This is what has been happening in my studio for the last few days. It’s like a classical workkshop from the future. I’ve been casting a Parian faceted head and growing borax crystals on a 3D printed nylon wireframe head. All of which are heading to the British Ceramics Bienial Award show opening in Septemeber.
For the British Ceramics Biennial this Autumn, as a exhibitor, I have been asked to select an image of a meaningful object. This is my selection:
Small thrown bowl and reduction glaze test Sam Bakewell 2010 6.5cm x 4.7cm
"Whilst studying at the Royal College of Art, Sam Bakewell was throwing small bowls as a vehicle for testing glazes. To me they were more than tests but beautiful objects in their own right. I got this piece by swapping it with one of my own. It currently sits on a book shelf across form my sofa in the living room, within easy view and I regularly pick it up and hold it and feel its weight, shape and the surface of the glaze. It has a beautifully torn rim which the colour in the glaze has run from and pooled in some places. It also has a finger and thumb mark either side of its foot ring made whilst dipping of the bowl into the glaze. As an object it embodies many qualities, which as a maker, I wish I had myself as it seems so effortly made by Sam’s fingers. I would carry it with me everyday were it not impractical nor did I not fear losing it or damaging it."
Collaborative work by Behjat Omer Abdulla and Zachary Eastwood-Bloom, for the British Ceramics Biennial 2011 show “Stick-Up” at AirSpace Gallery.
For ‘Urban Decay’ Zachary Eastwood-Bloom and Bahjat Omer Abdulla have made a series of urn shaped raw clay vessels, filled them up with water and filmed the resulting outcomes. This project examines the notions of dependency and erosion with a wider metaphor relating to Stoke-on-Trent and the ceramics industry. The water in the vessels is dependent on the structural integrity of the clay body to keep it contained, however it slowly weakens the material over a period of time resulting in a loss of both vessel and fluid. This process is symbolic of the decay of Stoke-on-Trent as a result of the decline in industrial ceramic production. A place once heavily dependent on clay but now feeling the loss of its core material.
For more information about this project and other collaborative works form the other studio artists involved go to airspacegallery.org or britishceramicsbiennial.com