Making Speaker on Clay to Use in Art Ephemerality and Performance

FOREVER

Location | The Nelson Atkins Museum of Art, Kansas, United states of america

Date | October ix, 2010—January 2, 2011

In her first American solo exhibition, Forever, acclaimed British artist Clare Twomey explores ideas of permanence, responsibility, memory, desirability, value and the history and process of making ceramics.

This work was made in response to the historic Burnap collection at the Nelson Atkins Museum in Kansas, The states; the collection comprises 1345 objects and i of these, the Sandbach Cup, was chosen past the artist and reproduced 1345 times with the help of Hartley Greens & Co. Leeds Pottery, a ceramics manufacturing plant in northern England. The public were able to own ane of these cups if they agreed to sign a human activity from the Museum that stated they would continue it forever: 10,000 people signed this agreement highlighting problems of buying, responsibility and the notion of time.

QUIETUS: THE VESSEL, Death AND THE Human being BODY

This major solo exhibition by Julian Stair, one of the world's most acclaimed ceramicists, explores the containment of the human body later on decease. It volition feature a drove of Stair's very beautiful funerary vessels, some of which are monumental in scale at almost 2 metres in height. Through his objects, Stair explores unlike rituals around decease and burial across civilizations and ages and how this can exist understood as a celebration of life. One of the creative person'due south works, Monumental Jar V, belongs to mima's ceramics collection.

National Museum Wales, Cardiff: five Apr 2013 – vii July 2013

MIMA, Middlesbrough: 13 July 2012 – 25 November 2012

The Ceramics Enquiry Centre (CRC-UK) is a leader in the debates surrounding international contemporary ceramic practice and critical discussion is essential to the development of the discipline. Members of the Centre are committed to exhibiting and publishing, every bit well as hosting and participating in conferences, symposia and dialogues. Developing from their original focus on ceramic installation and art practice, and the interface between ceramics, performance and museology, their interests have expanded to explore social appointment, interdisciplinary curatorial practice and the nature of the ephemeral, through the broader context of clay inside culture and society.

The CRC-UK developed from the interface betwixt teaching and inquiry based on the historic Harrow Ceramics course which ran from 1963 until 2012 (see Tradition and Innovation). During the first decade of the 21st century, research staff Edmund de Waal and Christie Brown began to explore a strategy to address new agendas in the field, joined in 2004 by Clare Twomey. In 2011 the CRC-United kingdom of great britain and northern ireland was awarded a major AHRC grant to explore the relationship between contemporary ceramic practice and museum culture. (see Ceramics in the Expanded Field). CRC-Britain now builds on the strong profile of its members and their international activities. The CRC-U.k. is led past Professor Clare Twomey and its electric current members include Inquiry Fellow Phoebe Cummings, Senior Lecturer Tessa Peters, artist Philip Lee and Emerita Professor Christie Brown. The growing number of current doctoral students and recent PhD successes demonstrate the broad loonshit in which the discipline operates.

Humanism: Verse form of Earth for Human

LOCATION |TheClayarch Gimhae Museum, Republic of korea

DATE | Apr – September 2018

"HUMANISM – Verse form of Earth for Man", the special exhibition for the first half of 2018, was organized to introduce contemporary ceramic arts on the theme of humanism from two countries, Due south Korea and the U.k., and to activate cultural commutation between the ii nations. The exhibition airs numerous political and social problems that threaten human rights—refugee problems, racism, starvation, illness, war, environmental destruction, forced evictions and dismissals, amid them—that represent the dark side of humankind's dazzling scientific and technological advances and economic prosperity. Through such sub-themes as human being nature, the essence of life, the surroundings, communication, and community, the exhibition seeks to approach the larger theme of 'recovering humanity'.

