Recent Submissions

  • Porcelain Reflections

    Jones, David. (Galerie Kempro, Eindhoven, Holland; • Galerie Gees, Belgium; • Cultural Centre t’ Vondel, Halle, Belgium; • The Blue House Porcelain gallery, Dubi, Czech Republic; • Gmunden ceramic centre, Gmunden, Austria., 2016-10)
  • Stitched Together: Community Learning, Collaborative Making

    Hackney, Fiona; Maughan, Hannah (Creative and Print Services, Loughborough University, 2016-02)
  • Does this look right? Working within the collaborative frame.

    Moore, Samantha (University of Edinburgh, 2016-10)
    The first scholarly text to explore the expanding field of animated documentary filmmaking Drawn from Life, a multidisciplinary anthology, introduces readers to a diverse range of filmmakers past and present who use the animated image as a documentary tool. In doing so, it explores a range of questions that preoccupy twenty-first-century film artists and audiences alike: Why use animation to document? How do such images reflect and influence our understanding and experience of ‘reality’? From early cinema to present-day scientific research, military uses, digital art and gaming, Drawn from Life casts new light on the capacity of the moving image to act as a record of the world around us.
  • Creating Sustainable Innovation through Design for Behaviour Change: Full Project Report

    Niedderer, Kristina; Mackrill, James; Clune, Stephen; Lockton, Dan; Ludden, Geke; Morris, Andrew; Cain, Rebecca; Gardiner, Edward; Gutteridge, Robin; Evans, Martyn; Hekkert, Paul (University of Wolverhampton, CADRE, 2014-10-31)
  • Creating Sustainable Innovation through Design for Behaviour Change: Summary Report

    Niedderer, Kristina; Mackrill, James; Clune, Stephen; Lockton, Dan; Ludden, Geke; Morris, Andrew; Cain, Rebecca; Gardiner, Edward; Gutteridge, Robin; Evans, Martyn; Hekkert, Paul (University of Wolverhampton, CADRE, 2014-09-18)
  • Glass Routes: from Wolverhampton to China

    Garfoot, Stuart (University of Wolverhampton: CADRE Publications, 2008)
    The ‘GlassRoutes’ exhibition and catalogue examines the role and impact of Professor Keith Cummings upon glass education in the UK and China. Through his work at Stourbridge College and the University of Wolverhampton Keith has proved guidance, support and career advice to some of the most important international glass artists. The exhibition looks back through forty years of work; examining the range of work produced by Cummings in glass and metal as well as in drawings and paintings. His work is contextualized amongst his colleagues in the glass world, which include a range of former students who are now academics, artists, designers and respected glass makers. Over the last forty years, Keith has influenced the present and future generations of glass artists and designers all over the world. The exhibition and catalogue specifically examines the effects of the University of Wolverhampton glass programme upon newly established university programmes in studio glass in Shanghai and Beijing.
  • Whitegold

    Shaw, Vicky (2005)
    Shaw produced three variations of bowl forms, with precise patterns juxtaposed against bold background colours for “Whitegold”, an international exhibition of commissioned work in porcelain. Based on previous work, this commission enabled Shaw to develop a new strategy for complex pattern making based on building up intricate layers of colour through screen-printing. While pursuing the juxtaposition of colour and form, which is the signature of her work, Shaw used the new patterning process to develop a new aesthetic for her work, metaphorically referencing domestic table settings.
  • The 4th World Ceramic Biennale 2007, South Korea

    Shaw, Vicky (2007)
    The 4th World Ceramic Biennale 2007 Korea was an international competition. Shaw entered, and was selected for the category of ‘ceramics for use’ as one of twelve artists representing the UK. Three bowls made in black basalt clay were exhibited. Although ‘the bowl’ has been the essential form in her work for twenty years, this was the first time she had considered it within the category of ‘ceramics for use’. The question therefore was how to translate her established canon of form and colour to suit this category. Interpreting utility in a broad sense, Shaw chose black basalt clay as the base material and the form of three nested bowls as the basic form for this inquiry. In search of a formal-aesthetic translation, Shaw developed linear and block colour patterns, which interact across the three forms to create a relational composition that works as a group as well as individual bowls.
  • 100% Design

