Project Aims
‘Indomitus’ is a ceramic investigation into the untameable essence of nature in a man-made environment.
I chose this topic as the contrast between form and texture captivated me. The interaction between two opposing forms is almost everywhere throughout Manchester, although easily overlooked.
Materials such as brick and concrete are typically used to keep nature at bay, and may at first appear indestructible. However, when you begin to notice cracks and pockets thriving with plants, and even forcing through and destroying man-made materials; the undeniable strength of nature is evident.
Future direction
My aim for this project is to establish my position within the professional field of ceramics, whilst gaining a more confident and refined approach to my practice.
Throughout previous projects I have moulded my work to fit a brief. However, due to the self-authored nature of this project, I can work in the way in which I would like to post-graduation.
Eventually, I aim to create self-lead ceramic work to be both exhibited and sold. This project is an acknowledgement of my potential to work self-authored in the future, in addition to indicating what areas require development. By viewing the work of other makers I can develop an understanding of how my work contributes to the field.
indomitus; untamed, untameable, wild
Images of plants growing through man-made structures, taken in South Manchester (2021)
A level of tacit knowledge is required when working with deliberate imperfections in craft, in order to recognize the difference between failed perfection and controlled imperfection.
By studying the work of various makers, I was able to gain both object inspiration and a further understanding of the dedication required to develop material intelligence.
Katie Spragg
Katie spragg creates intricate ceramic installations, which investigate our relationship with the natural world. She aims to encourage an appreciation for how nature thrives beyond our human control; seeing value in nature existing in urban areas in additional to rural.
There is a parallel between the motive behind Spragg’s work and mine. However, she works very literal; creating beautiful replicas of plants growing through concrete, my work contrastingly is more conceptual and less obvious at first.
The way in which Spragg uses the environment is an exciting approach. I would like to also use the existing environment in Manchester to take castings. This approach could help me to establish a form.
'Wildness,' Katie Spragg (2016)
Phoebe Cummings
I previously observed Phoebe Cummings’ ‘This was now (2020)’ and ‘A Ripening Surveillance, (2018)’ within my essay.
Her work holds a contrasting approach to the permanence of materials. She works exclusively with unfired clay to create ‘performative’ sculptures and installations to highlight materiality, fragility, time and decay. All her pieces are temporary, allowing for the clay to be recycled.
Her work alters the way in which nature is interpreted, by highlighting the impermanence of the natural world. She embraces the imperfections within the process, accepting the clay deteriorate as it dries.
‘A Ripening Surveillance’ Cummings (2018) ‘This was now,’ Cummings (2020)
Following her guest lecture I discovered ‘Fault, (2013)’ which presents an intricate clay bed of shrubbery bursting through a man-made paved ground. This installation creates the contrast in textures fundamental to my project, in addition to highlighting the complexity of nature in comparison to the repetitive patterns in man-made structures.
This concept of working with the existing landscape could be an approch of interest; for instance casting the ground for use in a mould, or mimicking patterns found in brickwork.
'Fault' Camden Arts Centre, Phoebe Cummings, 2013
Boyle Family
This series of work captures various isolated rectangles of the Earth's surface, by using a variety of techniques.
The location of each piece is determined by participants throwing either a dart or firing an air rifle at a wallsized map of the world whilst blindfolded.
The aim behind the pieces is to discover whether it is possible to view a small part of the world, without being reminded consciously or unconsciously of the past, present and myths of other cultures; to free the viewer of prejudice.
By viewing the pieces whilst mounted on a wall, the observer is able to shift the perspective on what could be a disregarded section of the ground. By wall mounting the pieces; the light above creates shadows and accentuates the texture and form.
The way in which the pieces are wall-mounted could also work effectively when curating my work. I believe that looking directly at the surface shifts the perspective, adding glory to the often disregarded.
'Sand, Wind and Tide Series,' Boyle family, 1969
Nicole Seisler
Nicole Seisler's 'Hand Pressed Souvenirs,' are a series of public projects connecting people and place. She speads blocks of porcelain throughout neighbourhoods; giving free-will to paticipants to make impressions of architectural details that they think visually and culturally define the place.