In social club to give truthful meaning to the social theme of 'Humanism', this exhibition also includes works by local residents and museum goers. Such works have practical value in facilitating the realization of 'humanism' inside gild, stirring us to grapple with deep thoughts on human nature and the meaning of life and inducing empathy and communication. On nonetheless another front, at a time when greater value is placed on the visible external world (i of the causes of the 'dehumanization of humans'), the exhibition introduces works that give profound class to the human inner world. Embodying delicate representations of homo emotion, such as the dual aspects and internal contradictions harbored inside man beings and subtle conflicts of the inner self, cute ceramic artworks in man forms allow viewers to immerse themselves in deep reflection on humans' inner worlds. The exhibition also features works that give vent to labor rights and women'southward issues, based on interviews with women ceramics workers and pieces that elevate the value of their labor. In improver, the works in this exhibition emphasize the demand, if nosotros want to live in harmony with nature'south other creatures, to shift away from man-centered thought and towards an eco-centered approach. Looking back on the dark realities and suffering of gild and the natural surround left in the wake of humankind'due south first-class achievements, the artists' works are an indictment of human being selfishness and greed, posing questions about whether humans are capable of living in harmony with other beings without going against the principles of nature.

To the artists who have fabricated these precious works, advisedly crafting and submitting them for brandish, I would similar to limited my heartfelt appreciation. They include British artists Phoebe Cummings, Clare Twomey, Christie Brown, and Eva Masterman, and Korean artists Woo Kwanho, Seok Changwon, Yoon Jungsun, Maeng Wookjae, and Kim Jin & Baek Kyungwon. Others whom I also would like to thank for their help in the exhibition include Cho Hyeyoung, Secretarial assistant Full general of the Korea Craft and Blueprint Foundation (KCDF), and critics Tessa Peters and Lee Sunyoung. I am also grateful to our museum curator, Kim Seungtaek, who put together an exhibition rich with meaning, and all of the museum staff who worked together to gear up for the show. From reflections on humans' inner aspect to environmental issues, this is an exhibition that invokes empathy and communication almost the pain of others, showing profound concern and deep thought about the world nosotros live in together. I hope that many people will give it their sincere attending and earnest feeling. Thank y'all.

Director of Clayarch Gimhae Museum,Choi Jeongeun

Clare Twomey is a British artist who works with clay, amalgam large-scale installations, sculpture and site-specific works.  Over the past x years she has exhibited at the Tate- UK, Victoria and Albert Museum- UK, Crafts Council- United kingdom, Museum of Modern Fine art Kyoto -Nihon.  A major exhibition at the Crafts Council in 2003, 'Approaching Content' curated by Jonathan Parsons, saw Clare Twomey's work take a prominent role contributing to contemporary discussions on clay. In 2004 Twomey'due south piece of work was exhibited at the TATE Liverpool exhibition 'A Secret History of Dirt from Gauguin to Gormley'.  She has developed affiliations with industry including, Royal Crown Derby, Emerys minerals and Wedgwood and is the Lead Artist for 2017/18 at Tate Exchange exploring the theme of 'Product'.  Twomey is Professor at the Academy of Westminster where she leads the Ceramics Enquiry Heart – UK.  She contributed to the major AHRC-funded enquiry project 'Ceramics in the Expanded Field', completed in 2014.

Phoebe Cummings is an artist based in the United kingdom of great britain and northern ireland and joined the Ceramics Inquiry Eye – U.k. as a Inquiry Associate in 2017.  Cummings creates highly detailed, temporary sculptures and environments from raw clay, oftentimes re-cycling the same material inside new projects.  Exhibitions accept included the Victoria & Albert Museum-UK, Museum of Arts & Pattern-New York and the University of Hawaii Fine art Gallery-Honolulu equally well as undertaking a number of residencies in the UK, USA and Greenland.  She was the winner of the British Ceramics Biennial Award 2011 and the Woman'due south Hour Craft Prize 2017 and was shortlisted for the Arts Foundation Awards 2018.

The following text is an edited transcript from a conversation betwixt Phoebe Cummings and Clare Twomey later on the seminar for Beyond the Object held at Uppsala Konstmuseum.  Both artists presented talks about their private practice and research during the seminar.

