaphysical. It is an uncanny dream that contradicts the existing physical world.