Research Study Assignment

 

Introduction

This assignment is split into three parts.  The first section provides an inward-looking approach to my work and is based on interviews with people within my design discipline (See Appendix 1 & 2).  I have approached people whose work, firstly I admire greatly, who like me incorporate texture and/or sense of place in their work.  They do not all operate solely with clay however they are working in the area where I see myself positioning in the design industry, which is in the field of sculptural art, placed in the inside and/or outside environment.  The second section is in response to a series of lectures by a variety of practitioners from different design disciplines who each offered an insight into the way they work, methods and philosophies providing an outward-looking approach to my work (see Appendix 3).  The last section will summarise and critically evaluate my own position in relation to the broader area of design and will document how these inward and outward looking approaches will influence and shape my own practice.

 

Part 1

Danny Clahane 

He has been working as a sculptor since leaving art college first as a sculptor's assistant before setting up his own business.   His outdoor sculptures are made from stone which are inspired by nature, geometry, the patterns in nature and contain lots of movement and floating qualities.  He is drawn to stone due to the way of thinking, its directness, texture and colour.  Clahane’s process is very organised as he will produce a series of drawings, clay models and stone maquettes which he argues inspires confidence for the customer. 

 

One of the areas that I am struggling with at present is to understand how I can make work that is impactful in an outdoor setting, so I posed this question to Clahane to obtain his view.  He argued that both size and proportion need to be considered e.g. if an item is placed in a large open space the item needs to be sizeable however if the item was to be situated in an enclosed space then size is less of an issue.  Making a series of items placed together also gives impact.  

 

Some of the insights Clahane shared made me realise that one of the keys to being successful as a sculptor is having courage as you do not know what is going to happen as you go through the process due to ongoing jeopardy.  He also suggested that the term artist is not necessarily useful. He went on to explain that the Turner prize can sometimes be toxic achieving style over substance and that it has become more of a business.  He shared that art is not necessarily in a gallery, but art can be a building, creativity is everywhere, we just need to look.

 

Key points from his interview include:

• Not all sculptures need to be in 3-D

• Environmental considerations when placing work outside

• Presentation e.g. on a plinth. 

 

Anne Haworth

As a previous UCLAN student I found her interview very considered and insightful.  She simply loves working in clay and went on to say there was always a new challenge along the way throughout the whole ceramic process, but a day spent in her workshop was always a fulfilling one.  Explaining that it can be frustrating too, she highlighted that part of the appeal is in problem solving, which I had not previously fully considered. 

 

I especially found her response to the question regarding the role the artist plays in society very astute.  Creativity is everywhere she said, artists have always used their work to mark their place in often troubling times and in so doing they bring colour, provoke interest and can be distracting, soothing or provocative.  She explained that artists have often told us a lot about our history and continue to reveal much about the way we live our lives today and reflect our ongoing concerns.  In terms of the narrative of my own work, I can see how my sense of place concept fits into her way of thinking.

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Her most significant advice had come from Dave Binns. He advised her that we need to learn to recognise the moment when a piece of work should be abandoned, which can be hard to do but well worth it.  This is an important question I need to ask myself as I tend to be critical of my work, often quick to judge whether a piece is working.  I am at the start of my journey exploring how my signature style will evolve and therefore I am trying lots of ideas which can quickly be dismissed.  Taking time to fully absorb my work, stepping back and analysing, may help focus my direction.

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Eddie Curtis

Unlike most artists I have interviewed, his work relies on the absence of a formal design process. He works from observation, adapting his process accordingly. To work to a ‘design’ is too prescriptive for him. He confessed that he messes around, plays with the clay and experiments continuously, keeping only that which interests him, that which recalls memories and past observations.

 

Curtis’s tool kit is also unusual.  His favourite tool is quite literally the one that challenges his usage at that time and changes, continually. He sometimes picks up a tool that seems inappropriate, but which influences the spontaneity of his work.  He expressed that his favourite part of the process was the point at which he realises something is developing quite naturally before his eyes. 

