Graciela Olio Ceramics: Proyecto Sur, Serie Home (Project South, Home Series), 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 15x10x12 cm. Photo by Hernán Cédola.
Opening reception: Saturday, January 11, 6 pm.
Earth, air, fire and water are the essential elements in Gail Nichols’ vessels, both figuratively and metaphorically. The infinite landscape surrounding her home and studio at the base of Mt. Budawang near Braidwood not only inspires her strong, wheel thrown forms, it also provides the atmosphere that affects the soda vapour glaze firings. Moist air and damp earth will create a different firing result to days of low humidity.
A bowl filled with air and light and described by its own materiality, may have an irregular rim reflecting the undulating horizon and a luscious glaze of glassy celadon or shadowy grey mauve or rich, thick cream and molten soft browns tinged with fiery orange clay at the base. These glazes are created by swirling soda vapours in the firing process reacting with elements deep within the clay and each pot is placed in the kiln so that intended surfaces will occur.
Nichols’ control of kiln atmosphere has been gained over years of extensive research, leading to a PhD at Monash University in 2002. Her book, Soda Clay and Fire, published by the American Ceramic Society, is a leading text in the field. Her work is represented in Australian and international collections including the National Gallery of Australia.
Gallery hours: Friday to Monday, 10:30 AM to 5:30 PM, and by appointment.
Red Lodge Clay Center Long Term Residency / Red Lodge, Montana, USA
Application Deadline: February 1st, 2014
The Long-Term Residency (September 1 - July 31) is ideal for committed individuals in transition from post baccalaureate studies to graduate school, as well as those pursuing the development of professional artistic careers. Self-directed ceramic artists searching for the time, space and resources needed to explore new ideas and create new work will enjoy the rural mountainous setting. Accepted residents will be provided with studio space, housing, utilities, and a monthly stipend in exchange for twenty hours of work per week at the Clay Center. Responsibilities will include assisting in the retail operation of the gallery, teaching community clay classes, as well as cleaning and maintenance of the studio and gallery. Residents will be responsible for personal living expenses, as well as all material and firing expenses.
Application Fee: $40
The Red Lodge Clay Center welcomes applications from ceramic artists who will thrive working as a team, in a community minded atmosphere. The ceramics studio is located approximately six miles north of Red Lodge, 463 Two Mile Bridge Road. A form of transportation is necessary for the duration of the residency. Resident artists have 24-hour access to the ceramics studio. For more detailed information on material needs and studio equipment please contact the Red Lodge Clay Center.
Click here to apply online.
Red Lodge Clay Center
123 South Broadway
Red Lodge, Montana 59068
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Assistant Professor Ceramics at the Alberta College of Art + Design (ACAD), Calgary, Canada
Applications deadline: February 28, 2014
ACAD’s School of Craft + Emerging Media welcomes applications for the following Permanent Faculty position commencing in the fall semester of the 2014-2015 academic year: Assistant Professor, Ceramics (Competition # 1314-DE-FP-27).
The successful candidate will be expected to teach, demonstrate an active research/studio practice, and contribute to the strategic plan of the College through engagement in administrative service.
Summary of Responsibilities - The successful candidate will:
- Teach in all levels of the BFA and proposed MFA in Craft Media program, studio and lecture/seminar courses;
- Contribute actively to curriculum development in the School ofCraft + Emerging Mediaand to the strategic initiatives of ACAD’s Research and Academic Affairs;
- Maintain research/studio practice and contributions to research and scholarship in the field of contemporary craft, specifically ceramics;
- Demonstrate a commitment to continuing pedagogical and academic excellence;
- Provide service to the Faculty and College governance framework, including outreach activities that contribute to the academic life and profile of the College.
Qualifications - The successful candidate will:
- Hold a minimum of a Masters level degree or an equivalent level of graduate education.
- Have a minimum of five (5) years post-secondary teaching experience at the graduate and undergraduate levels (outside of graduate teaching assistantships) in studio, lecture, and seminar class formats.
- Have a minimum of five (5) years of research/studio practice outside of post secondary education
- Have a sound knowledge of ceramic technologies, methodologies, including wheel throwing, hand-building, mold-making and casting, clay and glaze technology, and knowledge of kiln firing technologies;
- Have experience with digital object design and fabrication technologies;
- Have experience teaching and working in interdisciplinary and trans-disciplinary contexts;
- Have a comprehensive knowledge of Ceramics history, contemporary theory and discourse in ceramics practices;
- Have a broad knowledge of history, theory and practice as it applies to Craft, Art and Design;
- Have excellent communication, interpersonal, time management, and organizational skills;
- Have social and theoretical understandings of technology, art and culture;
- Have the ability to organize collaboration in studio production or research;
- Have excellent communication, interpersonal and time management/organizational skills;
- Be community-minded and team oriented.