Phoebe: Curator Annika Enqvist spoke about 'dirt as a method' in her opening introduction to the exhibition.  I think this is important in our individual practices and within our interests equally a Ceramics Inquiry Centre at the University of Westminster.  We are often thinking around the question 'what can clay practise?', not merely in a physical way, simply what questions can it pose or potentially answer, how can nosotros use it to remember through or connect through.  'Across the Object' is a useful anchor thinking about this surface area of what we might mayhap describe equally 'not-traditional' dirt practice, nonetheless in the exhibition in that location are of course many objects.  I call back what the work does is operate across the idea of the object as a goal, a kind of commodified endpoint.  The object might be an issue, merely what else is enabled or accessed in the procedure?  This seems so important in your work too, for example in FACTORY^[i]at Tate Exchange.  Objects were produced, but the piece of work considered everything that surrounds that process of production; the man side of production; the care, skills, attention, dedication, collaboration that goes on.

Clare: That'south interesting, the term non-traditional practice, it seems very important, because everything we were exposed to in those 2 days still had a huge appointment with the object.  I don't know whether that was a shifting of the object, maybe at times the objects were the performer, but certainly the object was still very much present.   I don't come across a rejection of the object equally part of your exercise either, I see a challenge to the object.  That's quite different isn't it?

Phoebe: Yes, and I think that's probably true for well-nigh of the artists in Beyond the Object, there is still an interest in the object, but maybe in different phases of the object, of their becoming, or another means of operating or existing, beyond function and consumption.  Information technology'south a shifting, non an absence.

Clare: We have to think near clay practice besides, that is fundamental to all of this.  What we understand every bit clay do across the board, is that there is still a materialisation of athing, whatever that affair is, it is a materialisation through dirt, there is an object presence.  In your piece of work, the object can be challenged past its very being, it challenges the viewers perception.  There's a continual circular dialogue. If we call back nearly your fountain, 'Triumph of the Immaterial'^[ii]made for the Woman's Hour Arts and crafts Prize, and so it'due south all those potentials, all those questions that are made tangible, they be considering the object exists.  The changing material of clay challenges the fixed sense of the object, the temporality of the object questions our value and investment of labour, the object is undone by its ain function and materials.  Simply however the object needs to be fabricated, in order to claiming it, a doing to un-do if you like, that is the cycle.

Phoebe: Without the object we wouldn't be able to inquire those questions, pose those challenges.  There is not a redundancy, it's more than almost other functions. Part isn't necessarily practical or physical.  In Across the Object a lot of the work is almost articulating or investigating something; a sensibility, a stirring of thought, of play and perceptions. The objects are vessels for thinking and exchange.

Clare: I'm thinking too about how the textile might be tied up in the rationale for its use.  Many works you have made are continually changing, the questions they pose are central to their cloth being.  If we look at clay practice, we are not talking about the cease-point, but what happens in the dialogue of that textile process.  That definitely happened in FACTORY at Tate, the objects were secondary to the process people went through to produce them.  Really, if we call up well-nigh these 2 works, Triumph of the Immaterial and Mill, there is a duality.  You on the one hand accept the potential for stability in that object and you destabilise it, you dissolve it, and in the mill, we had something unstable- the material, and fabricated information technology stable in course.  At that place were 8 tonnes of clay, unknown potential, and we made it into something very apparent, a solid idea of a affair, similar a cup.  The material is as well complicit in both of those things.  In Manufactory, there was a complicity between the participants and the material, it became the experiential nature of what you lot are committing to in the process.

Phoebe:  I think also in factory the individuals had to surrender their objects, they didn't take ownership of their ain object, and that besides is destabilising.  You shift from viewer to participant and move from maker to consumer of the same kinds of objects on that single journey in the work.  I think this idea of clay as a method comes through again, though information technology plays out in very different means, information technology affords us both a linguistic communication to inquire questions, the clay is ever a medium to permit other things to ascend and surface.

Clare: Maybe information technology can be the instability of the clay itself that helps open up that dialogue too.  If we return to that thought of traditional practice, then in both our cases, at that place is a sense that the expected process is non complete in some way.  We destabilise things and require dialogue to brand sense of that, because things are not performing in the traditional sense.

Phoebe: Instability is so inherent to clay in its raw land.  I think I am interested in the openness it offers, things are non necessarily concluded, certainly non stock-still.

