Abigail Mowitt by University of Dundee Research

ACelebration of Ceramics at the Dundee Eden Project

Abigail Jane Mowitt

FineArt (Hons)

Word count: 7652

Adissertation submitted in partial fulfilment of the requirements of a

Bachelor of Arts (Hons) degree in FineArt

Duncan of Jordanstone College of Art and Design

University of Dundee

2025

Abstract

This dissertation is an investigation into contemporary curatorial practices from those who work in curation, such as Hans Ulrich Obrist, Mark Godrey and Eleanor Nairne. The research gathered and analysed in this body of work, will aid in pursuing a proposal to conduct an exhibition celebrating the contemporary ceramic art world, at the Eden Project in Dundee, Scotland. The first chapter of this dissertation will examine how being a curator has meant many different roles over the centuries, from ancient Rome where ‘curatore’s’ worked as civil servants (CBCArts, 2020), to the more recognisable gallery or museum curator taking care of artifacts, to the now more outlandish terminology of ‘curating’Instagram posts (Sculpt and Krakauer, 2024). Following on, chapter two will introduce the artworks, which depict the complexities and techniques that can be achieved in the ceramic arts. The third chapter shall examine four possible locations for hosting this exhibition, all providing a natural setting, a suitable choice for an artwork made from a natural material. Out of these four possible choices, it was determined that the Eden Project in Dundee will be the most suitable. Finally, this dissertation will conclude that through the curatorial research and artwork selection, that not only would this exhibition be a celebration of what can be achieved with ceramics, but will also be a true experience for the viewer (Stedelijk Museum Amsterdam, 2018).

List of Figures

Fig. 1 Woodman, B (1930-2018), 2003, “The Ming Sisters”, Glazed earthenware, epoxy resin, lacquer and paint, 83.8 × 207 × 19.7 cm. Image available at:

https://www.metmuseum.org/art/collection/search/493597 [Accessed 15 December 2024].

Fig. 2 Einikte-Narkeviciene, E (1972- present), 2021-24, “In Grey” (from Waves Series), stoneware, stains, 55x35x39 cm. Image available at: https://www.ceramicsnow.org/artworks/egle-einikyte-narkeviciene-waves-2021-2024/ [Accessed 15 December 2024].

Fig. 3 Kohyama, Y(1936- present), 1994, “Vessel”, Earthenware, 8 × 9½ in . (20.3 x 24.1 cm). Image available at: https://www.metmuseum.org/art/collection/search/487169 [Accessed 15 December 2024].

Fig. 4 King, P (1934-2021) “Pitcher and Cup”, 1996, Ceramic, 978 × 320 × 344 mm (97.8 x 32 x 34.4 cm). Image available at: https://www.tate.org.uk/art/artworks/king-pitcher-and-cupt15129 [Accessed 15 December 2024].

Fig. 5 Daley, W (1925-2022) “Haystack Vesica”, 2003, Stoneware, 58.42 cm. Image available at: https://www.artnet.com/artists/william-daley/haystack-vesicaOvk2Ii4_llC77FDUwDVz5Q2 [Accessed 15 December 2024].

Fig. 6 Brown, C (1946-Present) “Child of Glass 3”, 1995, ceramic-press moulded, 73x25x15cm. Image available at: https://www.artnet.com/artists/christie-brown/child-ofglass-3-from-cast-of-characters-series-s1CpPiVVh-_BrCjvFpI6ZA2 [Accessed 15 December 2024].

Fig. 7 Kayoko, H (1949-Present) “Cut Out Fan 18-3”, 2018 Stoneware with ash glaze, 12 3/4 x 16 1/2 x 10 in. Image available at: https://www.mirviss.com/artists/hoshino-kayoko [Accessed 15 December 2024].

Fig. 8 Yamaguchi, M (1992-Present) “Shura” 2020 (size unknown). Image available at: https://www.artic.edu/exhibitions/10025/radical-clay-contemporary-women-artists-fromjapan [Accessed 15 December 2024].