I find Seisler's direct relationship with the environment to be a resourceful and conceptual appraoch to mark-making and encapsulating a space.
I am going to similarly work directly with the environment to capture form, textures and shapes found within my subject; which would be impractical to record in a drawing.
'Hand Pressed Souvenirs,' Nicole Seisler 2009
Irina Razumovskaya
A maker working in a state of progressive deterioration is Irina Razumovskaya, who has also created a series of ceramic pieces gradually becoming more mutated.
The objects are produced through slip-casting which is more commonly used as a mass-production technique. With this method, she is able to manipulate the mould to ensure the casted pieces are all unique.
After each cast she deforms the mould further, which in result forms a dominance over the clay. She embraces the natural liquid state of the slip, encouraging it to seep and set into the crevices of the mould; whilst remaining in control of the casts.
In Razumovskaya’s approach to casting, the manipulation of the mould becomes the area of focus on the ceramic objects; emphasising the seams and cracks without compromising the quality of the end result.
The way in which she has exhibited multiple pieces to portray a gradual deterioration, also appears as if the pots are 'growing,' which could be a technique used within my project to reflect plants being alive and growing from man-made structures.
‘Metamorphoses,’ Irina Razumovskaya (2015)
In another series of work, 'MELT' Razumovskaya also manages to capture an unpredictable erroding texture by using multiple layers of glaze and many firings. The series is a response to decaying architecture.
This unconventional approach to glazing also creates the out of control texture necessary to my project.
'Melt,' Irina Razumovskaya (2019)
Harriet Hellman
Harriet Hellman creates abstract, expermiental sculptures exploring her growing apprehension of ecological balance. Her pieces are handbuilt with emphasis on tearing and layering techniques.
What draws me most to Hellman's pieces is her concern towards the natural world and it's fragility. Her use of surface texture is exploratory yet controlled; similar to what I want to create within my work.
'Perspectives of Time,' Harriet Hellman (2020) Photograph; Ole Akhoj
Morgan Shimeld
Shimeld is a sculptor who creates minimalist, abstract forms from metal.
Although his work is not in ceramic, the dark colour and angular forms are what struck me most. The bold lines appear man-made, which is what I want to achieve within my own work.
'Trimetric Black Cast' Morgan Shimeld, cast bronze, black patina
Derek Wilson
Derek Wilson produces abstract ceramic sculptural forms. His pieces are complex and use a variety of shapes and angles which provoke the viewer into questioning the method of construction.
His use of both curved and straight layered objects intruigued me most, as the patterns and shapes can be viewed within an urban environment.
The simplicity within each piece is what makes them most striking. Within my form, I need harsh structure in order to best present the man-made element of the project, I can take influence from Wilson's use of form.
'Constructed Form,' Derek Wilson (2020/21)
Bodil Manz
Bodil Manz work is categorized by experimentation and exploration. She creates porcellain pieces, installations and sculptures. Her work is primarily geometric and abstract, from both form to surface decoration.
Her cylindrical pieces are cast from porcelain, creating a translucent appearace; highlighting the geometric surface design showing through and creating a shadow.
Her use of porcelain has encouraged me to experiment with a black porcelain slip; as I feel the delicacy of the porcelain not only adds a sense of elegance to the piece, but can further enhance the 'perfect' surface of the man-made element of my subject.
'Time and Space,' Bodil Manz (2014)
Moe Redish
Tacit knowledge combined with material control is evident in glass work by Moe Redish. Rather than competing for control, the glass, wood and Redish work in alliance to create the final outcome.
The series of eight glasses are produced by blowing glass into the same oak mould, which burns away more each time; thus showing the textural changes of the burn mould more prominent in each glass.
This concept exploiting the deterioration of the mould, is a process I wanted to explore within my practice. Despite the same mould being used, each object varies from one another creating individuality in each piece.
I futher felt there was an element of nature taking control, which refelects the concept within my project.