Preference may be given to candidates with:
- Ceramics studio management experience;
- An active Studio Pottery practice.
Please submit applications as per the instructions on our How To Apply webpage. In addition, include: artist statements outlining philosophies and practices regarding teaching and studio practice. Only applications submitted electronically will be considered. Please package all files as a single PDF document and do not submit as a “zip” or “Stuffit” compressed file.
Click here to submit your application.
The National Centre for Craft & Design confirms that Alexis Rago: Chaos Contained will begin its life as a touring show in Farnham. Originally curated by Laura Mabbutt for the NCCD, the exhibition opens at the Crafts Study Centre on 7 January 2014 continuing until 1 March. Touring Manager, Liz Cooper says “During its 70 day run at NCCD, over 4,600 people of all ages viewed Chaos Contained, making it one of the most successful exhibitions we have held in our Roof Gallery. We hope to repeat that success in Farnham.”
Alexis Rago worked as a biologist and his artwork is inspired by the Cambrian explosion, when diverse life forms rapidly evolved. He hand crafts his sculptures, allowing them to take shape while he works, and incorporating the imperfections characteristic of work created by the human hand. For Chaos Contained, Rago created brand new, technically challenging, large scale ceramic works,with integrated media, such as digital sound and projected imagery. Avideo of Rago describing the work as he createdit explains his thoughts, creative processes and techniques.
The exhibition has received critical acclaim, with the New Scientist describing it as “Beautiful Biology, pure fantasy, a collection of intricate, totem-like clay sculptures that look as if they are made from natural organisms”. Elements from the exhibition formed a key part of the Frequency Digital Festival, which took place in Lincoln in October 2013.
Public praise for Chaos Contained, captured in the gallery comment book, includes “serene, elegant, fascinating and wonderful”, “Beautiful, life-affirming – a delight”, and “Superb! Biologist myself – love the forms”. It has inspired art students to take up clay work and children to complete wonderment: “antastic, my little girl was mesmerised and spent time considering how they [the forms] stand up, she is only seven”.
The National Centre for Craft & Design is a unique and ambitious gallery that seeks to exhibit the most innovative, challenging and accomplished artists practicing within the craft and design arena today. Under one roof, the NCCD has five galleries dedicated to the exhibition, celebration and promotion of national and international craft and design. The NCCD is committed to creating exhibitions that can be seen by as many people as possible. Through its touring programme, the NCCD works with some of the UK’s leading galleries and museums.
In recent years, the human figure has returned to center stage in the work of artists around the world. Body & Soul: New International Ceramics underscores the power of the figure to convey strong emotions, and also to the accessibility of the ceramic medium. Through clay the figure becomes the catalyst for addressing the emotional impact of contemporary pressures that confront our society today. Each work, inspired by a personal incident or symbolic tale, expresses a deep emotional identity, contrasting societal, political, and personal views on themes such as anxiety, bias, mortality and memory.
The exhibition will highlight approximately 25 international artists who came to clay as painters, draughtsmen, or sculptors. Many are being shown for the first time in the United States. The range and quality of the works will make this exhibition engaging and provocative, and will bring this special area of creativity into a much-deserved focus.
“The artist with a social conscience who models in clay strives to capture an immediacy and a passion through tactile manipulation. With a focused purpose, he or she creates a specific message of historical or current concern, giving voice to a cause,” said Guest Curator Wendy Tarlow Kaplan. “Body & Soul underscores the ability of the human form to convey intense emotions, and we feel privileged to bring this important work together for the first time, and to address the human condition with raw power and pathos.”
“From ancient Greece through the Etruscans and Romans to the Renaissance and, ultimately, to the twenty-first century, clay has remained a powerful and immediate way of expressing ideas,” added David Revere McFadden, William and Mildred Lasdon Chief Curator, Museum of Arts and Design. “Since 1956, when the Museum of Arts and Design opened in its first manifestation as the Museum of Contemporary Craft, we have underscored our commitment to ceramics in general, and ceramic sculpture in particular. The MAD collections include landmark works by such luminaries as Robert Arneson and Viola Frey, both of whom concentrated their vision on the human figure and its perpetually evolving nature. Body and Soul: New International Ceramics is the latest manifestation of how the humble and quotidian material born of the earth itself once again claims center stage in contemporary art.”