 

He shared similar views with Haworth regarding the role of art stating that art is essentially the medium by which we have historically and continuously evaluated the cultural successes of our forebears and contemporaries.  The artists output is the manifestation of measurable culture.  I found Curtis’s interview very inspirational.  From a working class background his determination and self-belief shone through.  The best advice he has been given is that artists should make work that fulfils themselves before all else.  I will certainly try to follow his example. 

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Lanty Ball

Like me, he is interested in exploring the contrast between textured and smooth surfaces. He takes a minimal approach to form, favouring simple thrown or slip cast vessels that act as canvases for his surface designs.  Drawn to the spontaneity of working with clay he likens it to drawing and painting in that you get instant feedback from the material as you work with it.  In this way a lot of his work is developed through a process of thinking through making. 

                                     

The best advice he has been given is to keep going! Ceramics can be incredibly frustrating at times when work you thought was going to turn out fine comes out of the kiln warped, cracked or simply not what you expected. In his experience it is always worth giving pieces some time before you make any judgements about whether they are good or bad. Sometimes what seem to be mistakes or failures can lead you in interesting new directions.  Recently one of my pieces exploded in the kiln, the resulting shards are now leading me into a new direction of my evolving form, which might not have happened if this failure had not occurred.  

 

Key points from his interview include:

• Obtain feedback from lots of different people 

• Draw every day

• Make a range of sizes and prices to appeal to different sorts of collectors

 

I enjoyed Ball’s interview, it was thoughtful and inspiring as he had recently graduated from UCLAN and was early in his career.  I had chosen to interview both Haworth and Ball as they were UCLAN ceramic alumni and was encouraged that since graduating they were in their own way making a successful career working with clay.

 

Part 2

Weekly lectures were given by a professional within the remit of the MA design field whose talks were interesting and helpful for students to understand their position in their chosen field.  They generated debate and interesting discussions providing insight into various aspects of our own work, regardless of the medium.  The following paragraphs highlight some of the more productive lectures and how they will influence my own practice, now and into the future.

 

Claire Norcross

As a lighting designer Norcross works in a variety of materials, is inspired by nature and encourages clients to be interactive with her pieces.  Acknowledging that people who liked her work may not be able to afford it, she started to work with Habitat as a possible solution to selling her work.  However, this generated its own restrictions as she was no longer free to design for herself, instead working commercially meant working to constraints in terms of design, timescales and costs.  She stressed the importance in understanding our own context, will we be a craft maker or work commercially.  I found this to be relevant to my own practice and especially where I market myself, being mindful of affordability as I will be earning a living as a maker.

 

Key points from her lecture include:

• Important to draw

• Explore proportion of shape and form

• Need to aid communication with clients

• Experience design at every possibility

• Visit shows and exhibitions

• Attend conferences

• Join art groups and associations

 

Networking early in our career would be vital she reaffirmed.  Following her advice, I am now the North West Regional Coordinator for the Northern Potters Association (NPA) and see the possibilities this may open.  The role is putting me in touch with gallery owners and other art networks and coordinators which may generate future collaborative ventures.  Collaboration was the main message I gleaned from Norcross’s lecture and how working with someone on one project could then generate a further collaboration with someone else.  

 

Andrew Bainbridge

He is a graphics lecturer at UCLAN and shared his work and thoughts on being a creative.  I found him to be a remarkably interesting character, probably more interested in him as a person than his work.  His “just do it” attitude just beamed out at every point in the lecture, nothing held him back.  Both his and Clare’s lectures strongly advocated a “make your own opportunities” attitude.  If he had an idea, he would execute it regardless of whether anyone was interested in it or not.  His maverick, non-conformist approach I found liberating. 