'Textural change glasses,' Moe Redish (2021)
Ho Lai
Similarly, working in a state of progressive deterioration, Ho Lai created a series of 50 bone china pieces, mapping the outline of Hong Kong.
Despite the drastic level of deterioration exhibited in the installation; for Ho Lai to have complete control over the flux in her pieces, she must have developed an intricate understanding of every aspect of the process, in the form of tacit knowledge.
The unpredictable nature of the flux creates an out of control aspect to the pieces. Despite of this, there is an undeniable balance between control and unpredictability; similar to what I want to achieve within my project.
The way in which her pieces are exhibited on the wall is an approach I believe would work well with my objects.
'Fluxing Red,' Ho Lai (2021)
Hella Jongerius
In B-Set, Jongerius (1997) also plays on this knowledge to manipulate the timings in casting to create variations in the thickness of the vessels.
B-Set was further altered, by “firing the clay at too high a temperature,” which resulted in each element deforming slightly, creating a sense of individuality. Despite the abnormalities apparent in the tableware, the control over the material is evident.
The idea of timing and temperature manipulation could be utilized within my project to create a variation of pieces, and to have develop the 'out of control' aspect.
'B-set,' Hella Jongerius (1997)
Jamie North
I studied the work of Jamie North, who produces sculptures operating at the intersection of the natural and human-made. The sculptures are cast concrete, with embedded plants.
The integration between the two opposing forms creates a unique interaction, encouraging the viewer to question how human activity coincides with nature. The plants, which at first appear ‘out of place,’ may alternatively have a sense belonging; living in cooperation with the concrete, which is one of the most unsustainable man-made materials.
Concrete is typically used to separate the natural and man-made. North’s sculptures provokes the viewer to question how we could encourage the integration between the two. However it may be argued that North is contributing to the issue, by using the material and creating permanent work.
'Terraforms,' Jamie North (2014)
Pam Su
Pam Su creates abstract ceramic sculptures creating a balance between control and release to reflect decaying urban areas.
Her use of glaze is grotesque in appearance, and both repulsive yet mesmerising.
Su's approach to glazing is a feature which could be especially effective within my project. Not only is there an unpredictable nature of the glaze, but it creates a contrasting reaction from the viewer.
'My one eyed cat,' Pam Su (2018)
Interviews
Cicely Peers
I spoke to Cicely Peers, whose work I also viewed at the British Ceramics Biennial; features exposed seam lines. Although the seam lines are not the main focal point, the presence of them remain to “celebrate the complex process,” established by Cicely.
I enquired about her decision to leave them exposed, which at first she considered wiping away. She expressed her interest in the Arts and Crafts movement, who believed in the ‘honesty of construction,’ and applied the same ethos to her work.
She further explained how “taking away the residual evidence of the method of construction would have hidden this,” and by leaving the seam lines on every piece, resulted in a unique and ‘handmade,’ feature for the “on-looker to read into the method of construction.”
‘The St David’s Collection,’ Cicely Peers (2021)
Emma Westmacott
Whilst at the British Ceramics Biennial I noted the work of Emma Westmacott, whose ‘100 Vases,’ are designed to unite simplicity with Brutalist architecture.
The ‘imperfections,’ are strategically placed on the vessels, contrasting against the seamless form. The placement is consistent throughout all pieces, highlighting the control over material.
I conducted an interview with Emma, discussing her reasoning behind her decisions. She explained the purpose was to find a simple way to create test pieces and to “explore ways of creating surfaces and forms.” She did this by casting her moulds in layers, allowing her to interchange and reconfigure the finite set of pieces to ‘coax the materials to co-operate.’
I enquired as to why she chose to leave some seam lines exposed within her casts. She explained how during her undergraduate degree, she ‘became obsessed with perfection;’ rejecting any piece with the tiniest flaw. The seam lines serve as a reminder that the project is not about perfection, but about experimentation. She further revealed why she fettles the top and bottom of the vessels, as she feels it ‘re-enforces the contrast of the textured middle sections’ and to establish that anything left exposed is deliberate.
'Process,' Emma Westmacott (2021) 'Vase No.43,' Emma Westmacott (2021)