Fig. 9 Tanaka, T (1983-Present), “Fly in a dream”, 2019, Ceramic, 4/5 × 15 7/10 × 9 4/5 in | 25 × 40 × 25 cm. Image available at: https://www.artsy.net/artwork/tomomi-tanaka-fly-in-adream [Accessed 15 December 2024].

Fig. 10 Perry, G (1960-Present), “Model for 'temple for everyone”, 2008, Glazed ceramic 77 x 50 x 65 cm 30 1/4 x 19 3/4 x 25 5/8 in. Image available at: https://www.creativeboom.com/news/the-life-of-julie-cope-by-grayson-perry-to-be-exhibitedat-firstsite-gallery/ [Accessed 15 December 2024].

Fig. 11 ‘National Botanic Garden of Wales’, Carmarthenshire, Wales. Image available at: https://www.visitwales.com/attraction/garden/national-botanic-garden-wales-647925 [Accessed 15 December 2024].

Fig. 12 ‘Orangery’at Kew Gardens, London England. Image available at: https://www.kew.org/kew-gardens/eating-and-drinking [Accessed 15 December 2024].

Fig. 13 ‘The Eden Project’, Cornwall, England. Image available at:

https://www.edenproject.com/visit [Accessed 15 December 2024]

Fig. 14 Proposal for the ‘Eden Project’in Dundee, Scotland. Image available at:

https://www.bbc.co.uk/news/articles/crggpy12er9o [Accessed 15 December 2024].

Fig. 15 Mowitt’s concept for the Dundee Eden Project. Image: Abigail Jane Mowitt

Fig. 16 Outside of section of Eden Project. Image:Abigail Jane Mowitt

Fig. 17 Tunnle leading into the section. Image: Abigail Jane Mowitt

Fig. 18 Bird’s eye view of the inner walls/steps of second section. Image: Abigail Jane Mowitt

Fig. 19 Birds Eye View with art works. Image: Abigail Jane Mowitt

Fig 20. Bird’s eye view of the at the top with selected artworks. Image: Abigail Jane Mowitt

Fig. 21Another view of the platform above. Image: Abigail Jane Mowitt

Fig 22. View from Window

Fig 23. Interior wall view

Fig 24. Entrance to room from tunnel

Fig. 25 & 26 Twomey, C, 2011, “Made in China”, ceramic, transfer, 22 carat 1.5m tall.

Images available at: http://www.claretwomey.com/projects_-_made_in_china.html [Accessed

15 December 2024]

Fig. 27 Perry, G, “The Tomb of the Unknown Craftsman”, 2021, ceramic, glass, (size unknown). Edinburgh, Royal ScottishAcademy. Image, Abigail Mowitt.

Fig. 28 Perry, G “Alan Measles and Claire Under an English Moon”, 2023, glazed ceramic, 44 x 38 cm. Edinburgh, Royal ScottishAcademy. Image, Abigail Mowitt.

1. Introduction

This dissertation is a proposal for a contemporary ceramic exhibition, set at the future Eden Project situated in Dundee, Scotland. This exhibition will feature the artworks of those based in the ceramic field, and showcase the complex skills and techniques these artists can demonstrate with a very unforgiving medium. The author of this dissertation’s practice is based within the world of ceramics, and therefore has acquired a deep understanding of the process of using clay. To coincide with a curatorial thesis, citing experts Hans Ulrich Obrist and Eleanor Nairne, to gain insight in curation, this dissertation will present 10 ceramic artworks that the author believes showcase the extreme possibilities one can produce within the ceramic art world.

