Within this page I reflect on other points throughout the project, including ways that I externalised my practice, as well as ways I will in the future. I also reflected on other points throughout the project that made me think of different aspects throughout my work.
Turn The Tap On Exhibition (TAP)
I took part in a TAP, an exhibition in the Salutation at the university. The event gave a spotlight to other students and graduates from MMU and included a range of disciplines, from photography to painting to craft. My work was not exhibited as intended with the plinth not able exactly fit into the corner due to the architecture of the room, I sat most of my pieces flat. This was still a way for me to exhibit my work and think about lighting, as well as having my work amongst other disciplines.
FRESH Competition British Ceramic Biennial
Doing some research into further external opportunities, I would like to apply for Fresh as it is specifically opens its competition up to emerging artists. It focuses on giving the opportunity for those who have worked with clay for 3-7 years which includes myself. The call is for new and existing work to be submitted so I would put in pieces of work from this unit. Previous winners have gone on to participate in residencies and further opportunities to develop their practice.
New Designers
I will be joining other students on the course to participate in New Designers 2025. I believe it will be beneficial for my work to be shown within this space as the event not only focuses on craft but also on textiles. Being a part of this event would increase my visibility as an artist and give me the opportunity to show my work amongst a large range of students.
Curation Mini Project (Week 8)
The class had a one day curation project to complete. All of us had to present our work within the box, thinking about how we would exhibit our work at the degree show. This helped me visualise the amount of space I would need to use based off of what I was experimenting with at the time. Thinking about having a slightly raised space using the piece of wood to help raise the ceramic pieces off the ground. Using that particular corner, one of the feedback notes I received pointed out that they could see the light coloured yarn against the dark wall and the dark coloured yarn against the white wall. The other feedback I received was to use another fastening instead of masking tape and I decided to use wall hooks to put the work up for my resolved piece.
Time Management
Throughout the project I have kept this main calendar to keep track of what I am doing that week. While also keeping to-do lists to hand and recording my project throughout the notebook, I was able to record what I have done throughout the project and what I am doing each day.
Throughout the project I have kept this main calendar to keep track of what I am doing that week. While also keeping to-do lists to hand and recording my project throughout the notebook, I was able to record what I have done throughout the project and what I am doing each day.
Within the above spreadsheet I have included pricing for both my final pieces. Due to kiln hires not wanting to burn out pieces, I used a few examples of pricing and used this to calculate an average price to fire.
Pricing spreadsheet is password protected - password within hand in form.
Timeline
I created a timeline of the parts of my project that have influenced my resolved body of work. From parts of research to my experimentation, I have also include the chapters from throughout the portfolio which gives a timeline of where these aspects of my work came in.
Reflection on my Process
While carrying out the making for my final objects, I used writing to reflect on my experience and drawing connections between the processes I was using to carry out my work. The button below links to the writing I carried out alongside my making.
Context Video
Throughout the video I reflected on the making processes involved with making my work. Bringing together machine knitting, hand knitting and the slip dipping process that ensures the quality of my ceramic work. Highlighting the similarities and differences between the processes, I wanted to connect them visually throughout the video, using text to highlight key words and writing form my process writing.
Critical Reflection
Within my work I have wanted to continue exploring the relationship between knitted ceramic and knitted fibres. I also wanted to scale my work up, knowing that this could be done using multiple objects to create an installation piece.
At the start of the project, I learnt how to use a knitting machine, thinking I would use it to scale my objects up, but as I continued to learn and explore the technique of creating a machine knitted piece, I started focusing on how I could use my experience of using the knitting machine, the sounds, movement, shapes and colours to influence my work. I also worked on refining the process of my ceramic knitting, experimenting with combinations of slip and water to develop a porcelain slip mixture that would show the detail of each stitch within the knitted ceramic objects. The theme of tension still runs within my work, as shown within my installation, I have used the ceramic and long pieces of yarn to present the machine knitted work in a way that displays the elongated stitches within the work and alters the shape of the knitting. I have also created a set of three knitted objects that accentuate the similarities and differences between the hand knitted ceramic and the hand knitted cotton.
Throughout the unit I have been reflecting on the processes within my work, not only using parts of my experience on the machine to inform the installation, but a reflection of the physical movements my body does to create each aspect of my work. I have further explored the relationship of knitted ceramic and knitted material, bringing in the new process of machine knitting and refining the ceramic process, which has led me to reflect on the processes that go into my work and create objects that reflect not only the physical aspects of the making experience but the mental aspects, the flow I experience and the positive, calming effect on my mind. Picturing how I could take my work further, I would like to design new shapes for my ceramic knitting, seeing how the double ended cup shapes collapsed within the kiln, I would like to further explore how the knitted porcelain reacts in the kiln now that I have refined the process of the slip dipping aspect of my work.
My work is a combination of multiple processes, bringing together ceramic and knitting and exploring how I can connect them through their similarities and differences. My resolved pieces of work are a reflection on my process: the movement, the surroundings, and the effect it has on me as the maker.