Clare:  If nosotros remember about the exhibition, at that place were many works which included ceramic objects which physically are fixed, but they somehow remain contingent, for instance the cardboard boxes past Hanne Mago Wikland.  They are highly refined, labour intensive, fired objects, yet they operate in a contingent style.

Phoebe: You're right, considering at that place is nonetheless an instability, they completely destabilise our perception, how we recollect we know those objects, what we look of them, in that location is a fracture between their appearance and the contrast of their reality.  We become displaced by them.

Clare: An instability of knowledge.

Phoebe: That was flipped in the work immediately next to it as well, the laboratory like display of experiments by Ane Fabricius Christiansen.  They were completely curious and unknown, sometimes the fabric was behaving in unexpected ways, merely then the artist was tightening and loosening command over that, harnessing information technology or allowing information technology freedom.  As a viewer, you have no expectations of the objects because y'all don't know them, they might exist evocative or suggestive of something recognisable, but they remain elusive.

Clare: Besides, we tin't ignore time.  So much of the work has a human relationship to fourth dimension.  Time and empathy.  Some of the works are jump to a set physical duration, some dealt with geological time.  In a way that immensity of time, that it is and so hard to understand, a non-human time, is made tangible by the materiality of the piece of work.  I retrieve in your work there is a dissimilar kind of empathy, there is access to a human sense of time, lived time.  Labour.

Phoebe: Time and materiality is meaning.  I'm thinking nigh Hedwig Winge'southward constructions, this graceful chaos, a sense of repositioning – repositioning fabric and meaning. That work moved clay from some of its associated heaviness and grounded-ness.  There is a lightness and tension there, matched in the briefness of its class and how that is fixed in time and infinite.  Possibly that goes back to this shared interest in instability, essentially it gives united states a chance to reposition things, physically and conceptually.

Clare: A pushing and pulling; a negotiation. Every bit practitioners we are e'er asking things of the cloth, to deport a certain mode, sometimes pushing it to the border of its capabilities, sometimes information technology pushes back, it tells us what information technology volition and won't do. There are all the associated histories and narratives we pull out in making objects too.  Paulina Pollanen'due south piece of work highlighted how sometimes those histories may be difficult and problematic, how can we negotiate those too?  There are negotiations at every level, sometimes that requires confrontation, often it calls for listening.

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Notes

^[i]FACTORY: the seen and the unseen' was a big-scale projection in 2017 in which Clare Twomey transformed the unabridged space of Tate Exchange at Tate Modernistic, London into a working manufacturing plant for two weeks.  The public could clock in, join the product line and commutation the object they made for 1 previously produced by someone else within FACTORY.  The work was the beginning of a yearlong investigation into the theme of Production delivered by associates working beyond the UK.  For more data encounter: https://www.tate.org.united kingdom of great britain and northern ireland/whats-on/tate-mod/tate-commutation/workshop/factory

^[ii]Phoebe CummingsTriumph of the Immaterial(dirt, water) 80cm ten 60cm 10 50cm, V&A, 2017

Triumph of the Immaterialwas an ornate, floral fountain made from clay which won the inaugural Woman's Hour Craft Prize in 2017 at the V&A.  Water was timed to flow for a few minutes each 24-hour interval over the 6-calendar month exhibition, gradually eroding the piece.

The artworkMonument, by the artist Clare Twomey, installed in 2009 at the Zuiderzee Museum nether the directorship of Erik Schilp, comprised cleaved plates, cups, jugs and other ceramic ware from the British ceramics industry laced with broken historic tiles from the collection of the Zuiderzee Museum.  The installation raised questions around the value of museum and ordinary objects and around the ideas of ownership; It showcased the sparse line between the public and private domain, by allowing the domestic realm into the museum; it showed what it is to treat things and what happens when yous break things. The pile of ceramic waste material, combined with the celebrated tiles, had both a physical and emotional bear on on the viewer because of its scale and visible wastefulness. The culturally charged sculpture'southward fragility reminds us of the value of objects and their employ in everyday life.