2. Curation, Methodology, Role, and Purpose

The curator’s role has taken many forms through the years, and more recently has become bastardized, with its use outwith the artworld. The term ‘curator’is derived from the Latin, curate, to care, inAncient Rome (CBCArts, 2020) where these ‘curatore’s’ took ontherole of civil servants, seeing to the running of everyday life and making sure everything ran as smoothly as possible. Then the medieval period, ‘curatus’ worked for the Church of England, and would oversee curating the souls of their parishioners, but it wouldn’t be for some centuries that the title ‘curator’ would mean custodian for important artifacts in varying forms (CBC Arts, 2020). Part of this caring ability can be attributed to the human connection of the curator to artwork/artist, such as that with Eleanor Nairne, curator at The BarbicanArt Gallery (Sotheby's, 2021). Part of Nairne’s practise in curating is to routinely visit the art works and the exhibition spaces (Sotheby's, 2021). Methods, such as Nairne’s, enablecuratorsto gain agreater understandingforwhat’sin their care(TheArtAssignment, 2014), enabling them to become specialists Though a curator must continue to strive to expand their knowledge (TheArt Assignment, 2014). In recent years, this highly respected terminology for a profession has been used in everyday life, such as being the curator of a menu, Instagram posts (Sculpt and Krakauer, 2024), books (Art Basel, 2013) or even that of musical playlists (CBC Arts, 2020). Expanding upon this thought of the seemingly endless stretched out use of the curation terminology, Hans Ulrich Obrist states in his 2011 TedTalk that ‘curating’ is not simply limited terminology to those working in a museum and that, “curating goes beyond the museum”.

Yet, if examining the more conventional role of curator, their discipline can convey a story without artwork (and placement) and often accompanying text (CBC Arts, 2020). These stories are not set in stone and are liable to change, such as with the ‘invention’ of a new art movement, and can even be altered with the ever-churning political and cultural tides

(CBC Arts, 2020), and the method of curation can be in-flux, if following art movements.

One of the biggest shifts in curationtechniques can be seen in the 1960s/70s (Acord, 2010).

In a sense that the curatorial styles followed the change in art with the “avant-garde movement”. The new wave of curators being guided by the new wave of art, became favourites of institutions who had a particular interest in the contemporary art scene. As Acord, 2010 cites Dovallon (1999), that the curation of an exhibition can bring an understanding to the artists’works. The success of a well-curated exhibition can play in to the financial aspect of the gallery, as the museums will “buy what galleries promote”.

Bourdieu (1993 [1987], p204, as cited in Acord, 2010), states that the value of the artwork and artist is able to be determined by the curator. As Acord cites Alexander (1996), DiMaggio (1991) and Zolberg (1981), that exhibits will often have a scholarly sense to them, as curators often come from a background with qualifications in Art History. Many who study art have a higher socioeconomic background, as Joy Starkey notes (Starkey, 2013), that in 2011, out of the 16 places to study History of Art at Cambridge University, only five places were bestowed to those of a state school background, with the rest going to independent school graduates.

As well as being able to covey the artworks and artist’s ideas, curators are also capable of illustrating contemporary history and can also change the way the public sees history (Art Basel, 2013). Though curators have the best intentions, mistakes happen, as with the 1989

“Into the Heart of Africa” at the Royal Ontario Museum, as it was seen by the Black community as “blatant racism”, with the institution later apologising (CBC Arts, 2020). The artifacts on display hadbeen collected by soldiers and missionaries (Thompson, 2016), one being a magazine cover showing a British soldier killing a Zulu warrior, along with a

White female missionary showing Africans how to properly wash1 . Still, at moments like these there’s the possibility to learn (CBC Arts, 2020) This calamity is now discussed on many curatorial courses on what not to do, and the Royal Ontario Museum has gone on to celebrate Black communities, past and present, in many other exhibitions with much praise and success (CBCArts, 2020).

Designing an exhibition can be very complicated and the curator should consider many aspects, such as balance of “space”, “financial aspects”, “public taste” and “market forces”, as well as the representation of the artist and their work/s (Acord, 2010). It is a delicate balance of artist representation and the understanding the audience has/will be able to take away from the exhibition (The Art Assignment, 2014) The curator is the mediator and should understand the audience they are exhibitingfor and make accommodations (TheArt Assignment, 2014). Echoing a similar understanding in Harper’s Bazaar UK (2016), where the exhibition responds to the space, even a well-thought-out exhibition is liable to change (Harper's Bazaar UK, 2016). It is not only the responsibility of the curator, but a full team, to deliver the exhibition (Harper's Bazaar UK, 2016). The curator has to illustrate the broader context of the work to the audience, as well as the artist’s original ideas. Therefore, the curator must be able to understand the artist they are working with and the audience they are showcasing to (Harper's Bazaar UK, 2016).

