Ceramics: Art and Perception No. 108

Ceramics Art + Perception sets the international standard for high quality journals dedicated to ceramic art. With a total of 120 pages, each issue contains approximately 25 substantive reviews, essays and features, covering a broad range of issues related to the field. The magazine is printed in full-colour with high-res images supporting each text. Ceramics Art + Perception continues to deliver you the best critical writing from around the world since 1991.

Mansfield Ceramics Pty Ltd
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2 Números

en este número

3 min.

NM So–we’re on the move. Again. BM I’ve only just got used to this space. NM I’m unsure the landlords got used to us. BM You did pay the rent, didn’t you? NM Of course. But now they wants us to pay in cash. No more bartering pots. BM I’m sorry to leave here. NM Me too. It’s been better for us than the converted hairdresser salon we had before. Nothing on the street, up some rickety stairs, half in the dark because the lights only turned on automatically when you get to the first landing. The tiptoe past a packed meditation room so as not to disturb anyone’s mindfulness, past the rows of shoes, and then into our space hidden behind a black curtain. BM Little wonder people were always glad when they eventually found us. NM It…

7 min.
action and matter, and houses bearing witness to time: houses laden with time, inchin lee solo exhibition, hans gallery

Inchin Lee has made houses. Images redolent of windows, roofs, eaves, and walls are all references to the concept of a ‘house’. That being said, his houses have nothing to do with any representation of concrete places or objects found in our specific memories. His houses are forms that are unrelated to any intention to refer to concrete objects or invoke memories. That is, they are approximate to that of abstract art. They are neither complete forms nor are they close to any reference to a house. His houses are images and forms between matter and representation. They are vague objects between figuration and abstraction. They are things in a middle-zone between painting and sculpture, blurring the boundaries between craft and art. The Time of Clay and the Body Lee stacks coils…

8 min.
felicity aylieff someone of her time

Situated close to the river Thames the Royal College of Art (RCA) has a second campus, and it is here, in the Woo Building, that you will find the Ceramics & Glass Department. First impressions are of a light and spacious futuristic building with the most up-to-date facilities available to the students. It feels not unlike a state-of-the art-factory making sports cars. Driving the course is its philosophy: a belief in the transformative power of material thinking, research, and enriching our world through imaginative and meaningful ways. It embraces the diversity of contemporary practice in this hyper-material age, and importantly, the idea that thinking and making are inseparable and inform one another. Critical thinking, self-reflection, independent thinking and professional development are encouraged through staff- and student-led discussions, seminars, presentations and debate. All…

6 min.
a gallery year at the clay art centre, ny

Prior to 2016, Clay Art Center’s exhibition program hosted shows with both functional and sculptural ceramics featuring emerging, mid-career, and established artists. While every show held its own conceptual merit, the long-time audience for the gallery did not necessarily follow a narrative between exhibitions, and there was little connection between our exhibitions and educational programming. Being a non-profit institution, we questioned what the educational component of the gallery was and how we could sustain interest with our long-standing patrons. In came the idea of having an ‘umbrella’ theme – a point of focus where we would have enough room to maneuver between sculpture and function as well as solo and group shows but have a guiding thread that connected everything together. To start off our first year-long focus in 2016, we…

8 min.
helen evans the future of uk ceramics

The traditional ceramics studio has seen some fundamental innovations in the past five years. Globalisation and the influence of social media, together with a new interest in ceramics, have broken down the barriers of where a studio can be established. But all this comes with a background of high prices for property in the UK and the closure of many traditional centres for making ceramics. As technology expands the world’s ability to communicate, what happens to hand-crafted items, such as ceramics, that used to be sold at galleries and fairs? Helen Evans is one person who has bucked the trend. Trained in the UK at Bath and then Central Saint Martins Colleges, while still running a studio in Tobago, it begs the question: how did she do it? Describing her working life she…

20 min.
juz kitson on bones, buddhism and bull (testes)

I hesitantly knock on the flimsy ply door of the Australian National University’s Ceramics Workshop residency space and venture in. Usually a blank and uninspired space of mismatched worktables and drying racks set to the audio accompaniment of humming electrical mains, it is transformed by each resident artist into a world of their creation. This time the room evokes Kubla Khan’s pleasure dome; the racks are filled with pearlescent erotic forms that seem to pulsate behind pieces of languidly draped fur that obscure them from view. The floor is covered with work, a matrix barrier that separates subject from self. Sitting cross-legged, all fiery curls and delicate hand movements, Juz deftly places each hand-rolled petal-like form onto its friend, pressing them together at the base, leaving the fronds to wave free.…