As you can see from past posts, I started my dissertation prep with the research of ‘Palimpsest’. As I continued to do more research and writing I changed to the subject to curation. Mainly because of my volunteer work at The Ken Stradling Collection, my work involves stewarding a gallery space, to be in good knowledge of each object and to understand the exhibition space; the connections objects have with different objects and spaces.
As well a volunteer working on the ‘First Decade Project’ (1972-82) for the Crafts Council; focuses on digitizing objects and associated archival material from the first decade of the Crafts Council Collections. The project offers the opportunity to develop skills in collections and archival research, interpretation of archive material, oral history interviews, digital capture and preservation, cataloguing, museum standards of practice, and audience engagement.
Alongside my volunteer work at the National Museum of wales as a tour guide for the ‘Fragile?’ exhibition, discussing the curation of the contemporary ceramics exhibition and specific ceramic processes presented as well as having the opportunity to meet curators of the fragile exhibition and whilst helping Phoebe Cummings put her installation together.
Besides researching and readings, the experiences have helped support and strengthen the curation application to my dissertation proposal.
Although I had difficulty to know what subject title to concentrate on, throughout the days I was changing the title question every few hours from curatorship in ceramics to communication in ceramics, 20th Century influence on ceramics today etc. all these being very big questions to answer. I didn’t quite know how to cut down the broadness of the question to have one vital part that I can expand and talk about in deeper knowledge, which will also keep me engaged. As I read more, the more my question changes. All the different exciting opportunities to write about is positive but really pushing myself forward as well as the proposal finishing is quite difficult.
Talking about communication opens the perspective of history, culture, and individual of ceramic work, talking about identity looks into society, politics and stereotype, power of exhibitions with autocratic structures, to break the barrier between mainstream exhibitions to other communities to release their identity in the modern day.
I want to be able to write about something that I can relate back to my work in the studio. In this instance the dissertation is ranging from ceramic material, form, surface, stacking, presentation, expression, playfulness, as well as observing the culture of curation globally.
Therefore I have settled on the ‘classifications of ceramics’, this covers the language and structure of ceramics, leading to application of ceramics in art, running into exhibitions and museums, allowing my self to place ceramics and possibly my work in the existence ceramics lives in today.