    Shaw, Vicky (2001)
    Shaw was invited to develop a contemporary use of Jasper and to push the limits of the material while producing work with the potential for production. Shaw used her own specific finishing techniques of grinding and polishing to develop a collection of Jasperware that challenged both conceptual and aesthetic perceptions of traditional Jasperware by exploring the formal limits of the clay body, in relation to pattern and colour as well as perceptions of actual and metaphoric aspects of use.
  • Compositions colour-pattern-form

    Shaw, Vicky (2005)
    A solo exhibition comprising 120 pieces made over a period of 18 months. The artist is noted for an uncanny level of control and finish in her handwork with porcelain. Working with Jasper, the ‘signature’ clay body of Wedgwood which lacks the translucency and purity of porcelain, raised a range of technical questions concerning its plasticity and surface quality including colour. Shaw experimented with different combinations of form, colour, and surface finish usually used for porcelain, in particular the use of porcelain-mono-printing and screen-printing, which she has pioneered, to develop new perceptions and uses of Jasperware.
  • Exploring the Expressive Potential of Function

    Niedderer, Kristina (Gothenburg, Sweden: IASPIS/Craft in Dialogue, 2007)
    Niedderer’s chapter builds on her previous research, which was concerned with transforming the current understanding of function in design from a factor of constraint into a factor that can enable creativity, and applies it to contemporary craft practice. Niedderer argues that the crafts are particularly suited to explore the proposed new understanding of function. It benefits from doing so because this new idea of function transcends the visual, allowing for meaning to accrue through haptic and somatic (physical) experience of the object resulting in a concept of ‘expressive function’ which is itself arrived at through convivial human interaction rather than through solitary analysis.
  • Mapping the Meaning of Knowledge in Design Research

    Niedderer, Kristina (Design Research Society, 2007)
    Knowledge plays a vital role in our life in that it reflects how we understand the world around us and thus determines how we act upon it. In this sense, knowledge is of particular importance for designers because they act to shape our world. Conventionally, knowledge creation has been assumed by (design) research. However developments of using practice within research have pointed to knowledge creation within and through practice. This has raised the question of the meaning, role and format of knowledge in both research and practice, and about the compatibility between knowledge of research and practice. The research presented in this paper has set out to investigate the concept of knowledge with regard to this question. The paper begins by considering some of the main problems with knowledge in research within design, and more generally in the creative and practice-led disciplines. It then examines the meaning of knowledge in relation to its philosophical foundations. On this basis, the discussion reconsiders the meaning, role and format of knowledge, and the impact of this for the conduct of research.
  • Designing Mindful Interaction: the Category of the Performative Object

    Niedderer, Kristina (MIT Press, 2007)
    This research is concerned with design as a means for creating mindful interaction through the use of objects in social contexts. The assumption is that artifacts can stimulate the user’s behavior by means of their function, thus causing mindful reflection and interaction. At the core of the study was the identification of a new category of products with these qualities of interaction, termed “performative objects.” The paper presents part of a larger study.1 It presents a summary of the research problem and the concept development, testing, and considerations on the usefulness of the proposed concept for design.
  • Canyon Reflections

    Jones, David (2005)
    “Raku - Origins, Impact and Contemporary Expression” was a symposium and exhibition convened by Professor Jim Romberg, Southern Oregon University, to research the development of new potentials in western raku. The event brought together some of the leading raku specialists worldwide to develop work and an attendant critical discourse. Jones was an invited participant. The group discussed the ancient and the contemporary heritage of raku and then embarked on collaborative ventures to explore a set of propositions concerning the nature of raku practice, which had evolved from the discourse. Set in this context, Jones pieces were made as a reflection on, and reinterpretation of, the vessels made for tea ceremony in a contemporary context.
  • Firing: Philosophies within contemporary ceramics practice