To marker the dismantling ofMonumentat the Zuiderzee Museum later on ten years, Clare Twomey will appoint with the visitors of the museum in a participatory creative person projection:Monument –the golden thread.  The visitor volition be given the opportunity to select a historic tile from the sculpture, which volition be registered in the name of the new owner and provided with a gilt wax seal and authentication by the Zuiderzee Museum.

In a chat convened by the design historian Tessa Peters with Erik Schilp and Clare Twomey, they reflect on the role of the sculpture and the changes information technology has witnessed in museology, guild and civilization.

Reflections on Monument,2009 – 2019

9 March 2019

Tessa:Erik, do y'all thinkMonumenthas had an upshot on the Zuiderzee Museum?

Erik: To me, it'souththeexemplary piece of my tenure – of what I tried to exercise there. It reminded everybody – everyday – that heritage is something that yous demand to have a human relationship with on a day-to-day footing in the physical world to accept a meaning, that it is not enough to keep it in storage so that a future generation might perhaps have a look at information technology, or that researchers might write an article about it. Heritage only has a pregnant in the context oftodayworking towards atomorrow, and in the real world – in a world where yous tin peradventure even see information technology disintegrate or perish.

I call up a large debate about a Rodin statuary that was mutilated by bronze thieves. Are you lot going to repair that? Or are you going to leave it mutilated? I've always been on the side of the latter considering information technology's part of its history. You don't always repair a piece of art that's been damaged. Yous might want to proceed information technology like that – to add to its story; to brand it into a reality. AndMonumentdid all that, and very subtly brought that home with a lot of people over the years – and the Museum inverse for the better because of information technology.

Tessa: The anthropologist Arjun Appadurai points out that the meanings people attribute to things comes from the fashion those things are used and broadcast in unlike social and cultural settings. So, while the tiles were viewed ten years ago as very much role of the national heritage, having since been incorporated inMonumentthere are now different meanings attached to the tiles.

Erik: Yes, that's true. But information technology depends on the debate. The political debate that was the virtually difficult 10 years agone and that caused the political and media whipping upwards of sentiment, is absent now. Because heritage has get but a fig leaf for political debate, it'south no longer felt every bit important.

You could debate that all the collection pieces that went intothe sculpturetogether formed a new collection piece calledMonument. And, for the aforementioned reason that was given 10 years agone, you could contend that you cannot bear upon that mountain of china considering it is an integral function of the museum collection which yous cannot get rid of. But plain you lot today you can.

Clare: Merely this brings me to the indicate of the office of the artist in the institute. Because at present the museum has worked actually closely with me. My ideas are independent and so, in a way, there's been this changing of the manner the tiles are perceived over 10 years, from in one case belonging to the establish, then becoming associated with an artwork and the identity of the artist, and now … I'm very aware of how advisedly I've been involved in these last conversations and I've designed very carefully the way the artwork volition leave the Museum and, inside my continuum of do, of how we start to navigate that … the elements of the work are now to be owned past the public. I don't recall nosotros could have done that the very yr subsequentlyMonumentwas installed. Information technology's taken this amount of sentimentality –in the almost generous way – this love for the artwork to really flower, for people to actually care about information technology … for them to say it's OK. My invitation is to care for something.

Tessa: Clare, now that information technology's time forMonumentto become, you are animating that. The artwork is not simply going to conventionally disappear backside closed doors. Tin yous say something nearly your decision to dismantle and disperseMonumentin such an active way?

Clare: When engaged in conversations with the museum over 18 months it was actually interesting to see the efforts that went into thinking of saving the artwork not letting it go. SomehowMonumentdoesn't only track the changes in museology that have happened over the past 10 years – information technology tracks the changes in what I've understood in the work that I've made.Trophy(2006), at the V&A was in some means as ambitious asMonument(2009),in that it sought to pose a question about the workings of the museum institution. Then in that location wasForever(2010-11),^[1]a work which was more about 'care.' And so, as role of that journey that I was on every bit an artist, I could recognise that the dear and intendance that existed for this pile of china that isMonument,wasn't at that place when we started the projection. Therefore, rather than erecting a big curtain and taking everything away at the end of the artwork'south life, it seemed appropriate to look at some of the ideas of 'intendance' that had arrived from the other projects of object appointment that I'd undertaken. And then, once more, looking at the artwork hither, it'due south, of grade, the object that's the catalyst, but really the artwork is a social projection about care, which allowsMonumentto leave the museum meaningfully, rather than just scraping it upwardly from the floor.

