Field Assessment

Field One; Synergies of Materials and Technology

The start of the Field module consisted of, materiality, concept and technology. I found myself competing with different materials that were very diverse and incredibly interesting, although I found it difficult to fully apply due to my attachment to ceramics. For this reason, I hope to extend my knowledge next time in my subject project. It proves again to myself how there are absolutely no limits within materiality; any shape or form created in ceramics can be repeated in many different ways.

Synergy between materials and technologies has enhanced my realization of exploration again. It has awakened my drive for creativity and imagination. It has taken me back to my own philosophy of my subject area of ceramics.

What is it that clay does that other materials don’t? What am I trying to achieve from studying ceramics?

I have a creative, Fine Art mind and things I desire to create can be transformed amongst the realms of materials we have in the University.

Synergies will generate a rich level of skill in me as I experiment through other disciplines to bring back into my ceramics, to take up the position of a modern day, contemporary ceramist, those such as Grayson Perry, Ingrid Murphy and Marta Dlugolecka.

A reflection of my strengths ties in with the print workshop as I have a very strong sense of sequence, repetition, lines, shape and form. I want to go further with ceramic print and digital graphics with animation through influence of Marta.

Overall I feel the module has intensified my skills within arts and craft. The broadness of all materials is inspiring to continue learning about other processes outside of ceramics. My subject project of ‘breath’ became richer in research and information as I grew a better understanding of materiality, looking at different ways an experience or an object can be captured within a space or vessel. I’ve learnt about different tools and equipment to use for metals, the use of software to use the 3D printer, the making of lithopane’s and how those can be replicated into slip cast clay. The module also helped create new connections to other students on other course, to be introduced to other process of work.

Field two; Drawing as an Experience

 A series of workshops held by different artists and lecturers during the field module in my university course. The workshops enhanced an enthusiastic freedom of communication through our senses.

My expectations of “Drawing as an Experience” were very different to how field has panned out to work. I expected the sessions to be very structured, directed towards drawing such as perspectives, movement and Gestalt. It is not about ‘perfection’ and quality of drawing which is a huge relief. We expressed thoughts and feelings in drama drawing with Andrew Marshall, where we mapped out a scene, actions and objects location and character. There was so much freedom within the sessions, at Chapter Arts everyone was very open and enthusiastic to take part and share their ideas with one another, with no fear or anxieties. We all communicated well together, verbally as well as creatively through the drawings we created in relation to each other’s. These workshops worked really well for group engagement and communication building through creativity, movement and visual conversations between each other. It was very interesting to perform acts of movements that were documented through pen and paper that told a story of experience after the moment had happened.

We later dwelled on the subject of synaesthia, the stimulation of one sense that can enhance others, a mix that can sometimes be overwhelming. An experience someone with autism may have, such as loud noise and fragmented vision. The workshops helped me understand to slow down my sensorial process when looking at artwork. Firstly to consider the vision of the piece, the possible tastes you would have if you had the work in your mouth, what it may sound like if it made noises, and lastly what it may feel like if you touched it. It created a new dimension to an exhibition space, that such as ‘sensorial object’ in the craft in bay, the works started a new life though sensations. The exploration of artists that looked into the sensorial experience helped my contextual study of Palimpsest in subject. The layers of experience artists were performing whilst creating a piece of work, concentrating on the experience of creating rather than delving into the expectation of the outcome.

The most compelling workshop and piece of work during the module was Bethan Friezes response to Emma Rawson’s work. The subject was about the death of a close relative, where the whole world shrinks, leaving a huge sense of peace. The outside world doesn’t exist, just a time of waiting and feeling deserted. Dawson’s work communicates and explores remembered sensations of time. “The ability of human memory to store and absorb an experience to accommodate it.” The storage within the glass pieces is spaces of memory occupying more than the actual object itself.

The material glass is a quiet, silent material with an internal realm. Signifying house that all look the same from the exterior but involves a life and memories within, that don’t necessarily take up physical space but mental space for those involved. No objects, only in the mind.

This outlook helped me understand the next stages an exhibition can be taken to. The curation of a space can then be transformed into a performance space within individual responses of skills and memory. Helping me to understand the void of a piece of work that can be unraveled into a new life and story through different techniques and perspectives.

Overall reflection

Throughout my experience of field this year I have broken down boundaries of how far out of my comfort zone I can push myself. The experiences have directed me into areas I never saw myself visit. Such as the action of breathing into my ceramic pieces, my intention was to act out a physical experience into a fragile material that would hold the solid evidence later on into the firing. I feel I have not used other materials and technologies to my advantage but I do feel confident that I can use that as an option when I want to use mixed media in my projects. I am usually a very private and interior creative thinker, but throughout drawing as an experience that was not an option. We we’re all exposed to each other’s ideas and actions of creativity. It truly questioned the realms of our imagination and where it can take us.

My involvement with the sensorial object exhibition led to wales art review about my workshop with Bethan Frieze, how mixed material of music with glass can create a new story and life for the piece of work.

Throughout this year field led me to look further into curation, after the workshop with Becky Lyddon and Bethan Frieze, their response to exhibition work helped me understand the ever going creativity of a space and the work within it.

How the way a piece of work is presented can tell a story. I started to read more into curators and the connection viewers have with objects. The classifications we put objects within, how we respond to them due to memory and experience, also depending on the material of the object, what we class it as. The research of curation then led me to look at the bridge between ceramics as a craft and as a fine art. Through my own curiosity of ceramics I want to see how objects exist within connections and relationships with their environments, alongside being able to muster thoughts, memories, nostalgia and familiarities. I’ve included my work experience with the Crafts Council as part of my background research for field, the programme focuses on digitizing objects and associated archival material from the first decade of the Crafts Council Collection, making previously hidden objects and materials more easily openly accessible online. As a volunteer I work on the project, developing 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. I have had the opportunity to engage with people in professional fields of museum work, curation, online work and studio makers. I have gained perspectives from a realistic view, allowing more stabilization and links to institutions as well as to my own projects.

This led me to the curation of my exhibition work, focusing on the main sculpture working its way down to the maquette pieces into the template sketches I made on porcelain. Using mirrors to accentuate the shapes and depth of my work. Taking it to another dimension.


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