    Jones, David (Wiltshire: Crowood Press, 2007)
    This book builds on work begun in “Raku – Investigations into Fire”, published in 2000. In “Firing” Jones interrogates the latest ideas, processes and conceptual frameworks that inform the use of fire in artmaking; within a contemporary aesthetic related to ceramics.
  • Fixing Light - Fixing Fire

    Jones, David (2002)
    A solo exhibition developed and curated by David Jones, working in collaboration with: Rod Dorling, art and architectural photographer, Leamington Spa; and John Bell, theatre and exhibitions designer. The overarching idea of the exhibition was to investigate the relationship between Eastern and Western ceramic cultures on the example of raku. More specifically, the research underlying the exhibition addressed the question of how to exhibit contemporary western raku so as to elicit its ties to historical and aesthetic traditions in the East. To this end, the exhibition was designed to display the work of Jones, and to contextualise it through the photography of Dorling to make explicit its relationship to, and its advance from the historical raku ceramic process and philosophy.
  • Brickworks

    Heeney, Gwen (London: A & C Black, 2003)
    The book explores the re-emergence of architectural ceramic brick as a primary material and process for public and environmental art practices. The text establishes the international field of practitioners involved in brick. It also examines the history and application of brick with particular focus on the ‘Specials Departments’ within the Brick Industry. Historic traditions and contemporary experiments inform practical processes and methodologies used by Heeney and colleagues. The author examines the way artists and architects use brick in contemporary application; exploiting its architectural potential through manipulation of wet brick, the use of newly fired bricks, or through the use of bricks and related forms as found objects and architectural forms. In the text, collaborative links are explored between artists and the many ‘Specials Departments’ of Brick Companies throughout Europe, Scandinavia and the USA. Heeney explores the possibilities of brick as an essential component of a public art practice that seeks to engage questions of site-specificity and community involvement.
  • Shadow Stack / Pit Stack

    Heeney, Gwen (2006)
    Heeney’s work was developed to understand and comment upon the history of the property, a former brickyard, by juxtaposing it with a contemporary view on brick as artistic medium. In the process, Heeney advanced the use of brick on both a technical and aesthetic level. She combined traditional energy efficient firing/glazing methods for bricks dating back to Medieval times, with contemporary ceramic studio methods of firing/glazing; and she developed new artistic applications of bricks and brickwork to achieve a heightened sculptural quality through light and surface reflection. The process included construction and assembly of wet clay forms; sculpted and de-constructed then fired prior to re-assembly.
  • Transformation

    Heeney, Gwen (2004)
    Heeney collaborated with a Korean brick factory to develop a site-specific permanent artwork: a large figural form based upon a historical artefact in the Museum Collection. Adopting low-tech processes and firing techniques of the indigenous Brick industry, Heeney clarified and extended these ideas through her work and brought them back into use in contemporary art practice. In the process of firing/glazing Heeney discovered that the developing surface resulted in a finish that could be used to focus light within the landscape, in relation to the work. This led to further research into reflective surfaces through glazing with soda-fired brick.
  • Poseidon’s Paradise

    Garfoot, Stuart (2005)
    Garfoot uses industrial production systems and works with the inherent conflicts central to that process in order to express the ephemeral and natural qualities found in singular artifacts rather than production runs. He maintains technical control while allowing the work to develop which projects a sense of harmony with the natural world. Extending the technical options of previous work, for this series Garfoot experimented with adding glass blowing to the process of centrifugal glass casting to achieve his conceptual intentions. He used standard bronze casting moulds (resin bonded sand moulds from a master form) as the base canvas for his production. He then goes back into the mould to carve it and add details. He shaped the mould to produce a series of facets in relief which trapped and transmitted light. This method resulted in a unique singular product from what is ostensibly an industrial process. The development and extension of existing glass techniques and processes to express the forms and textures derived from marine conditions. Through the use and combination of centrifuge, hot working and cutting, glass sculptural pieces are created that are analogous to underwater growth.

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