Learning agreement 1

L E A R N I N G A G R E E M E N T

Project Proposal (approximately 750 words – not including references)

Name

Deborah Buxton

MA Course

MA Ceramics

Date

March 2024

Version Number

1

Project Title / Research Question

Under the water

Proposed study / What? (100 word limit)

Give a brief description of your proposed study.

I am going to explore the environments that survive under water symbiotically existing with humans and how it is preserved resulting in the formation of fossils and rocks.

Rationale / Why? (100 word limit)

State the reasons behind your proposed study, including how it relates to the subject area and previous work in the field. You should include references to support your reasons.

I enjoy sub aqua diving and have been fortunate to dive in the Maldives, Egypt, Corsica and Greece and have been inspired by the environment under the waves. The colours and forms are aesthetically very pleasing. I am really interested in how the manmade objects that drop to the ocean floor become symbiotic with the naturally occurring organisms. I am also very concerned by the effect that humans have on the delicate ecosystem and particularly how coral has been damaged.

I am influenced by Courtney Mattison’s work consisting of intricate ceramic sculptures inspired by the fragility of marine life in response to human caused threats. Her background in marine conservation science informs her work. She creates hundreds of hollow forms pinching together coils of clay ten creates texture using simple tools.Kuresumi’s, Hellman, Olumide, Shiver and Ervinck’s work also mall, resonate with me.

I am very interested in how life is preserved by water particularly fossils and rocks. I am inspired by the petrified forests that can be found dotted around the coastline preserved due to the wet site conditions. I have seen this on Hightown dunes when the tide recedes, and a submerged forest is revealed that consists of the remains of trees and ferns lying in a thin bed of peat where they fell 5000 years ago. Neolithic people laid a trackway made of branches across the marshy area, possibly to set traps or access their boats.

Aim & Objectives (200 word limit)

Clearly state the principal aim of the study. You are advised to state a single aim if possible. Then state the main objectives that need to be achieved in order to meet the aim.

The main objectives:

· Develop textural techniques to incorporate in my work.

· Know how to develop my ceramic practice and key areas for further development.

· Be able to demonstrate reflective learning evidenced in my reflective blog.

· Be able to demonstrate good practical skills in coiling, modelling, and slab building.

· To have gained practical knowledge of firing and surface finishes

· Have developed my practice and areas of research I want to explore.

· Refine my skills in reflective learning and practice methodologies.

Plan / How? (250 word limit)

· Make a series of Marquette exploring forms under the water.

· Experiment with hand-building techniques appropriate for a sculptural piece.

· Experiment with creating different textures using clay and different materials e.g. plaster, textiles producing some test tiles.

· Investigate different ceramic artists and how they celebrate life under the water.

· Explore different types of clay and its sculptural properties.

· Research ceramic artists who are influenced by water and what is preserved by it.

· Consider work by other ceramic artists and how their use of form, texture and mark making to create forms representing forms under the water.

· Compare and contrast glazing materials and the visual and tactile properties on finished work.

· Build a library of techniques that will enable me to produce work influenced by forms under the water.

· Through drawing experiment with the narrative around forms under the water.

· Experiment with different clay bodies.

Intended Outcomes of Project / What - solution? (100 word limit)

State your proposed outcomes and the new contribution it may add to previous work in the field.

To have expanded my knowledge of hand building techniques, surface decoration and texture to create a form influenced by environments under the water.

References

Use the Harvard style of referencing.

Harriet Hellman,Courtney Mattison and Noriko Kuresumi’s work that I am influenced by.

I began by trying to network with ceramic artists using Instagram as the first point of contact which led to telephone calls and email discussions. The aim of this essay is to explore how influential ceramic artists came upon their ‘particular thing’ and how they developed their signature style, method, art focus and theme.

I am currently developing my first learning agreement and exploring how my own practice will develop. I am inspired by Harriet Helman’s (Fig. 1) work who is influenced by coastal erosion and rising sea levels and using layering and and tearing to create a visceral response to her work. I am also inspired by Coutney Mattison (Fig. 2) who creates intricate ceramic sculptures inspired by the fragility of marine life and the threat humans present. I also like the work by Noriko Kuresumi’s (Fig. 3) work that as she believes in the harmony and balance of the ocean which she transfers to her work consisting of shells and human forms. At this stage it is important that my work is aesthetically pleasing to me, I am comfortable with my making method, and I am exploring a concept I enjoy.

I plan to explore the environments that survive under the water symbiotically existing with humans and how it is preserved resulting in the formation of fossils and rocks. During regular walks by the sea, I have collected rocks and fossils and plan to explore their forms and how that will be replicated in clay developing my current hand building techniques (Fig.4) I really enjoy the aesthetics of organic colours found in rocks and fossils that I plan to explore experimenting with surface decoration and glazes.

I am inspired by the shapes and depth of colours found in objects found at the beach. Particularly objects that have been washed up on the beach from the ocean. I particularly like the texture and the tactile nature of the objects found on the beach.

I explored the effect of objects found on the beach and the textures they created in soft clay with the intention of trying different glazes on them when bisque fired.

I have always been interested by life under the sea and how it lives symbiotically with man made objects that have sunk to the sea bed and the forms they create. I have experimented with clay cylinders manipulating them into different shapes by pulling and slicing them. I have then applied slips to create different surface decorations.

I am going to experiment with using a diving image to create a screen print onto clay using black oxide and a thickening agent.

I like to explore structures that survive in the sea and above it and how they appear almost tied to each other in a symbiotic way…man made and natural forms co-existing together.

Whist diving I have been really struck by the flora and fauna that lives on the ocean bed. The colours of the sea and the sun light darting through the water are very beautiful . The sounds created by us diving are almost supernatural particularly as voices can’t be heard.

Rebecca Griffiths work at the ceramic Biennial held in Stoke-on-Trent really resonated with me. Griffiths’ work explores issues around industry, design and mass production and its impact upon our sense of self and our environment.

Her work borrows forms and structures from the world of product and industrial design, rebuilding them in clay and combining them with layers of disruptive glaze or sculptural detail, drawing ideas from science fiction and poetry.

Griffiths works with the monumental and architectural possibilities of clay whilst creating experimental glazes and layers of ceramic slip to embrace movement and flux. Often she will warp, mutate and resubmit objects to the kiln, engaging in a process of change and renewal.

Influential ceramic artists

Test tiles