FACETURE Vases by Phil Cuttance
These aren’t clay, but still an amazing process.
Many thanks to Vipoo Srivilasa for sharing this.
FACETURE from Phil Cuttance on Vimeo.
The FACETURE series consists of handmade faceted vessels, light-shades and table. Each object is produced individually by casting a water-based resin into a simple handmade mould. The mould is then manually manipulated to create the each object’s form before each casting, making every piece utterly unique. The FACETURE process First the mould of the object is hand-made by scoring and cutting a sheet of 0.5mm plastic sheet. This sheet is then folded, cut and taped into the overall shape of the product that is to be cast. The mould’s final shape, and strength, is dictated by which triangular facets I pop in and out. I do this each time I ready the mould for the next object, meaning that no two castings are the same. I then mix a water-based casting resin that is cast in the mould where it sets solid. The resin is poured into the hollow mould and rolled around to coat and encase the sides, controlled by me on the casting jig on the machine. The material soon sets creating a hollow solid object. Then another, different coloured measure of resin is poured into the same mould, and swirled around inside, over the first. When it has set, the mould is removed to reveal the solid set cast piece. The casting appears with sharp accurate lines and a digital quality to its aesthetic, a visual ‘surprise’ considering the ‘lo-fi’, hand-made process from which it came. The mould is then cleaned and ready for re-use. Each vase is handmade, unique, and numbered on the base. Available in two sizes; tall – 45 x 12 cm approx. small – 34 x 8 cm approx Standard colours – Charcoal, blue, yellow, pink, white. Custom colours available. email [email protected] to for pricing and to order. Images by Petr Krejci & Phil Cuttance The FACETURE project was created with the support of Creative New Zealand.
www.philcuttance.com
Artist in Residence Program: RED DEER COLLEGE
Artist In Residence Program Red Deer College has expanded its Visual Arts facility in the newly opened Center for Visual Art in the Four Centers Building and now has three purpose built Artist-in-Residence Studios.
The studios are designed to attract artists to Red Deer and to give an opportunity for emerging and professional artists alike to engage in research in an inspiring environment with equipment that they would not otherwise have access to. The ambition of the program is to promote meaningful interaction between the students, the resident artists and the community at large. The AIR studios are available during two 15 week periods; September to December and January to April coinciding with the academic year. The new studios are designed to offer interested artists an opportunity to chart some new territory by stepping outside of their usual studio routine. Through the interaction with students and staff in the Visual Art Department and beyond the resident artist can take advantage of the opportunity to research and produce new work that contributes to their discipline. Collaborations across media and with the RDC’s Centre for Innovation in Manufacturing, where there is access to rapid prototyping, water-jet cutting, and CNC milling offer up possibilities that will prove to be fruitful and position RDC to be a destination for innovative art research. How to Apply Who is Eligible? We are interested in hosting both emerging and established artists of all disciplines, practices, and nationalities. Artists applying should have a current and active practice and have completed their basic training and able to work in a self-directed manner. Artist-in-Residence Coordinator: Trudy Golley Contact Info: Office: 403-342-3453 email: [email protected] What is provided:• dedicated studio space approx. 250 sq ft• residency for 1 to 3 months?• Access to fully equipped studios:?Ceramics, Painting, Sculpture and Printmaking.?• 24 hour access?• Library and Internet privileges?• Materials budget up to $200.00?• Exhibition opportunity at the conclusion of residency?• Public lecture opportunity?• Letter of support to pursue individual funding?• Assistance with finding accommodation To submit an application: We are currently accepting Digital Applications only – please ensure all images are readable on a Mac or PC and are in a suitable format (1024 x 768) – doc, jpg or pdf preferred. Send by e-mail to the address above Please send the following:1) 10 images of work and an image list 2) One letter of interest outlining both your artistic history and how you would use your time as an artist in residence (including preferred dates and length of residence) 3) A current CV (3 pages max.) Deadlines- October 1 for the January – April period- March 1 for the September – December period