When conducting an exhibition, there is the opportunity to look outside the typical curatorial team set-up, something Hans Ulrich Obrist has taken upon himself (Obris et al, 2003). Obrist, a leading figure in curation, has utilised the knowledge of those working in multidisciplinary backgrounds, such as scientists and architects (Obrist et al, 2003). Obrist recognised exhibitions have nuances in a museum and different aspects need to have

1 Link to “Into the Heart of Africa” 1989 Exhibition Catalogue https://ia800202.us.archive.org/26/i1tems/intoheartofafric00roya/intoheartofafric00roya.pdf

consideration. One such is the “contemporary moment”, as stated by Eleanor Nairne, the curator must consider the needs in showing the artist and how they are represented –especially when creating an exhibition on a deceased artist (Sotheby's, 2021). Nairne instils the need for the curator to understand how the works of a deceased artist would ‘fit’ into the contemporary art scene, how would it look and make it work (Sotheby's, 2021). This was the case when reminiscing about a show Nairne curated, ‘Basquiat: Boom for Real’in 2017, atTheBarbican Gallery, Jean-Michel Basquiat (b.1960) having diedat the youngage of 27 in 1988 (The Broad, 2023). Being able to bring forth archival artworks and placing them within a contemporary context, can bring forth previously underappreciated and unknown works to light (Sotheby's, 2021), as stated by curator, Margot Norton, at the New Museum, New York.

Nairne continues with how artwork should be displayed in a sympathetic way, in which it would relate to the artist and to the audience (Sotheby's, 2021), such as with the exhibition of ‘Basquiat: Boom for Real’, trying to turn back the clock, displaying the work as it first would have been in 1981 (Sotheby's, 2021).Another consideration a curator must consider is the life force felt within the exhibition being put on display: for when one is curating an archive exhibition, the challenge for the curator is to bring new life to it and not make it appear dead (Stedelijk Museum Amsterdam, 2018).

One possible solution is given by curator, Mark Godfrey, in which by contacting a living contemporary artist who matches the energy of the exhibited artist may have approved of and have them help with curation (Sotheby's, 2021). This can be witnessed with the Franz West show that Godfrey curated in 2019 at the Tate London (also being exhibited in Paris), where artist, Sarah Lucas, was utilised, to help with the curation, with the added benefit of Lucas being a life friend of West’s (Sotheby's, 2021). Lucas was able to implement tactics that Franz would have approved of, with one of the challenges being how to convey the

site-specific sculptures; the solution being to turn these into wallpaper for the exhibition (Sotheby's, 2021).

However, there are those who would question what is more important in the curation of an exhibition: the artwork or the audience? As previously stated, the curator must bring balance (The Art Assignment, 2014) When discussing the Les Immatériaux exhibition from 1985 Hans Ulirich Obrist visit, shares that above the exhibition, it is the audience experience that is the most important, relegating the actual exhibition to second place. There are also similar themes as that of Roland Barthe’s view on how the author relinquishes their importance to that of the reader (Seymour, 2018).

So far, this dissertation has formed a discussion on the relationship of the artist, curator and the audience, and briefly touched on the space itself and how this can alter the exhibition put forth. How important is the space and how does the curator respond? In the Sotheby’s discussion on curation (2021), Margot Norton commentsthatbeing unableto routinely visit a space for an exhibition can be a great challenge, something which was one of the major drawbacks of the first wave of Covid 19, along with the lockdowns. As well as global pandemics, there are other aspects outwith the exhibition space, such as geographical location (Stedelijk Museum Amsterdam, 2018). Obrist states that the local environment should be considered when setting up an exhibition Therefore, as the exhibition travels, and is therefore restructured for each city, it must cater to the temperaments of each new destination (Stedelijk Museum Amsterdam, 2018).

