Ceramic artists who add collected and found objects to clay bodies

 

Virginia Pates (http://virginiapates.blogspot.co.uk/)

virginiapates

The Lower Parking Lot
Porcelain, thrown and altered, with inclusions of dirt from the lower parking lot of the Annandale Campus of Northern Virginia Community College, fired to cone 6 oxidation, 2014. (http://virginiapates.blogspot.co.uk/) accessed 26/12/17
This is a pot with a lava glaze over a porcelain body with the addition of dirt from a parking lot. Virginia’s blog gives a lot of detail about collecting and processing, about testing at bisque and glaze firing with found materials such as dirt, tarmac and rubbish as well as local clays and rocks which is particularly relevant to the processes I am looking at.

Adam Buick (http://www.adambuick.com/about/)

Miniature-moon-jar-1280

Miniature Moon Jars 2014 Mixed ceramic media with landscape inclusions. ht 9cm (http://www.adambuick.com/moon-jars/) Accessed 26/12/17

Buick incorporates local materials into his work and is concerned about communicating sense of place. He works on a single canvas of the moon jar form.

This is interesting as I am deliberating on the form my work will take. I am considering beginning the project with the travel flask form, and to form part of the development of the Holburne Project.

Also relevant to my research – he placed an unfired moon jar into the sea which was destroyed by a wave, titled forces of nature. Similar to my idea of erosion onsite.

Liz Larner (http://www.tanyabonakdargallery.com/artists/liz-larner/series-works_7)

lis larner

Liz Larner, IV (CALEFACTION), ceramic, glaze, stones and minerals 21 1/5 by 37 by 8 in. 53.8 by 94 by 20.3 cm   (https://www.mutualart.com/Artwork/IV–CALEFACTION-/6861C81E87EEE422  Accessed 17/12/17)

Liz Larner  works with clay slabs with the addition of rocks, stones, minerals, glazes and epoxy resin. Her work alludes to the shifting tectonic plates in her home of California and it’s instability.

The main link to my research is the contrast and interplay between the additions and clay body.

 

Tana West (http://79.170.44.116/tanawest.co.uk)

intothemud2 tana west

Into the Mud, 2015, http://79.170.44.116/tanawest.co.uk/?portfolio=the-power-and-the-water-connecting-pasts-with-futures

Tana West is an example of a ceramic artist who could be proposed as working in a critically regionalist way. She collects local materials to make clay and glazes and works to connect with the locality and local concerns. Into the mud project (image above) was a one-day workshop held on the banks of the Severn Estuary, in June 2015, as part of a community festival.

She describes herself as a ceramic bricoleur:-

‘I set out walking map in hand, a present-day hunter-gatherer in search for materials. My ceramic practice is mobile, the process of making work is contingent on what is found and can be transported. I collect and use estuarine mud, excavated clay, brick and rock fragments to make glazes and clay bodies which are regionally specific. I work with traditional techniques to make ceramic objects that connect maker with locality and local concerns: It resides in a conversation between imagination and experience.’  (West, http://79.170.44.116/tanawest.co.uk/?page_id=85)

She won the British Ceramics Biennial 2017 for Hard Border, a participatory project in which she collected clayey soil from participants around Europe which was incorporated into the pavers and the border analogy relates to contemporary issues regarding communication and movement. (https://www.un-woven.co.uk/)

British Ceramics Biennial 2017

Hard Border’ woven metallic glazed stoneware panels, steel frame
‘Pavers’ stoneware bricks containing clayey soil donated from around Europe
British Ceramics Biennial 2017 – Spode China Hall. Photograph: © Nicholas Middleton 2017.  http://79.170.44.116/tanawest.co.uk/?portfolio=unwoven, Accessed 26/12/17

 

 

 

 

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