For 2017 we inviting UK universities and Higher Education institutes running ceramic courses to submit ideas for a Student Demonstrations. These students will give a demonstration of a ceramic technique or process that will take place at a dedicated work space in a marquee on site during scheduled times over the weekend. Demonstrations will last 30 minutes and students will work on rotating shifts. This is an excellent opportunity to promote the facilities and courses on offer and allow potentioal students to talk to students themselves to get a flavour of the courses on offer. Ths was very successful in recent years and is run in partnership with Potclays Ltd.
How to Apply:
Please download the form below and complete with your course tutor.
2015 Student Demonstrations:
Cardiff Metropolitan University’s School of Art and Design
3rd Year Ceramics
Cardiff Metropolitan University boasts a new Fab Lab facility where students can try out Cad Cam, 3D printers and laser cutters. I have been using these new tools to incise into fired and green-ware clay bodies. The precision of cut on surface allows for immensely intricate patterns to be developed.
For the half hour demonstration at Aberystwyth, I propose a very simple introduction to surface pattern incision on tiles with the laser cutter. I will demonstrate with bisque fired terra-cotta tiles and soft leather-hard tiles how patterns could be installed into the programme and how the laser cutter prints onto the surface.I have been very much a traditionalist in the use of ceramic processes and was initially hesitant and wary of new technologies in the field. My proposal is to demonstrate how my perception has changed and show how indicative technologies can enable a sharper and more articulate vision of incising traditional ceramic pattern if approached as merely a new set of ceramics tools.
Firstly, I will have rolled out and prepared the terra cotta into 14cm x 14cm tiles. Then each tile will be covered in masking tape and positioned into the laser cutter. A simple pattern usually takes about ten minutes to complete on the whole surface of tile. During this time, I will explain and show how to use the masking tape to reveal or hide surface to allow coloured slip to be applied or to texture the surface by sponging back or scraping with metal tool. I will have prepared additional tiles to show the different application methods while the laser cutter works. In addition, I will go through what advantages and drawbacks I have encountered during my exploration into this new tool.This will I hope, reframe perception of traditional pattern surfacing to those unfamiliar with its ease and flexibility of design.
Plymouth College of Art
I love clay. Based in the beautiful South West of England my surroundings, especially the coast, have always influenced my work. I have been making with clay since I was 15 and on leaving school completed a diploma in craft design and then an HND in Ceramics and Glass at Plymouth College of Art. At this time I made individual hand built ceramic pieces that celebrated the material. This vessel-based work was often left, unglazed in its natural state or smoke fired and was sold through shops and galleries across the UK. After a break from making I have recently returned to Art School for the final year of a BA (Hons) Ceramics to re-examine my practice. It is here that my love of ceramic material has not only been renewed and deepened but I have also found a new direction to explore. The pieces I am currently working on are concerned with encouraging the natural properties and reactions of the materials used. I want the material to be itself without the conforming view of what is perfection within ceramics dictating the finished surface or final form.
Batches of clay are forced dried before being distorted in a hydraulic hand press. The resulting cracks, stress and stretch marks are integral to each piece and showcase the natural beauty of the material. The forms are then cut. Some are joined with others made from opposing ceramic bodies to produce one off pieces that should be viewed as a celebration of material, rather than the more traditional view of the materials supporting the form. Some material will be restricted within metal collars whilst other batches will be allowed free movement. These differing processes will allow the material to react naturally under pressure. Cracking and stress marks are encouraged as the materials react, whilst the qualities of the opposing clay types are highlighted. The resulting pieces should be viewed as a celebration of material, rather than be judged as ceramics in the traditional sense.
Supported by the Arts Council of Wales, WAG and Potclays Ltd