Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

Interview with Ruth Power - New artist, April 2012

NEW ARTISTS, April 2012: Ruth Power

/ Read the full interview in Ceramics Now - Issue Two

Ceramics Now Magazine
: You are a very young ceramic artist. When did you discover the potential of this medium? Did school have an important role in directing you on this path?

Ruth Power: Like most artists. makers or craftspeople, I have been interested in art and working with my hands from a very young age. I had a fairly basic art education in secondary school in Ireland (largely based on 2-dimensional drawing work) - quite the antithesis of what we do in third level education. However, I decided that I wanted to attend the National College of Art and Design (Dublin) from a fairly young age and my art teachers in school encouraged me to do so.

The college has a great system, by which everybody does a Core Year in their primary year (four years in total). From here, the student embarks on their first steps towards their professional formation as artists, designers and educators. The student has the opportunity to sample the diverse courses the college has to offer and in turn, discover where their strengths, weaknesses and passions lie.
Many people (such as myself when I began) have no idea what department they wish to pursue when they enter, so this system works really well. Throughout the year, I did a lot of 3D making and intricate work with wire and found objects, so I decided to go into the Ceramics, Glass and Metals Department, specializing in metals. However, when I entered the department I fell in love with ceramics and its diversity. I knew nothing about the material, glazing or mold-making. The only experience I had with clay was when I made a pinch pot in 1993 for Mother’s Day. I painted in neon pink and yellow (which was in vogue at the time!) with ‘Ruth Power, Age 5’ scrawled into the base. I was in instant awe of the abundance of potential of the material, and the infinite amount of creative and scientific exploration that could be done with this ancient medium. Thus, it was only until I was in my second year of college that I discovered the potential of ceramics.

Ruth Power Ceramics, tentacles, sexuality
Breasts (Cephalophilia), 2011, 48cm wide x 42cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior (Black and white image) - View her works

Your works are debating subjects like censorship, mainstream pornography or sexual repression: did you choose these topics in the hunt for controversy?

I have identified with being a feminist for many years now and these subjects have been of huge importance to me. I had researched and discussed those topics for quite some time before merging them into my artwork, when I was in Third/Fourth Year. I wrote my thesis on a very similar subject (how pornography is influencing mainstream trends). In Second Year, we focused on skills and techniques and thus, did not get the chance to incorporate much of our own expression. It wasn’t until Third Year that we were taking on self directed projects and had the opportunity to entirely immerse ourselves into our own fully developed concepts.

To me personally, the work is not controversial; it is dealing with issues that I believe need to be addressed urgently and discussed more openly. Its just that sexual politics and pornography are not usually deliberated, and the naked body is still taboo in our culture. Moreover, because I have had a considerable interest in such topics for quite some time, any of the initial ‘shock’ factor had been lost on me a long time ago. So, for me, the work was never really controversial (especially since I have an open attitude towards sex, sexuality and the body). It was bringing to light issues that I believe need to be confronted, issues that affect me personally.

Ruth Power Ceramics, tentacles, sexuality, pornography
Cephalophilia (installation), 2011, 100cm wide x 100cm long x 40 cm high - View her works

Do you consider that the theme of your works has a bigger impact on the viewer just because of the connotations? Do you see yourself exploring it throughout your career?

I do consider that. Like I mentioned previously, generally in this generation, people are not used to seeing pornography being challenged, questioned, analyzed or discussed, so naturally, it has a bigger impact on the viewer. Pornography is now seen as normal; natural even, a rite of passage - though pornography has become much more brutal and misogynistic since Andrea Dworkin’s time (a time when the pornography debate raged on). Also, I am aware that many people are still oblivious to how increasingly degrading contemporary pornography is becoming. What’s more is, people from this part of the world are not all too acquainted with the massive sub-genre of pornography that is tentacle rape, thus, I do consider that the theme of my work has a bigger impact on the viewer because of the connotations, and hopefully helping the viewer to gain awareness on the issue.
But I do not think that it is just the theme that has a larger residual on the viewer, I think that the installation and light display further contributes to the impact.
I am currently planning to work on something different, but I definitely see myself investigating these topics more throughout my career, as these issues play such an integral part in my life.


You initially started working with white earthenware clay but now you switched to translucent porcelain. What determined you to change the material? Did you also make changes in the meaning of your work?

In a way, the earthenware pieces ended up being the ‘practice’ pieces for the porcelain work. I started the project in Third Year when I still had not much experience in working with clay and molds. Thus, I began the project using white earthenware clay. I began to gain more confidence with the material, and the work became more and more refined. My technician encouraged me to try porcelain at the end of Third Year (in which I made the non-translucent mask). I really enjoyed working with the challenging material and was enthralled by the ethereal, pristine beauty of the high fired porcelain.

By Fourth Year I had my general concept and subject matter. This time, I wanted to really technically push and challenge myself, and see how far I could go with this wonderful substance and its unique qualities.
I adored the translucent property of porcelain and decided to play around with it and its potential. I researched other artists who use porcelain and came across Kate MacDowell. Using some of my press-molds from Third Year, I began to make very thin casts, starting small (e.g. the single breast) and placed tentacles behind the piece in order to create silhouettes and depth. The piece was left in the mold overnight and then removed. Tentacles were hand-built onto the surface of the piece, with each sucker and frill individually placed.

Ruth Power Contemporary Ceramic works - Japanese tentacle pornography
Two faces (Cephalophilia), 2011, 33cm wide x 34cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior - View her works

However, their are limits to the material and these had to be overcome. For instance, porcelain slumps when high-fired, distorting the piece, so each piece had to be carefully supported using ceramic fibres and fired in a sagar. Also, I discovered that this work was only possible if I used porcelain paper clay for the super-thin body parts, as regular porcelain would crack very easily.
As I gained more confidence and experience with the material and technique, I moved onto bigger and more complex pieces such as the pair of breasts and the two faces.

Switching to porcelain totally expanded and enriched the meaning behind the work. The Italian word for cowrie shell, porcellana (the word from which porcelain got its name), derives from the Medieval Italian word porcello, literally meaning ‘little pig’, but far more usually used as a contemptuous word for vulva. This is very fitting for my work as degrading and contemptuous terminologies are often used to describe women and their body parts in pornography.
Moreover, after firing, porcelain shrinks a considerable amount, thus, the body parts shrink. This gives the work a slightly more disturbing angle, for instance, is it the vulva of a woman or a child? Is it the face of a woman or a child? Is it the neck of a woman or a child? This reflects the way in which the media often sexualizes children (e.g. Bratz Dolls, padded bras for 4 year olds for sale in Tesco) and infantilizes women in a sexual manner (the common school girl fantasy in pornography, American Apparel advertisements etc.).

Porcelain is an undeniably beautiful material. Why use such a beautiful material for such subject matter? Despite the rather grim conceptual content of my work, aesthetics are important to me. I am fascinated by the conflicting reactions my work evokes; some shudder, some think it is beautiful. All too often, whilst online debating issues such as the ones discussed, I have been dismissed as a ‘fat, ugly, jealous, feminist bitch.’ Perhaps, in this culture, something needs to be beautiful in order to be heard.


Interview by Vasi Hîrdo, Editor - office@ceramicsnow.org, vasi@vasihirdo.com

/ Read the full interview in Ceramics Now - Issue Two

Ruth Power’s profile on Ceramics Now Magazine - View her works

Visit Ruth Power’s website.

© The interview is subject to copyright and belongs to Ceramics Now and Ruth Power. Cannot be used without permission and original link.

All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website powered by Tumblr.