 

As with Norcross, collaboration was a key message in his lecture as was having someone to act as a sounding board who you trusted and valued their opinion. He really impressed upon us that it was important to look, to be open to things around us.  I liked his stonewall seating installation outside the Victoria Building which contains a secret inside, not immediately visible from the initial view of the work.  The idea of not necessarily seeing the full picture or having the option to view a piece differently intrigues me which I will look to explore further in my work.

 

Anna Lambert

The importance of working within a community of others of different design disciplines was highlighted in her lecture.  As a ceramicist she applied for a group workshop within a large house of glassmakers, woodworkers and other ceramicists early in her career.  Surrounding herself with other influencers was beneficial and therefore I intend to follow her lead.  I was especially interested in her interpretation of sense of place, incapsulating her illustrative expressions on vessel and cylindrical forms with painted surfaces in contrast to my own textured finishes.

 

How we attract our customer base is obviously important to anyone who is trying to make a living out of their craft.  Lambert explained how vital it was that she showed her work in prestigious shows and although expensive was worth the money.  The initial outlay of bigger events has in the past put me off from applying but once I have developed my signature style it is something that I will need to consider going forward.  Applying for CPA fellowship and competitions/awards also had a fundamental effect on selling her work.

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I found it fascinating to hear her political ethos of making work which people can afford to buy and feeling guilty when prices were increased, resulting in her spending more time on the pieces so people got their money’s worth.  It was interesting that she made a conscious decision to move away from wholesale and to concentrate more on commissions and the retail market.  It is a major issue when selling work, how we place ourselves in the market, ensuring items are affordable but priced high enough to make a living from our craft.  However, I believe no matter where you place yourself, the price of your work is a secondary factor, if it is not well crafted and made, people are less likely to buy regardless of the price tag.

 

Jim Thompson and Lubaina Himid

The theme of identity came across strongly in both lectures.  Thompson focused on gender identity and gender bias whilst Himid centred on defining what it meant to her to be an artist.  Whilst sourcing an exhibition venue for the NPA the gallery owner wanted to get to know me and my work in a bit more detail.  I was intrigued that his overriding comments focused on gender and how interested he was that as a woman my subject matter and inspiration were masculine.  I guess I could use this to my advantage, to stand out amongst the numerous clay artists and sculptors.

 

As an artist Himid wants to start conversations, to ask questions of society and to change things as a painter.  I do not feel my work asks questions or stimulates debate, neither does it particularly answer questions or provide solutions as a designer would to a brief.  I found that her talk stimulated thoughts on my own identity and what my context is, which I feel has been lacking.

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Part 3

In Lambert’s lecture, she said she was not sure whether to call herself a painter or ceramicist.  Himid classes herself as a cultural activist whilst Norcross refers to being a designer rather than a marker who would work predominantly with one material.  So where do I position myself within this creative world.  When I left my thirty year NHS career to set up as a ceramicist I fiercely asserted myself as being an artist rather than a potter as I wanted to mark the difference in moving along my ceramic journey from hobbyist to earning a living.  My business name “Designs By Kathryn Stevens” alludes to being a designer and my website classes myself as a sculptural ceramicist.  There seems to be a lot of confusion as to how I see myself in this industry.  Previously I did not understand the distinction between the different terminology and secondly, I do not appreciate being restricted by a label or placed in a box.  However, Norcross has taught me that knowing your context and where you fit in the industry is fundamental to your success.  Rather than introducing myself as an artist I now see myself simply as a craft maker.

 

There is also a lack of clarity regarding what my body of work will be, however at this early stage of my degree there are some clear lines in the sand.  My work is heavily influenced by sense of place focusing on the natural and industrial landscape of the Furness Peninsula, an area where I grew up and currently reside.  My work will be textural, like fellow artists, Lanty Ball, Anne Haworth and Eddie Curtis and will be sculptural having been influenced by other sense of place artists like Rachel Wood and Luke Fuller who I reached out to interview. 

