• 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.
    • 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)
    • 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.
    • 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.
    • 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.
    • Diversity Studio Collection: Autumn/Winter 2008/09

      Dillon, Patricia (2007)
      This submission represents an original collection of textile designs derived through textile experimentation. The process is linked to the biennial focus upon the “Indigo” exhibition. The “Diversity Studio” conducts market analysis, creative development, product testing and materials investigation that leads to a new presentation every six months. The work described in this submission delivers:1) Current and emerging trends in Fashion and Textiles.2) Reports on ‘social, technical, economic and political’ issues (STEP factors) that impact upon current practice in fashion and textiles. 3) Original design to inform future markets. The work demands research and dialogue with industry professionals such as the Creative Director and Editor of “Textile View,” Marie Christine Vianney. While the process includes factor analysis and original interviews and research; it is instinctive vision that defines the prediction. Dillon is the primary investigator of new trends and conceptual thinking for the partnership and sets the parameters for the new collection in consultation with the other members.
    • 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.
    • 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.
    • 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.
    • Embryonic

      Bird-Jones, Christine (2006)
      “Embryonic” was the first of a series of collaborative works with video artist Heald. The result was a collaborative installation utilising translucency and transparency in both film and kiln formed glass. Two years ago both artists identified a common interest and focus in each other’s work concerning light and movement. Heald was developing projections of her film works onto objects; Bird-Jones was experimenting with moving image in glass. The ensuing collaboration set out to explore how joining both media could enhance the effect of the ephemeral qualities common to both film and glass. These qualities were taken to be: translucency and transparency; and the static quality of glass created from liquid and the dynamic form of video film based on static script or code. Several glass samples were produced and experimented with by the collaborators in the studio. They experimented with Bullseye and Float glass, tack fusing crushed base glass seeking an appropriate and evocative surface to receive the projected film. Material and visual research was conducted concerning scale, size, fixings and juxtaposition of material.
    • ‘Strata’ (x3)

      Garfoot, Stuart (2006)
      “Strata” is a family of forms linked in terms of shape and surface finish in such a way that one relates to another and the condition of one generates the other. This project extends previous developments through an emphasis on the relational aspect of the forms created, and through experimenting with clear glass in relation to light. The project used the centrifuge process producing clear unadulterated glass forms; optically pure so that the relief and light qualities transcend one form and leap into the next. Where other pieces are unique – this is a family of objects developed within a concept of natural systems rather than the industrial concept of repetitive forms. The process involves the design, production and testing of single-use resin-sand moulds. Working from a reproducible base form an original mould was generated; Garfoot then worked into the mould itself which resulted at once in consistency and variation. The singular nature of each cast object allowed for the creation of the family of pieces.
    • Strata, Ice Chi, Ice Trumpets

      Garfoot, Stuart (2006)
      In each of six pieces, Garfoot experimented with different combinations of technique to emulate the richness of form, texture, glow, growth and decay found in corals, and other sea life. A former industry designer, Garfoot’s research seeks to extend and develop knowledge about conventional processes through the development of new relationships between divergent techniques, which in turn offers new potential for artistic expression. Garfoot is expert in a variety of processes and innovative combinations of processes, integrating glass-blowing and kiln-casting with centrifugal casting. Using these industrial processes, he has developed methods to subvert or ‘degrade’ them in order to produce semi-industrial individual pieces of artistic quality. This method of ‘degradation’ of industrial processes through manual intervention serves as a basis for, and analogy with Garfoot’s conceptual intention of portraying the subtle balance between the struggle for survival of the natural life of the undersea coral beds and the effect on them from human post industrial and material fallout which has resulted in the degradation of these natural life forms.
    • 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.
    • Diversity Studio Contribution to the Zibetti Textile Art Lab Archives

      Dillon, Patricia (2006)
      The applied research delivers the following: Examples of specialist technique in embroidery and embellishment; Combinations of colour, textures, materials and processes that are both original and of artistic merit. and finally, original design to inform future designers and researchers. The work includes extensive process/practice based research that focuses on the exploitation of embroidery and embellishment. Dillon is immersed in the discourse and material knowledge of the discipline and its market: A mix of intellectual and tacit knowledge combined with instinctive development informs the creative research, which results in, the development of ideas and material expression of those ideas within this dynamic creative industry.
    • 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.
    • 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.
    • 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.