Many aspects can hinder the curation process, and not all relate to the venue. Political changes in the landscape of a nation or continent can also have an effect, something which could be seen with Sohpia Phoca, “No Place Like Home: Europa”, with shifting views on Europe and the Collapse of the Soviet Union (Rugg and Sedgwick, 2007). Whether a

curator is independent or employed by a single institution can also play on how an exhibition is curated (Art Basel, 2013). For if one is an Independent Curator, as in one who is not employed or affiliated with a specific institution, then they may not be able to be as insightful as those curators who are employed by instructions, to the complexities of working with such places (Art Basel, 2013). Though those working solely with a singular institution may be able to navigate the complexities with working with larger collections and the nuances of these institutions, there are drawbacks for curators working in these museums and galleries(Art Basel, 2013).Those working solelyin institution curations may never have the experience of working with living artists. Curator Jeff Hoffman comments on being brought into working at theJewishMuseum in NewYork, wheretherearecurators who have been working over six decades in the field and have never worked with living artists (Art Basel, 2013)

It is not only the exhibition that the external environment can influence, but also the type of curator one can become (Rugg and Sedgwick, 2007), for it can also lead into questions of anecologicalnature,aswell(Johnston, 2024).For,ifexhibitingin anatural environment, one must take into account the durability of the works being exhibited (Johnston, 2024). These works will have to be able to withstand any harsh weather elements that may befall them (Johnston, 2024). An observation also stated by Rachel Rivenc, the Getty Conservation Institute associate scientist (Cohen, 2018), is that simply being outdoors can lead to many types of decay, due to being exposed to the forces of nature. But not only this, it must also balance out with the wildlife in the area. What would happen if the work was partially eaten by an animal, would it kill it? Could the work possibly produce harmful chemicals into the delicate ecosystem in which it inhabits? Not only must one take into account the human factor as well, but such also, the possibility of those harming the works or stealing them (Johnston, 2024). Rivenc touches upon this topic when discussing how

interactions with the public “can be detrimental for preservation” (Cohen, 2018). Dana Turkovic, the curator at Laumeier Sculpture Park in St. Louis Missouri, elaborates that chemicals found in substances humans use (e g, sunscreen) can have serious affects to works of art (Cohen, 2018). Then again, we have seen in recent years this is now posing an issue for curatorial teams, even within the whitewall spaces, with the likes of the “Just Stop Oil” campaigners’ horrific displays of befouling masterpieces with tins of soup, where it seems that even in an act of vandalism, it has to be Heinz (Whelan, 2022).

When exhibiting in spaces, whether this be in white spaces or outwith (artist-lead or environment), there will be legal red tape to deal with (Johnston, 2024). Moreso when setting it out with the white space, as there are far more external factors that the curator cannot alwayscontrol (Johnston, 2024).Notonly isthespaceandartworks/artist something the curator must understand, but they must also consider who their audience is. This can reflect in the artworks that are held on display and for any accompanying aspects of the exhibition, such as a workshop (Johnston, 2024). As we have just acknowledged that the understanding of one’s audience is of critical importance, but what curators must also take into account, is the way in which it can be broadened, to bring in new visitors (Art Basel, 2013).

As dictated in the start and throughout this chapter, the role of the curator is one of being able to achieve a deep understanding of several institutional, environmental, cultural and historical aspects, to name a few. It has also been discussed how the role of the curator has morphed and is ever-evolving; and so has the perception of the role of curator. In recent years, this fascination of the fluxes within the profession has fascinated academics, and from the late 1990s onwards, there has been a significant “outpouring” of academic writings on curation (Art Basel, 2013). Writings before this time, were in relation more to ‘museum studies’, rather that curatorial (Art Basel, 2013). However, more curatorial

programmes have now emerged all over the world, which has led to the ability of curators to reflect on their work and develop academic theories on the profession (Art Basel, 2013).