 

Lambert stipulated how working with other design disciplines was fundamental in her early career which helps justify my desire to interview Clahane but also the importance of networking and joining associations within the wider artistic community.  Clahane taught me the importance of inspiring confidence between myself and my customer which will be particularly valuable when working on commissions.  It has been a valuable opportunity to question and learn from the above professionals as it represents a community, I anticipate belonging i.e. contemporary ceramic sculpture.  From the interviews and lectures there were three key messages which will be particularly important as I progress along this journey:

• Attitude – to just do it

• Collaboration and networking with others

• To keep going and to do what fulfils me

 

It was reassuring to hear from Curtis that he plays with the clay which is a mantra of mine and gives me hope that I am on the right career track.  Together with the likes of Ball and Bainbridge they have taught me the importance of having confidence in your work and the attitude in creating your own opportunities, something I will strive to do.  Building on this, Lambert has taught me the importance of seeking out other opportunities to raise my profile, by entering competitions and undertaking roles within art associations.  Networking and collaboration with suppliers e.g. local brickworks, joining art groups and capitalising on my NPA role is important advice given by many of the lecturers. 

 

As previously declared, Norcross indicated knowing our context is going to be key to our success.  As I intend my work to be placed in an outdoor setting this will pose questions on how I will market my work which may open different opportunities and avenues than many other ceramicists, requiring me to generate creative strategies.  If my journey takes me into the field of public art then this will require a different set of skills including bidding for contracts, project planning, working with other professionals and clear communication abilities.  There is still much to consider. 

 

Reflecting on part one and part two I have realised how rewarding this research project has been, have learnt a lot from others which has questioned my own context and have learnt some techniques which will help me be successful, earning a living as a craft maker.

 

 

 

 

 

 

 

 

 

 

 

Kathryn Stevens                                             

MA Ceramics Degree

2982 words

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References

 

D Clahane, interview, 29.01.20

A Haworth, interview 31.03.20

E Curtis, interview, 7.4.20

C Norcross, lecture 31.01.20

A Bainbridge, lecture, 7.2.20

A Lambert, lecture, 28.02.20

J Thompson, lecture, 20.03.20

L Himid, lecture, 3.4.20

 

 

Appendix 1

Interview Questions

Why do you do what you do?

What is your background?
What role does the artist have in society?
What is your design process?
What do you need to consider for your work?
What is your inspiration?

What is your most important tool?
What is the best piece of advice you’ve been given?
What does your artwork represent?
What is your favourite part of the process?

 

 

Appendix 2

Interview Schedule

 

Date, Person, Medium, Interview

27 January 2020, Roger Bell, Ceramics, Wood, Metal, Found Objects, 10 February 2020 in person

29 January 2020, Danny Clahane, Stone,10 February 2020 in person

28 March 2020, Lanty Ball, Ceramics, 13 April 2020 by email

28 March 2020, Anne Haworth, Ceramics, 31 March 2020 by email

28 March 2020, Adele Howitt, Ceramics

28 March 2020, Rachel Wood, Ceramics, Responded 10 April 2020

28 March 2020, Luke Fuller, Ceramics, Responded 15 April 2020

28 March 2020, Eddie Curtis, Ceramics, 7 April 2020 by email

28 March 2020, Helen Rondell, Ceramics

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Appendix 3

Lecture Series

 

Date

Name

Field

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31 January 2020

Claire Norcross

Lighting Designer

 

7 February 2020

Andrew Bainbridge

Graphic Designer

 

14 February 2020

Ben Casey

The Chase (Chairman)

 

28 February 2020

Anna Lambert

Ceramicist

 

6 March 2020

Stephen Appleby

Cartoonist

 

13 March 2020

Martin Jones

Human Behavioural Insights

 

20 March 2020

Jim Thompson

Games Designer

 

27 March 2020

Jenny Rutter

Textiles

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3 April 2020

Lubaina Himid

Painter