ASU2 Learning Agreement

Description of Project

My intention is to investigate and explore the properties of ceramic material and organic burnout during the firing process. I will be using personal and pertinent organic materials within the body of the clay. The intention of this work is to burn away the ‘positive’ physical object and leave negative space within fired ceramic test pieces initially. I intend to link this with location, whether this is specifically a landscape or particular location.

I am trying to draw a parallel between the ceramic body and ‘time’ and memory. I am looking at thoughts of loss and mortality. In essence, what remains is a representation of the continuation of space and time once a ‘presence’ has gone. Whether this is the self or the ‘other’ is a narrative which is raised and not necessarily resolved.

I am considering working towards large scale pieces which build on the idea of the self, represented as a ‘core’ sample and landscape represented through self-portrait albeit from an obscure direction. This builds on my last exhibited and submitted work for the RIPU unit.

I intend to submit test samples showing a variety of exploratory techniques for this process and supporting documentation and research. This would be conceptual and practical information along with sketches and thought process.

Some initial time will be needed to begin to collect relevant materials. I will then consider the work of contemporary ceramicists who work in large scale and those who deal with landscape, for example Jim Robison. I intend to look closer at the conceptual thought process informing the work of Rachel Whiteread and Anselm Kiefer. I also had thoughts about Pollock and the residue of cigarettes in his work but as a physical residue which remained.

Learning Outcomes

13.Identify and apply concepts and principles associated with your subject to a range of contexts and environments. Exhibiting within studio environment for feedback from other practitioners.

14. Employ appropriate methods, processes and materials to produce experimental and finished work relevant to current practice in your area. Working through he practicalities of making and the nature of the material.

15. Examine complex problems in your area of study and articulate a range of solutions. Structural integrity and technical aspects

16. Evidence your understanding of contemporary practice and the creative industries relevant to your subject.working within the physical process and in a working ceramic studio.

Resources Schedule

Prescribed time at NUA

Approx 1 day pwk working within own studio.

Risk assessment

Conducted off site in own studio/ exhibition space

Tutors comments

This is a clear proposal and one that should enable you to address the Learning Outcomes effectively. There are complex issues here concerning place, identity and memory that have absorbed many contemporary artists. Kiefer is a good choice here and other artists worth exploring are Duncan Higgins, Anne Eggebert and Julian Walker. Reading around these issues will help to develop your own focus: see Simon Schama’s Landscape and Memory and the Land2 research group. The Learning Outcomes need more detail. Although you are at an early stage in your MA, we will be looking for something that is outward facing in your research: think about the potential from Dialogues, the London trip, research seminars, etc and use visiting exhibitions as an opportunity to reflect upon the way that other artists present their work and themselves (LO 16). Complex problems (LO15) should encompass how you will identify and contextualise the issues that are of concern to you and other contemporary artists. LO13 will look at how you have thought about the different potential outcomes and destinations for your work.


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