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Ceramics Now Magazine Issue Two

Annie Woodford - Spotlight, October 2012

SPOTLIGHT, October 2012: Annie Woodford

Annie Woodford - Spotlight on Ceramics Now Magazine

Interview by Ileana Surducan and Vasi Hîrdo for Ceramics Now Magazine - Issue Two

You take your inspiration from nature. You are not just making a superficial observation, but you conduct a research of the things hidden to the naked eye. Tell us more about the universe you have discovered through your explorations.

I am fascinated by the natural world in its widest sense and at all levels. An interest in the nature of time - the past, present and future has led me to investigate multiverse theory and hidden dimensions - concealed worlds. From there I began to examine nature on a microscopic and nano scale. I became fascinated by the concept of the unseen and rendering it seen.

One of the subjects I investigated was that of diatoms, especially fossil diatoms. Invisible to the naked eye, beautiful and structurally complex I discovered them to bevery significanting the field of paleoclimatology - they are an important indicator of climate change.

I like to select various aspects of the natural world and then examine them on both a macroscopic and microscopic level, considering them in terms of their relationship to time and how they relate to other parts of the universe.

[] Read the full interview in Ceramics Now - Issue Two

Intricate but also delicate, your work seems to be obtained through a very meticulous process. What materials and techniques do you use and how much time does it take to complete a new piece?

Porcelain is the clay I favor - I particularly like ‘Southern Ice White’ which was developed by the Australian ceramicist Les Blakebrough. In general, the works are handbuilt; occasionally I use slip in a free but controlled way, sometimes combining it with fine glass fibre. I like to push the material beyond its perceived boundaries. The characteristics of porcelain mean that it requires careful handling throughout the making process and control and accuracy with firing and cooling.

I often incorporate extraneous materials once the piece is fired such as metal, monofilament, fibre or horsehair. These elements add richness to the work.

A new piece can take up to two weeks to make, depending on its complexity and it can take a further week or two to construct and apply other elements. I work intuitively when I am making, drawing on my research and bringing all the experiences together.

[] Read the full interview in Ceramics Now - Issue Two

Annie Woodford Contemporary Ceramics, Ceramics Now Magazine
Annie Woodford, Circlet, 2009, Porcelain, copper, stainless steel, 24 x 24 x 24 cm
View Annie Woodford’s works

Both science and art are a way of looking at the surrounding environment. What do you think is their meeting point? What kind of form of knowledge is art?

I often find myself working with scientists on projects and I think the two disciplines have many aspects in common. They both help us to understand the world around us. They both rely on investigation and imagination – the ‘what if?’ principle.

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  • Bogdan Teodorescu - Romanian ceramic artist, October 2012

    ROMANIAN CONTEMPORARY CERAMICS, October 2012: Bogdan Teodorescu

    Bogdan Teodorescu - Romanian ceramic artist, Romanian contemporary ceramics

    Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two

    You are a versatile visual artist who works in mediums such as painting, collage, video art, but also ceramics. In the process of creating a new work, do you allow yourself the freedom to change the medium of expression?

    Versatility it’s not entirely a positive feature, at least not for an artist. To be consequent could be in many cases a better option. Up to this moment, my flexibility didn’t create a strong image of myself, but instead surrounded me with an aura of strangeness and ambiguity.

    Changing the medium could be an important, valuable quality, mostly when you’re forced to work in difficult conditions. For example, if you don’t have your own kiln or the brightest and most refined porcelain, you have to improvise, for example to do installations of found or smashed objects. If you record the process on camera, you also have good chances of becoming a video artist or a performer. I don’t feel like it’s hard to transfer one idea between different types of media, but it is quite frustrating. I have always imagined myself doing heroic jobs, but I have to acknowledge my limitations and therefore pay attention to small or discreet things. From this point of view, things become even more ambiguous.

    [] Read the full interview in Ceramics Now - Issue Two

    Are your creations the results of research processes or they are on-the-spot transpositions?

    Sometimes they are, sometimes they aren’t. Let’s say I like spontaneous ideas. I don’t bother that much with research. I’m always intrigued when someone titles his collection of exhibited images a project, evoking some ideas he is attached to. If you’re honest to yourself you will notice how clear everything is. Everything you do comes from a background. I will give you an example: some years ago I developed a project on an accidental idea. I asked two of my friends, a poet and a monk, to start an artistic collaboration, taking advantage of this multidisciplinary friendship. The monk opened a book and picked a word for a theme. The poet had to write something regarding this, and I had to paint or draw. Almost from nowhere, an idea appeared: smashing watermelons! Then I started the research, amazed by all coincidences I had found. This innocent image had a huge iconography and transgressed many cultures. It was like a revelation.

    Bogdan Teodorescu Ceramics
    Bogdan Teodorescu, This is the best world from the others, 2012, Porcelain, feldspat, approx 27 x 28 cm.
    View Bogdan Teodorescu’s works

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