Erik: I've not been involved in those conversations. But it'southward a vindication of the decision, x years ago, to make the piece. There has been more talk of care and more effort towards care than if those tiles had stayed in storage – or the balance of the china had remained as a big heap in the U.k.. This is the bespeak – I even did a TEDx talk on this – the museum has an obligation to bring out its collection into the public domain and to fence information technology with the people that information technology concerns, because, if you lot don't, it does not be. If you do, this is what happens. Whatever you retrieve ofMonument… whether you like information technology, or don't like it, whatever your views are every bit a historian or as a museologist, there has been more debate on the relevance of this heritage, of the intendance of this heritage, in the context of it, than would ever accept been possible if information technology hadn't been there. And that is the power ofMonument. And that is why it fits so well in Clare's oeuvre, because it'south not just a project of a moment. It keeps on delivering. It keeps on giving.

Clare: And the very fact that when it was congenital 10 years ago – and that it was my exercise so – and now, as we dismantle it, it reflects my practise now. And I call back that is and so important.

Tessa:Can you explain howMonumentvolition be finally dispersed?

Clare: When people come into the Zuiderzee Museum they will be invited to bring together a queue and from at that place they will be able to pinpoint with a laser a historic tile that they desire from the pile. So a museum staff-member will collect that slice and they volition mitt it to the person. That person will walk to a table where it will be sealed with a gilt wax stamp – and then that there'due south a kind of verification process in these actions. Once the seal, which is the Zuiderzee postage stamp, is on the tile, the company volition motion on to a book, where they volition sign their proper noun. They will as well take to write in the book why they took that shard of cathay today. There's a very particular question, 'What does it mean to y'all to take this piece of cathay today?' And then they have their photograph taken of their hands holding the slice of cathay. Then, in that location's this kind of museological record of the person receiving the slice. I wanted there to exist a nice book that people write in, and so we have created a new story to be held with some of the pieces of china – and that is what volition enter the museum's collection. It'due south very important to me that this work was entered into the collection – that it didn't disappear – as if it had never happened – or became folklore. I'm delighted that it will withal be every bit part of the collection.

Tessa: And so the lifespan of Monument is at present to continue both inside and beyond the museum. Beyond the museum it's going to keep at to the lowest degree for the lifetime of the person who receives office of it – and perhaps past their lifetime if the fragment and its story become family heirlooms.Now the tiles are going to be appreciated and looked after past members of the public. That's a large transformation from existence subconscious from view in a shop room to beingness public property.

Erik:Yep. And actually, land collections are all of usa – we are the owners. The possessor is not the Minister of Civilization or the Cabinet, the owners are the people. And so, I am a big fan of opening it upwardly.

I once proposed in a conference that every main school was given i of the many 17^th-century paintings that never get out of storage, to care for them – to hang it in a prime place and keep it condom and teach children what it is to treat something so valuable and so relevant. At least then those paintings volition have a meaning.

Clare: The very first sentence of my PhD came from a House of Commons paper that said, 'The role of the museum is to go along things safe.' And then, yous know, I'd love to say information technology was an intention of the work to just wait 10 years and see what happens to civilisation. Just that was never in our thoughts. Only now we've arrived in circumstances to run across things differently.

Erik: The funny affair is – in terms of that sentence – I don't think the part of the museum is to proceed things rubber. I call back the role of the museum is to keep things in the minds of the people – and if that ways that it disappears … Well, what would yous practise if you could help one generation of people to build a very strong connexion to an object but then, after that, information technology'south gone? Or would you cull the alternative and put information technology in storage where nobody will ever see it? I would recall it's worthwhile to brainwash the one generation in the hope that many volition tell this story to their children and let it live on, equally opposed to one curator who knows of its existence and writes most it in one volume and one article, and so if you haven't read the book or the commodity, or know the curator, it doesn't exist.

