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Ceramics: Art and PerceptionCeramics: Art and Perception

Ceramics: Art and Perception

No. 111

Ceramics: Art and Perception aims to set the international standard as a high quality journal dedicated to ceramic art. With a total of 120 pages, it contains approximately 25 substantial reviews, articles and regular features on a broad range of ceramics related subjects with excellent colour photographs throughout.

País:
Australia
Língua:
English
Editora:
Mansfield Ceramics Pty Ltd
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ASSINATURA
US$39,13
4 Edições

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figuring out paul smith

I am currently making three small clay sculptures to be scaled up to two metres tall for a public garden project in China,” reveals ceramic artist Paul Smith. “It hasn’t all been finalised yet, but hopefully it will go ahead during 2019.”Paul makes hand built dream-like and contemplative figurative ceramic art inspired by the natural world with the theme of positive connections between man and nature. He often playfully explores the conventions of fairy tales and fables which are “a rich source of ideas because most people are familiar with many of the stories”. “I then twist it and mess with their heads,” he says.A big influence on Paul’s work has been Angela Carter who wrote several short stories and novels on the theme of fairy tales, The Company of…

access_time7 minutos
breaking ground

Mansfield Ceramics have been closely following the excitement and hard-work that surrounded the first Indian Ceramics Triennale and remain grateful that they found time to answer some questions from Bernadette Mansfield about this important event. Bernadette Mansfield’s questions were responded to by Anjani Khanna and Vineet Kacker who are both members of the curatorial team of the Triennale.First up, congratulations on the inaugural Indian Ceramics Triennale. You chose as your theme/title Breaking ground, could you explain why?The curatorial team wished to encourage work that would break pre-conceived notions about ceramic art practices in India; encouraging projects that were experimental, experiential, that would push the envelope for the artists within their studios, as well as challenge viewers in the way they engaged with this ancient material in a contemporary context. Hence…

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no green without blue: a journey into the sea with artist jordan danger

Six years ago, I took a sort of personal pilgrimage to the Sunshine Coast of British Columbia. While most of my years have been spent landlocked in Eastern Ontario, Canada, I was actually born to two young adventurers as they started their lives together in rural BC. Twenty-eight years later, I had returned to the west coast and it immediately felt like home. I knew that feeling because I’ve felt something similar every time I have been close to the ocean – any ocean, anywhere. Perhaps that’s what comes from being born on the west coast, to a family whose roots are buried deep in the east coast. The time I feel most grounded is when I’m near the sea.One evening on my first return to BC, I saw some…

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the echo of the ancient: xiong kaibo’s potteries

Although the design is simple, Xiong Kaibo creates hundreds of different forms with them.Xiong Kaibo is a young ceramist in China, whose ceramic works are credited as “the echoes of the ancient and the melody of the contemporary” by Chauncey J. Hamlin, a noted Chinese artist. The ceramic works of Xiong Kaibo give the viewer a strong sense of artistic tension, conveying the simple and unadorned feature of painted pottery, and the mellow and dignified features of bronze. He takes ceramics as his words to illustrate the profound and free-wheeling history of Chinese culture.Xiong Kaibo was born in He Nan province, the origin of Ru porcelain and Jun porcelain. The Ru porcelain and Jun porcelain produced in He Nan province back in Song dynasty are famous in China, representing the…

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collaborating with uncertainty: towards visual complexity

Confluence is quite a good title for this gathering of people from all around the world sharing a common aesthetic language and approach to making.It implies a joining together and mixing with each other on a personal and professional level.It is an inclusive term…Given the current state of our world, inclusivity is more important than ever.For groups like ours, inclusivity has another benefit.It builds diversity within the ecology of our ideas and practice that benefits us all.I have titled my presentation Collaborating with Uncertainty – Towards Visual Complexity. Woodfiring is arguably the most uncertain of making methods, however uncertainty and visual complexity can be experienced in other ways of working with clay.This talk comes out of my research and thinking undertaken over the last four years whilst completing a PhD.…

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a cultural narrative at lacoste/keane gallery, concord, massachusetts, usa. sep 8 – 29, 2018

Colombian Double Stirrup Jars: Natalia ArbelaezPre-Columbian Colombian ceramics remain a large influence in my work. My Colombian heritage and connection to an Amerindian ancestry that many Latin Americans share fuels my interest.I have been using traditional Pre-Columbian methods, such as coil and pinch, to create double stirrup jars that are prominent to the Colombian region. With the combination of tradition and my contemporary figures I am storytelling our histories in a parallel way.Using terracotta remains important in my work as I reference many aspects of Pre-Columbian ceramics. The terracotta also references the land of my country and mountains where the clay abundantly remains on the land we walked and continue to walk on. Gold is another material that is important in my work and is found in the same mountains…

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