Shifting Paradigms in Contemporary Ceramics: The Garth Clark and Mark Del Vecchio Collection
Shartle Symposium “Shifting Paradigms in Contemporary Ceramics”
Saturday March 3rd, 1pm-5pm Presented in conjunction with the exhibition Shifting Paradigms in Contemporary Ceramics: The Garth Clark and Mark Del Vecchio Collection. Welcome and Opening Remarks | Cindi Strauss, MFAH assistant director, programming; curator, modern and contemporary decorative arts and design; organizing curator of the exhibition Sealed Capsule | Garth Clark, scholar, gallerist, and collector
Is the 20th-century ceramics movement over? In the 21st century, is ceramics a fully accepted fine-arts material but no longer an autonomous discipline? If so, is this a good thing? Garth Clark examines a turning point in this millennia-old medium. On Conscripting Mugs and Other Ceramics into Life’s Battles for Independence | Ezra Shales, associate professor of art history, New York State College of Ceramics at Alfred University
In the field of ceramics, a distinction is often made between “functional” objects and “art” objects—a binary opposition that is both reductive and misleading. Ezra Shales critiques the validity of the term “functional” and investigates how drinking vessels remain key tools in the assertion of one’s identity. SHORT BREAK The Well-Wrought Urn | Jenni Sorkin, assistant professor, contemporary art and critical studies, School of Art, University of Houston
This talk reconsiders Garth Clark’s groundbreaking exhibition American Ceramics, 1876 to the Present against the backdrop of mid-20th-century formalism, in particular Cleanth Brooks’s The Well-Wrought Urn (1947), Herbert Read’s criticism on modern sculpture, and the Syracuse Annuals exhibition series. From Postmodernism to Postindustrialism | Jorunn Veiteberg, professor of curatorial studies and craft theory, Bergen National Academy of the Arts, Norway
A re-evaluation of the decorative and a reuse of historical forms were central to ceramics in the 1980s, the key decade of Postmodernism. But what has happened since? Are contemporary ceramics still Postmodern, or have new paradigmatic shifts taken place? Panel Discussion | Mark Del Vecchio joins the speakers. Moderated by Cindi Strauss. Reception | The audience is invited to a wine reception with the speakers in the lobby of the Beck Building, and to view the exhibition.http://mfah.org/calendar/36th-annual-ruth-k-shartle-symposium/5192/
Adam Field @ ACAD in Calgary
Ceramics Visiting Artist Workshop | ADAM FIELD
February 13 to 16
Adam Field, Covered Jar, incised porcelain with various glazes, soda-fired
The ACAD Ceramics Program is pleased to present a workshop February 13th to 16th with Adam Field from Durango, Colorado. Field will share what he has learned over his 13 year studio career. Lectures and discussions will cover his Korean pottery apprenticeship, technical production methods, aesthetic considerations and the business side of a pottery practice. All are welcome to attend the public lecture and workshop demonstrations. Visiting Artist Talk | Stanford Perrott Lecture Theatre Wednesday, February 15 @ 2 p.m. Born and raised in Colorado, Adam Field earned his BA in Art from Fort Lewis College. For two years he immersed himself in the culturally rich art scene of the San Francisco Bay area, where he began his full time studio practice. From there, Adam relocated to Maui, where he established a thriving studio business. Adam spent most of 2008 in Icheon, South Korea, studying traditional Korean pottery techniques under 6th generation Onggi master Kim Il Mahn. Adam has recently established his studio in Durango, Colorado. His works are included in private collections internationally. Regarding his ceramic studio work, Adam states: I am fascinated with antique artifacts, the way they can speak of mastery of lost peoples, places, and cultures. This inspires me to create works that both radiate history and capture my own place and time. I work toward a clean aesthetic that celebrates the masterful simplicity of antique Far Eastern pottery, while retaining the modest utility of colonial American wares. The surface of my pottery is meticulously carved with intricate designs that borrow from nature and incorporate the human touch. Much of the carving on my work is informed by the pattern languages found in indigenous fiber art, suchas Hawaiian tapa, Incan cordage and Zulu basketry.