Tessa:There's a chain of ideas from the conception of the piece of work through to its end that have been shifting and transforming.

Erik:I'yard aware that ten years ago people would write aroused messages to the paper aboutMonument. At present information technology's an institutionalised end to the project. And that's great because information technology's the same set of tiles. Just its meaning has changed – almost 180 degrees.

Clare: I think it's very exciting that this work has had this procedure of transition, forMonumentto take captivated this much modify.

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Note

^[i] Forever(2010 – 2011) for the Nelson Atkins Museum of Art, Kansas, USA, was fabricated in response to the celebrated Burnap collection at the museum. The collection comprises 1345 objects and 1 of these, the Sandbach Cup, was chosen by Twomey and reproduced 1345 times with the help of Hartley Greens & Co., Leeds Pottery, a ceramics manufactory in northern England. The public were able to own one of these cups if they agreed to sign a deed from the Museum that stated they would proceed information technology forever: 10,000 people signed this agreement highlighting issues of buying, responsibility and the notion of fourth dimension.

Philip Lee lives in the Britain and has been performing with clay since 2003. He has a BA in Ceramics from the Academy of Westminster (2001) and an MA in Fine Art from Central Saint Martins (2007). Philip Lee is a performance artist whose essential material is his own naked trunk and earth materials. His work is the result of an obsessive investigation into the nature of bodies. Live performance is central to his work. His torso is covered with clay and pigments, transforming it so that information technology hovers in a infinite between homo and object. Venues for his work take included The Courtauld Institute, Matts Gallery, The Nunnery Gallery in Bow, Due south Hill Park, the Design Museum, and LAB New York. Recently, Philip Lee has performed at the ceramics and glass research briefing at the National Glass Centre in Sunderland (April 2011) and the ceramics enquiry conference of the British Ceramics Biennial in Stoke-on-Trent (October 2011).

Philip Lee is researching into live performances that involve the use of unfired clay. His own piece of work forms role of the research, and analysis of the processes of planning, execution, collaboration and reflection provide means to arroyo the analysis of other artists' piece of work, which in turn impacts on his own performances. There are a number of artists (Kazuo Shiraga, Jim Melchert, Satoru Hoshino, Miguel Barceló & Josef Nadj and others.) whose art practice draws on both material practice, unremarkably associated with crafts such as ceramics, and the conceptual traditions of experiential, time-based alive performance art. These artists do non announced to be role of whatsoever group or motion and accept nonetheless to be investigated rigorously, although some accept been described equally 'conceptual ceramicists'. Philip Lee'south research explores how his own work and that of these artists contribute perspectives on live performance practice, including on collaboration, liveness, how to document and archive performance, and theoretical contexts. A current projection and exhibition, Practise You Recollect It… Or Weren't You lot At that place?,enquires into whether contemporary art made in response to a alive operation can create in the viewer a sense of the liveness of the original performance. Can ekphrasis (the conjuring upwards of the essence of a work of art, by some other creative person, in some other fine art form) convey a sense of what it was like to witness a live performance, and therefore accept a memory of it?

www.philiplee.co.united kingdom of great britain and northern ireland

BIOGRAPHY

Zahed Tajeddin was born in Syria; he presently lives and works in London. He studied chemistry, fine arts and ceramics and in 2006 obtained a Masters Caste in Artefact Studies from the Institute of Archaeology at Academy College London. Currently he is working on his PhD in the School of Media, Arts and Blueprint at Westminster Academy.

Zahed has a special involvement in history and aboriginal arts. His sculpture is influenced by ancient artefacts, archaeology and mythology. He works intuitively with clay, creating finely balanced ceramic figures, which he finishes with oxides and glazes, creating textures that are weathered and earthly in tone.

Zahed has organised and participated in many solo and group exhibitions. His work has been exhibited widely in the United kingdom and abroad.

