• 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.
    • A History of Glassforming

      Cummings, Keith (London: A & C Black, 2002)
      Cummings asks in what ways do the final forms of glass artefacts and products relate to the specific nature of glass and the methods invented over its history to shape it? The research involved an examination of the conventional taxonomic approaches in written accounts of glass artefacts; with the intent to expose the presumptions and gaps that prevent a fuller understanding of the material history. The work moves to expose the forces involved in the evolution of glass as a series of individual and collective creative decisions. The author examined the relationships between the unique material properties of glass, and the methods and processes used to shape it; with specific focus upon technology, tools, and equipment. The focus is upon the fact that glass becomes more and less liquid in relationship to temperature, furthermore glass acts as a universal solvent allowing artists to experiment with a range of materials that affect colour, transparency, opacity and the relationship between surface and body
    • Belt

      Bird-Jones, Christine (2002)
      Chris Bird-Jones developed a series and then exhibited three glass/textile pieces, on the theme of the ‘Belt’ for the 7th Womens International Glass Network Exhibition, curated by Holly Sandford and Linda Chalmers, at the Lane Gallery. The Women’s Glass Network sustains dialogue that foregrounds experience and knowledge relative to practice. This includes observing and discussing the creative process of others as a key to developing tacit and technical knowledge. From this dialogue, Bird-Jones’ work stands out through her integration of Reusche enamels into the use of glass on textile objects to achieve special effects of colour and light. The glass components were painted and fired with Reusche enamels introduced by fellow-artist Marie Foucault-Phipps and predominantly used in restoration of stained glass. Through exploration of sample firings and finishes, trace colours were combined with silver nitrate. Bird-Jones developed an intricate pattern of filtered and coloured reflected light, characteristic of many of her works.
    • ‘Brainwave’, centrifugally cast forms

      Garfoot, Stuart (2004)
      Based on the conceptual intentions of previous work to capture the phenomenon of growth and decay in underwater environments. In this series Garfoot extended his investigation into the relationship of technical process and artistic expression through a specific focus on the use of one-off resin-sand moulds and the centrifuge to capture images and perceptions of coral formations and accretions. The process in this project was focused upon the manufacture and testing of single trip moulds; with detail inclusions of small glass elements to extend the use of the centrifuge. The intention being to create a diversity of texture and glass quality in the resulting form.
    • 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.
    • 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.
    • Commemorative Window

      Bird-Jones, Christine (2003)
      A large (30’x12’) window in Bethania Chapel, Bethesda, North Wales, commissioned in memory of the 1900-1903 Slate Quarrymen’s Strike in Bethesda. The final window design was based upon ideas and images that address the village’s essential relationship to the landscape and its slate bedrock. Central feature of the work was a window within the window, placed upon a slate stone windowsill. The piece is constructed of three layers of antique glass, enamelled glass and blown glass. For this project, Bird-Jones researched the artistic translation of collective social memory. She conducted a significant collaborative inquiry with community members and school groups during her residency to understand local memory and contemporary narrative, as a basis for developing artistic and technical plans for the window. Extensive social, historical and visual research was conducted. Discovery of visual as well as social remnants of the strike directly influenced the design of the window. Images in texts etched into slate, in homes, the public space and in the landscape, and the particular weather and light qualities of the nearby mountains informed the transparency and opacity of the window design. Experience of the enduring social split following the strike led the design’s conceptual content, the inscriptions of 1000 villagers on the window, a process symbolically bringing together families split for a century. Bird-Jones worked with 3 German fabrication studios running experiments with technique, materials and processes before developing sample panels for the window.
    • 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.
    • 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)
    • 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.
    • 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.
    • Diversity Studio Collection: Autumn/ Winter Trends 2005/06

      Dillon, Patricia (2004)
      The submission represents a collection of original concepts and designs in textiles produced as a response to trend analysis and market directives for the Autumn/Winter season. 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 design collection every six months. The work involves trend analysis, contextual analysis of changing technology, social, political and economic conditions; which all inform the development of a series of cogent/creative designs that help drive the industry and its related economy. Although the process includes factor analysis and original interviews and research; it is instinctive vision that defines the final creative output. Dillon is the primary investigator of visual and materials trends and conceptual thinking for the partnership and sets the parameters for the new collection in consultation with the other members. The material strategy UNDERTAKEN: in the work this year focused on distortion of surface, which employed a mixture of machine techniques including intasia, inlay, stitch transfer and fabric manipulation.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.