Though the amount of academic writing has been greatly expanding in the past couple of decades, those doing the writings have not. Even with this increase in courses to study, the curatorial profession, those writing about it, only number 20 (Art Basel, 2013). This is a shocking sampling when there are over 25,000 galleries and 7,500 museum institutions in the world (Delagrange, 2023). However, curator, Jessica Morgan (Art Basel, 2013), notes that in general, many of these courses can be problematic, in the way in which they discuss curation. Many of these courses incorrectly suggest exhibition-making did not exist pre1960 (Art Basel, 2013). There are many institutions that offer these courses, such as ‘Curating Contemporary Art’ at the University of Glasgow in Scotland (University of Glasgow, 2019) and ‘Postgraduate of Asia - Europe Cultural Curatorship Studies’ at the University of Antwerp in Belgium (University ofAntwerp, 2024).

During this time of the explosion of curatorial academia, there have been many curatorial discoveries (Rugg and Sedgwick, 2007). Such as that of Liz Wells, who states that curating is a “research process” where one must take on an investigation, make discoveries and then process with a critical reflection. Wells sees curation as more of an academic profession, where the curator must research the work/s, in order to be able to find the voice of the work/s, and display it with the care it needs and deserves. The creation of curation courses and change in institution language may play a role in this deluge of curatorial academia (O’Neill, 2012).

It has now become understood that the role of curator is one of a “constellation of activities”, where it has evolved from being a caretaker to one of being a practitioner, with its own set of skills (O’Neill, 2012). It was in the late 1980s that the shift in views on curation began to shift, with the L’Ecole du Magasin being launched at Le Magasin in

Grenoble, in 1987 (O’Neill, 2012). This was a training programme at postgraduate level in curatorial studies. The shift can also be witnessed in the USA in the same year, when the Whitney ‘Independent Study Programme’ (ISP) changed the name of their ‘Art History/Museum Studies’ to that of ‘Curatorial and Critical Studies’ (O’Neill, 2012). The reasoning the ISP gave, was that they wished to challenge the standard conventions of curatorial practises and conventions. It was at this time even the language used in curation began to change, where we went form ‘to curate’ to that of ‘curating’. By the late 1990s, the publications and conferences on curatorial practise expanded greatly. With this, it helped gain traction internationally that curation was in, and of itself, one of “individual creative practice” (O’Neill, 2012).

3. Artwork Selections

This dissertation proposes to construct an exhibition, the theme of which is demonstrating the complexities, skills and techniques that can be achieved in the contemporary ceramic art world. Therefore, after taking careful consideration, the following artworks have been selected from artists across the globe, expressing their great skill and achievement in ceramics.

Fig. 1 Woodman, B (1930-2018), 2003, “The Ming Sisters”, Glazed earthenware, epoxy resin, lacquer and paint, 83.8 × 207 × 19.7 cm

When it comes to ceramic arts, Betty Woodman holds a firm place within art history. Her techniques and skills showed the artworld what could be possible with ceramics, with some of her work being described as a “visual Hallelujah Chorus” by The New Yorker (Whiting, 2024). Starting her career in a potter’s studio in the 1950s, Woodman went on to use her knowledge of ancient and modern artistic traditions to create her painterly sculptures. There were many triggers for her transition to more sculptural forms: one being the suicide of her 22-year-old daughter, photographer Francesca Woodman (Whiting, 2024). Betty studied at the school of American craftsman in Alfred, NewYork and during her lifetime had many solo exhibitions throughout the world. Her presence within the art world would also lead

Woodman to being “the first living female artist to have a retrospective at the Metropolitan Museum of Art, which was held in 2006” (Velimirović, 2018).

Many factors have contributed to the selection of the piece, one of which being the size achieved, without an incidence of breakage. Secondly, is her ability to elevate the ‘pot’or ‘vessel’to more of a sculptural form, which has been enhanced by her signature painterly style (Whiting, 2024) and the inclusion of the fin-like structures attached to the outside of the sculptures. Thirdly, for Woodman’s ability to persevere in a very male-dominated field, to attain and achieve the recognition she rightly deserved (Pobric, 2018).