RESEARCH Surface area

Zahed Tajeddin's current PhD research project aims to explore the archaeological, ethnographical and practical evidence of an early vitreous material, namely Egyptian faience. The research attempt is to examine the variety of the cloth chronologically and technically and experience some of the challenges that faced the aboriginal craftsmen. The artwork created in response to these investigations is informed both by the ancient artefacts themselves and by contemporary history and culture. It is hoped that the body of work created volition inspire a renewed human relationship with by cultures as well as creating an interesting gimmicky response to an aboriginal arts and crafts. Zahed Tajeddin email: zahedt@hotmail.co.united kingdom of great britain and northern ireland tel: ++44 7985419699

BIOGRAPHY

Laura Breen's PhDRe-modelling Clay: Ceramic Practise and the Museum in Britain (1970-2014) was part of the Ceramics in the Expanded Field project. She also has a BA in History of Art and Design (first class) from Manchester Metropolitan University and an MA in Art Gallery and Museum Studies from The University of Manchester. This is complemented past seven years' experience in the museum sector.

Laura has worked with a wide range of museum collections, from fine and decorative arts to local history. This has helped her to develop a broad knowledge base and an open-minded approach to curation. She worked for Bolton Museum and Archive Service for two years, playing a leading office in the delivery of the large-scale touring exhibition 'At The Edge: British Art 1950-2000'. Laura besides spent the past two years working on a project titled 'Opening Upward Decorative Arts' at The Potteries Museum and Fine art Gallery, re-displaying the decorative arts galleries and working with contemporary artists to interpret the collections in creative ways.

Research Expanse

Laura is interested in the human relationship between museum brandish, public perception and artistic practice. Her MA thesis addressed the brandish of musical instrument collections for unlike audiences. She explored taxonomic display, thematic and decorative arts approaches and the tension betwixt kinaesthetic learning and preservation within the museum surroundings. She built on this research during her professional career, collaborating with arts practitioners to illuminate existing collections and build new opportunities for engagement.

Laura's PhD research explored how the dialogue betwixt museological and gimmicky ceramic practice shaped the discourse around ceramics since 1970. Her thesis covered the re-definition of ceramics through medium-specific exhibitions, gimmicky ceramicists' relationship with museum collections, their responses to the museum as infinite and place, the advice and location of ceramic process within the museum and gimmicky ceramicists' relationship with the museum audience. Her findings provided the contextual background for the work of the iii co-investigators on the Behind the Scenes at the Museum: Ceramics in the Expanded Field project.

RECENT PUBLICATIONS

• 'Productive friction: Ceramic practice and the museum since 1970,' inContemporary Clay and Museum Culture, ed. Christie Chocolate-brown, Julian Stair and Clare Twomey (London: Taylor and Francis: 2016).
• 'Redefining ceramics through exhibitionary practise,' inThe Ceramics Reader, ed. Kevin Petrie and Andrew Livingstone (London: Bloomsbury Bookish, 2017).
• 'Redefining ceramics through exhibitionary practice (1970 – 2009),'Journal of Art Historiography xi (2014).
• 'Ceramic Discourse and the Museum',National Council on Education for the Ceramic Arts Journal, vol. 34, 2013.
• 'Myth Making (Morling and the Hoard)'Ceramic Review, vol. 261, May/Jun 2013.

Conference PAPERS

• 'Showing Ceramics.'Reflecting on Fragile? National Museum, Wales, Cardiff, 2015.
• 'Productive Friction: Ceramic Practice and the Museum.'Ceramics in the Expanded Field. Academy of Westminster, 2014.
• 'Redefining Ceramics through Exhibitionary Practice.'Negotiating Boundaries: The Plural Fields of Art History. Barber Institute, University of Birmingham, 2013
• 'Ceramic Discourse and the Museum.' (Role of the panel 'Ceramics in the Expanded Field – Ceramic Practice and the Museum' with Clare Twomey and Prof. Christie Brown).47th Almanac NCECA conference, Houston, Texas, 2013.
• 'Curating Contemporary Ceramics in Britain'.Cultures of Curating. Museums and Galleries History Grouping, University of Lincoln, 2012

AWARDS

• AHRC CREAM Studentship (2011-2014)
• AHRC Professional person Training Masters Studentship (2007)

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Source: https://cream.ac.uk/research-centre/art-and-society/page/5/

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