This exhibition is organized and curated by Wendy Tarlow Kaplan with the advisement of Laurent de Verneuil, Martin S. Kaplan, and by David McFadden, William and Mildred Lasdon Chief Curator at the Museum of Arts and Design.
The Museum of Fine Arts, Boston (MFA), presents Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art, an exhibition that highlights the meticulous craftsmanship and highly creative sculptural forms of Japanese decorative arts. Among the first exhibitions to present contemporary ceramics alongside baskets, Fired Earth, Woven Bamboo offers an in-depth look at 60 objects created by dozens of leading artists based in Japan. Drawn from a recent gift of Stanley and Mary Ann Snider of more than 90 pieces spanning the late 20th and early 21st centuries, many of the works are on view for the first time at the Museum. Enhanced with a selection of contemporary textiles, screens and paper panels, the exhibition is open through September 8, 2014 in the Japanese Decorative Arts Gallery and is accompanied by an illustrated publication.
“Several years ago, Stanley Snider challenged the Museum to become a center for contemporary Japanese decorative arts,” said Malcolm Rogers, Ann and Graham Gund Director of the MFA. “Through the generous gift that he and Mary Ann made in 2012, and the infectious enthusiasm that they have conveyed to others, we are now well on our way to achieving that goal.”
During the late 19th century and into the 20th century, ceramics and bamboo arts in Japan evolved from traditional crafts into modern art forms, as those who produced them evolved from craftspeople into artists. As modernization continued, a new generation of artists began to assume creative control over the works they produced, creating unique pieces with their own hands, based on their own ideas. Creativity—rather than mere technical excellence—became the standard for an artist’s work. In Basket with bamboo-root handle (1930s), for example, Maeda Chikubōsai demonstrates an early example of bamboo art as a form of personal expression.
“The MFA has been at the forefront of promoting contemporary Japanese decorative arts for many years,” said Anne Nishimura Morse, William and Helen Pounds Senior Curator of Japanese Art at the MFA. “These works have attracted new audiences from around the globe in the last decade, and this exhibition is a wonderful opportunity to continue our long history of cultural exchange with Japan.”
This exhibition is generously supported by the Jean S. and Frederic A. Sharf Exhibition Fund.
In the years following World War II, avant-garde clay artists in Japan declared that their work no longer had to take the form of traditional vessels. Many of these artists maintained respect for ancient methods and aesthetics, while embracing the non-functionality of their ceramics. Akiyama Yō intentionally exploited deformations that would be considered defects in commercial products with Untitled MV-1019 (2010), which purposely employs cracks in the clay to provide a weathered effect. Fukami Sueharu––who brought Japanese ceramic arts global attention––also adopted inventive approaches to traditional techniques. His The Moment (Shun) (1998) is a keenly edged abstract work of porcelain that slices through space like a knife.
Recently, international praise has centered on pioneering female ceramists. Until the postwar era, virtually no women in Japan were ceramic artists; men feared that the presence of women would pollute their kilns. Koike Shōko was one of the first female graduates of the ceramic department at Tokyo National University of the Arts. Her shell-shaped vessels, such as Shell 95 (1995), were first thrown on a wheel and then sculpted from the clay of the Shigaraki region. Whereas traditional Shigaraki vessels are left unglazed, Koike applies layers of white slip (liquefied clay) to the surface. Sakurai Yasuko, also among the first women to work with clay on a university campus, plays with forms that make the viewer aware of light and shadow in Vertical Flower (2007).
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CLASS OF 2013 / The National Centre for Craft and Design, Sleaford, UK
November 22, 2013 - January 19, 2014
Each year,The National Centre for Craft and Design in Sleaford, Lincolnshire, UK selects work by the very best of the current year’s graduates from art colleges and universities all over the UK, and gives them the opportunity of exhibitingat the NCCD.
This year’s show explores the theme of function in objects. A range of high quality, visually striking artworks created by 18 specially selected graduates are on display. They demonstrate a diverse range of skills from fashion and jewellery to ceramics and automata.
Class of 2013 will be open to the public until Sunday 19 January 2014 everyday excluding Christmas Day, Boxing Day and New Years Day from 10am to 5pm (3pm Christmas Eve).
