There is a particular quality of silence in an empty room, especially a family home when the door slams loudly and voices dissipate along the street. It is as if the air exhales, released from its constant disruption, constant churning by children running up the stairs and through doorways. For a moment, it is given reprieve to settle into the spaces left behind.
Material Presence 2018
May 2019
Ceramics Art and Perception: article 'Pacing the Perimeter'
May 2019
Ceramics Art and Perception: article 'Pacing the Perimeter'
There is a close association between skin and the expression of thought. When blushing, paling, or sweating we can be, albeit momentarily, taken over by its conveyance of emotion before we are consciously aware of our own feelings, what Connor describes as ‘thinking through the skin’
The Fragmented Figure
Interpreting Ceramics Issue 8
COVID Folklore
In times of crisis new forms of sociality emerge, new and renewed rituals and customs are forged. This cultural shift is most often underpinned by creativity, by more adaptable and intrinsic modes of practice that emerge from the gaps between art and life. As our stories of lockdown settle into folklore it is time to reappraise the domestic and to better understand the cultural agency of ‘art as it is lived’..
Third Space
Narratives of Home
Sensory Anthropology
Relational Ceramics
This interest in the materials sociability has arrived at an opportune time, promoting not
only a rich well of potential ideas but more importantly, a more responsive, synergetic practice between art and life that could inform its sustainability.
CoCA Restating Clay:
'Ceramics Communities' 2019
New
Paradigms
in
Participatory Practice
Traditionally art and art theory is monological...once this process becomes social, the 'aesthetic' is considered more as a form of knowledge relevant & communicable amongst a collective or spheres of understanding. Art practice becomes about the social articulation of aesthetic experience.
Ceramic Values 'Can Ceramics Make a Difference?' 2017
International Residencies / Interactive Workshops / Lectures / Premier Screenings H
aptic/Tacit: Language of Clay Cautionary Tales from the Archive, Clay Networks: Digital Workshop, Fabcre8
Such ‘compound narratives’ in art are not so straight forward as in literature, where a simple comma or semicolon can be used to join two thoughts. In art, often without linear sequence, references are instead layered, each one reporting, embellishing, impacting on the properties of the other.
'Woven Narratives'
Ceramics Art and Perception 2020
Crafts Council: Hey Clay:
A Collaboration Between CSAD and the School of Education and Social Policy involving Storyteller Dr, Dylan Adams and Poet Dr. Christina Thatcher
Beyond Borders
Storytellers / Musicians / Illustrators Poets / Sculptors / Writers Archaeologists / Geologists / Historians each drawing parallels between the movement of the earth and the movement of man to encourage debate about journeying and asylum
FLUX: Art, Society and Responsibility 2016
International Event Across 3 Events, 3 Venues, 3 Weeks:
Interdisciplinary Performances and Workshops Across Penarth Shoreline and Pavilion, 'What We Take When We Leave' Exhibit at Cardiff MADE, FLUX sharing event,Storytelling and Sensory Workshops as Made in Roath.
The Music, Making and Dance
of Cob
SIPS: Seed Funding
The Greenman Festival encourages social arts practice. This workshop taught the history of Cob its use, song, dance and narratives arising from it.
As with Waulking and Milling the activity of creating Cob can become as much an ethnographic record of time and place as any resultant artefact. The songs, following a folk tradition begin slow paced, with the tempo increasing as the repetitive act of blending materials becomes easier. The songs are not strictly adhered to, often improvised, responsive to the stories and experiences of the individuals involved.
Centre of Ceramic Art 2017