Adam Field, Cup, incised porcelain with various glazes, soda-fired.via ACAD2012 workshops at Touchstone Center for Crafts
April 26-30 Reinventing Kitsch: Creating Art with Molds Shoji Satake / All Levels / $375 / Extended Weekend Workshop /
May 11-13 Exploring Decal Usage in Sculptural and Functional Ceramics Dan Kuhn / All Levels / $250 / Weekend Workshop / May 17–21 Thrown, Darted and Decorated Jennifer Allen / All Levels / $375 / Extended Weekend Workshop /
May 25-27 Primal Pottery in a Modern World Becky Keck / All Levels / $250 / Weekend Workshop / June 4-6 Expand your Palette: Mid-range Glazes for the Electric Kiln Yoko Sekino-Bove’ / All Levels / $250 / Two Day Workshop /
June 11-15 Wheel-Thrown Pottery Intensive Joe Sendek / Beginner-Intermediate / $495 / Weeklong Workshop / June 18-22 Transitioning from Functional to Sculptural Ceramics Ian Thomas / Intermediate – Advanced / $495 / Weeklong Workshop /
July 9-13 Ceramic Decals in an Atmospheric Kiln Justin Rothshank /Intermediate – Advanced / $495 / Weeklong Workshop /
July 23- July 27 and/or July 30 – August 3 Clay Adornment: Object & Identity Sharif Bey /All Levels / $900 or $495 / Two-Week Workshop or One-Week Workshop /
June 25-29 Finding Creativity in Your Pottery Forms Jerry Wagner / Intermediate – Advanced / $495 / Weeklong Workshop /
August 6-10 Wheel-Thrown Pottery Valda Cox / $495 / All Levels / Weeklong Workshop /
August 13-17 Hand-Building and Surface Decoration Danna Rzecznik / $495 / All Levels / Weeklong Workshop / August 20-24 Tiles and Mosaics Karen Howell / $495 / All Levels / Weeklong Workshop /
August 27-31 Maximizing Naborigama: Creating Work that Gets the Most from Wood Firing Processes Dan Kuhn / Beginner – Intermediate / $495 / Weeklong Workshop / September 21-23 Gas Kiln Construction Dale Huffman /All Levels / $200 / Weekend Workshop / September 28-30 Exploring Raku Joe Sendek / All Levels / $250 / Weekend Workshop /Find more info and register here.
Touchstone Center for Crafts ▪ 1049 Wharton Furnace Rd ▪ Farmington, PA 15437 USA 724.329.1370 ▪ 800.721.0177 ▪ 724.329.1371 (fax)
The Lowdown: Tales from the Margin @ the Red Lodge Clay Centre.
Curatorial Statement:
The Low Down: Tales From The Margin is an exhibit of contemporary ceramics, which are bothhonest and current, reflecting narratives that are personal and shared, abstract and implied. The concept began with a volley of ideas and artists, until a group emerged whom consistentlygenerate objects that toy with definitions and tease visual, historical and/or technical boundaries. The second factor in our selection process was intent to extol the achievements of artists generating their main body of work within low temperature ranges.
Max Lehman, Carole Epp, Alex Kraft, Nick Ramey, Julie Guyot, Jason Bige Burnett and Melissa Mytty have created a spirited and vibrant collection of objects, the best of which will pull the viewer in to the tales they spin. Formal compositions pair sparse grounds with overwhelmed figures and the viewer is left to decide if the decadence is for the better or not. Some of the more obvious narratives still leave ample room for audience interpretation; and, like a visual mad-lib, we can fill in the blanks. There are elaborate dialogues between material pairings made in fantastical, imaginary worlds alongside very evident social commentary with an extremely clear point of view. This is an exhibition for a modern world with visual “sound bites†for those in search of over stimulation, however if one chooses to go deeper the conversation thread is there to pick up and carry. Perhaps this what can happen when a graphic novel impacts the oft-insular world of clay?
The exhibit is a targeted snapshot of a specific area of inquiry in the field of ceramics. A peripheral group generating more and more buzz and not just from the hum of an electric kiln. The Low Down: Tales from the Margin is a celebration of the creative exploitation possible with electric coils and eutectic compositions.
View the whole show online here.
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