Ceramicists exhibiting in Class of 2013:
Luke Bishop, Rongorongo: Forgotten Function 5, 2013, Porcelain and stoneware with latex additions, maximum H46 cm. Photo by Scott Murray.
HE Diploma in Fine and Applied Arts in Ceramics
CityLit / London Metropolitan University
Rongorongo; Forgotten Function is an exploration rooted in the language of function where both memory and meaning are lost. False lids, multiple spouts (some obstructed, some fixed, others detachable), curiously and illogically-placed holes and tubes intentionally disturb the recognized and accepted grammar and syntax of function, causing the viewer and potential user to experience a disruption in the affordance towards the object.
In much the same way that an object excavated from the archaeological record only reveals to us a portion of its story, the meaning and uses of these vessels can never be completely recovered and known. Because the link between craft and everyday use has been permitted to slowly slip away from our collective experience, we are left with what we can only interpret but never fully explain. Function is forgotten.
Luke’s work seeks to invite the viewer to wonder at these curious vessels, and to provoke us to awaken to the process of cultural richness being lost. Its creative corollary, however, is that such richness can endure when care is taken to preserve meaning, ritual, skill and knowledge?
Zoe Clare, Invading Forms #4, #5, #6, #7, 2013, Porcelain, 56x61 / 34x48 / 17x30 / 30x60 cm. Photo by Scott Murray.
BA (Hons) Ceramic Design
Central Saint Martins - University of Arts London
Zoe is an artist who works predominantly with ceramic. She creates sculptures that are visually absorbing, rich in layers, texture and integral repetitive patterns.
Zoe is influenced by the natural world around her and the discoveries made during her travels. The natural world, often overlooked, provides her with rich visual resources, which she then interprets and uses as a vessel to convey commentary and observations.
The ‘Invading Forms’ series explores the effects and conservational issues of invasive, non-native plants and their effects on the bio diversity of South Africa’s endangered environment. The sculptures are a metaphor for the conservational issues and endangered biodiversity we are facing today.
The sculptures, created in porcelain, take on the aggressive character of the invasive plants and become an invading form, growing organically and intrusively, absorbing anything and everything that is in its path.
These structural forms are concerned with internal and external spaces and holds remnants of the extinct plants it has devoured inside for spectators to see. Sections of the invading forms are open, allowing the insides to be examined. Within are surprising textures and glazes depicting the exotic nature of the diminishing South African fauna and flora.
Jade Crompton, Bubble vases, Ceramics, slip cast, semi porcelain, Pieces between 23x24 cm. Photo by John James Clare.
BA (Hons) Design
Liverpool Hope University
Combining traditional plaster mould making techniques with the modern techniques of 3D design, Jade uses prototypes and digital model making to create unique moulds for slip casting.
Jade enjoys taking natural forms and applying structure and pattern using digital software, giving an organic and manmade appearance to her work. Overall her work is intended to be both aesthetically pleasing and functional.
Her current work focuses on casting plaster moulds from 3D printed models and layering laser cut pieces of perspex, this process allows Jade to produce more detailed and precise designs. The works are inspired by the layers found in natural formations such as lava, rock and ice.
Instead of using glazes or coloured slips which Jade finds too unpredictable, she uses airbrushed layers of under glaze which leaves a even matte coverage. She also adds a layer of clear glaze to the inside of her pieces which renders them waterproof.
Ruth Harrison (Porcelain, 2013, Photos by Scott Murray)
Green Gradiant Strip / Red Gradiant Strip, 200x95 mm.
Blue Disk with Orange Inlay / Yellow Disk with Blue Inlay / Green Disk with Red Inlay, 130x95 mm.
BA (Hons) Ceramics
Plymouth College of Arts
Ruth Harrison uses porcelain to create sculptural forms using repeated elements. She is interested in symmetry and the idea of taking one shape and multiplying it many times over or around a cylinder. Her work evokes the childhood memory of running a hand or stick along a fence.
Ruth chooses to use porcelain due to its white body when fired to 1260°c. Porcelain also works very well with coloured stain which she uses for some of her collections.
Ruth draws the attention of the viewer to a section or strip of the finished piece using colour, texture or pattern which is added to the piece as it is being made. Each disk is hand cut using a cookie cutter from 3mm thick slabs of porcelain which are then cut in half, sponged, scored, slipped and attached to a slip-cast cylinder.