‘LGAC has travelled the UK identifying the finest 2011 graduates who are pushing the boundaries of applied art whilst maintaining the finest traditions of their craft. This year’s Portal exhibition introduces award winning ceramicists, textile makers & jewellery designers destined to lead and shape the next generation of applied artists.’
I took that from their website. I didt even know this place exsited until my boyfriend who lives near that area took me there. They had a fantastic exhibition on while I was there, which really related to what I was interested in. ‘Portal 2011 – Featuring the work of this year’s top UK graduates in the Applied Arts’
I didnt really get any pictures while I was there, but I wrote down all of the artists name and researched them a lot more, here are the ones I have taken interest in.
–The process I employ within my creative practice is hand built ceramics coupled with drawing. My project is primarily about the vessel/body exploring the fragility and the strength inherent in the human form. On the larger vessels I use a variety of textured glazes and underglazes which are evocative of the source material. Making marks on the vessels brings the effect of time/age on the work which in turn brings timelessness when the pieces are grouped together. There is a slower pace in making, a quietness of the repeated action when creating the bowls. Inspiration comes from several different sources ranging from bones found on the moors to the paintings of Georgia O’Keefe and the architecture of Gaudí.
Taken from here!
-Carly’s work consists of fun, sculptural tea sets that bring together familiar objects in an unusual configuration. She uses slip-casting methods to build from, and then decorates using coloured slips, under glazes and ceramic transfers. Carly is inspired by the home environment and the stories invested in our objects. For her recent project, Carly exploited the powers of a social networking site to encourage others to invite her ‘round for tea’. Her personal narratives from this collection of first impressions are inscribed onto her forms using scraffito techniques. Carly recently received a student prize from The Contemporary Arts Society, Wales for her ceramic works.
Taken from here!
– I work in slip cast coloured porcelain, I produce tableware, primarily focusing on cups, saucers, bowls and spoons. My cups are purposely designed without handles; the decoration is created for function. The porcelain slip is worked away where the fingers grip the cup; this reveals the different colours underneath. The decoration is designed to fit to the hand; It is based around my hand, leaving evidence behind of the maker having personally created the piece. My work follows an underlying philosophy of Emotionally Durable Design and the Slow Movement. The aim is to physically slow down society, removing the handles of my cups forces the user to wait till the liquid has reached drinking temperature to pick up, enticing you to touch and feel the matt surface of the porcelain; create a connection with the object.
–The alchemic process of dyeing yarn with plant materials is something that has fascinated and engaged me for many years, but until now has not been part of my creative practice. As part of an ongoing investigation into the area immediately surrounding my home, I looked at indigenous plants that produce a black dye. The focus of this work is the investigation and experimentation that led to the dyeing process. I looked closely at the plants that I used, particularly their germination. Following the progress of the developing seeds and capturing the stages of their growth forms the main body of the work. I became increasingly interested in the environment specific to each plant, which encompassed insects and arachnids. Unfortunately I did not manage to produce a black dye, but I shall continue in my efforts to do so and expand this body of work as I go. This is not a serious botanical or entomological study, but a creative interpretation of the experience and my findings.
–Preperation work and samples. The blue images are photographs which I took of tiny iris plants. They were altered and printed onto acetate and placed in front of 5 lights. The other images of seed pods and germinating seeds were painted and stitched onto acrylic washed fabric, one of them incorperates an old map.
-Portfolio work, samples, sketchbook and back up work. The plant images (some screen printed, some painted and stitched) are all representations of germinating seeds. The two insects are folded mono prints of some of the insects which rely on the plants which I looked at.
–Details of some of the elements that made up the final installation. It includes dye samples with coresponding dyed wool, slides of dock plants which I photographed and acorn cups stitched onto paper. The other image is of iris seed pods. They were painted with water colours onto acrylic washed fabric with some stitching added. The light is one of 5 that illuminate images of iris plants.
–The installation represented the investigations and experiments that went into the dyeing processes. The idea was to create an atmosphere of scientific exploration and enquiry. The draws of the desk contained small folded mono prints of insects. A journal records the development of the dye work and books and images pinned to the walls chart the progress of the seeds
Taken from here!
Taken from here!
Gwennan Thomas-Imagine driving along a country lane, picnic packed in the boot and windows rolled down to let the warm, fragrant summer air filter through. This is the vision that springs to mind on viewing this beautiful, classic mini car. Gwennan Lowri Thomas’ passion for weaving and love of old classic mini’s have come together to create a very unique, quirky and skillful piece of work. The logical move to re-upholster the interior of her classic 1983 limited edition mini sprite with her hand-woven, lambswool fabrics has been made with much thought and consideration, as well as the digitally printed fabric and felted elements that work well together. The theme for the fabric is based on the idea of a vintage tea-party set in a secret garden, and has allowed her to include vibrant colours such as cerise, pink and green along with darker tones of grey that were taken from a much loved old china teaset. The ideas have evolved to create fresh woven fabric that incorporate optical illusions and patterns found on the car. These motifs and details have played a big part in the work evoking the original black and white herringbone seat facings with a fresh and contemporary twist.
The Mini Collection
The theme is based on the idea of a vintage tea party set in a secret garden. Having explored visual elements such as old china teacups and their patterns, lace and doilies and floral elements the ideas have developed to experiment with fresh and innovative woven ideas as well as printed and felted aspects.
To accompany the new seat facings, the digitally printed silk dupion has been used to re-cover the door panels and sun visors. Accompanied by the hand-felted car accessories, the entire car interior is cohesive, tactile and visually inviting.
Sara Jane Watson
-Based upon her personal struggle with dyslexia, Sara Jane William’s whimsical collections of embroidered drawings are inspired by a school workbook produced by an eight year old dyslexic pupil.
Okay that’s enough for today, hope you enjoyed reading!