Fig. 2 Einikte-Narkeviciene, E (1972- present), 2021-24, “In Grey” (from Waves Series), stoneware, stains, 55x35x39 cm

Eglė Einikte-Narkeviciene is Lithuanian and earned an MFA(Master of FineArts) in ceramics at the VilniusAcademy of Art in 1998 (Ceramics Now, 2024). Einikte-Narkeviciene holds numerous awards, including attainting the 3rd prize at the 6th Vilnius CeramicArt Biennial. Ceramics affords her the ability to be a painter, sculptor and graphic designer (Homo Faber, 2023).

This piece by Einikte-Narkeviciene has been selected for the complexities of the design. Within this static form, she has been able to convey movement. Sections appear to defy gravity, giving a heavy material the appearance of being lighter than air. This work, would be time-consuming and need the artists to understand drying times, to avoid breakages.

This is a very time-consuming and complicated structure to be able to produce, as it requires the artist to understand drying times and how to keep a form without it sagging, as without support, these types of creations are prone to breakages. Parts of the work are also thicker than others; another obstacle that those who work in ceramics must have a knowledge of, due to conflicting drying capabilities, and which requires patience, otherwise breakages or serious cracks can form. No part of this work feels forced, giving the air of a natural found form, not man-made.

Fig. 3 Kohyama, Y(1936- present), 1994, “Vessel”, Earthenware, 8 × 9½ in . (20.3 x 24.1 cm)

Yasuhisa Kohyama’s sculptures are inspired by ancient Japanese ceramic-making techniques, and his skills have gained him much notoriety and have helped revive the anaganna, a traditional Japanese wood-firing kiln (browngrotta arts, 2023). The beautiful

natural looks of Kohyama’s works are achieved with the clay’s unique properties and firing techniques, without the use of glazes. The years of making have honed his craft for reinvigorating historic techniques and bring them into a contemporary setting, by being inspired by nature, architecture and sculpture (JapanArt -Galerie Friedrich Müller, 2024).

This artwork may appear out of place when compared to the others, so far mentioned. The structure may seem simple and plain in comparison, for their complexities may out show Kohyama’s, but therein lies the selection. It is deceivingly simple-looking, in fact one could argue that it looks archaic, rather than a work from the 1990s. It is for this reason that this work has been selected, as it shows the skill and dedications in being able to bring history to the contemporary, to breathe a new life into tradition. There is nothing ‘flashy’: “Vessel” is quiet, subtle, yet illustrates the rich history of techniques.

Originally an assistant to artist Henry Moore (Tate, no date), Philip King became renowned in the artworld when representing Great Britain at the 1968 Venice Biennale

Known as a risk-taker in experimentation, King became known for working in many

Fig. 4 King, P (1934-2021) “Pitcher and Cup”, 1996, Ceramic, 978 × 320 × 344 mm (97.8 x 32 x 34.4 cm).

mediums, including ceramics. This work sits at one metre in height and is comprised of three separate elements brought together. The practicality of this piece never much interested King, just what it ‘could’be (Tate, no date)

The selection of this work comes from King’s ability to elevate domestic objects to a sculptural form This dissertation has previously illustrated how the domestic object could be altered to a fine artwork, with Betty Woodman’s style. Though this required much elaboration with attachments and adornments. With King’s, “Pitcher and Cup”, the same level of sculptural form is achieved, but with simpler grace. The symmetry and perfection of the body, shows immense skill and understanding of the complexities in being able to join multiple components to the degree of being able to create a seamless form.

Fig. 5 Daley, W (1925-2022) “Haystack Vesica”, 2003, Stoneware, 58.42 cm.

After being held as a prisoner of war, William Daley attended the Massachusetts College of Art in Boston (Daley, 2001). Unlike others of his generation, Daley sculpted all his works by hand and chose to not glaze his works (Moderne Gallery, 2024). This was a crucial decision of Daley’s, to keep the viewers’attention on the intricate sculptural

aspect and the natural colour variation of the clay. Daley found inspiration for his work from the worlds of mathematics, architecture and ancient pottery (Moderne Gallery, 2024).

The selection of this work is based on the intricacy of the design and scale, where being able to give it the guise of being carved from stone. The seamless look and scale of the work would have been a challenge, as it could become top-heavy or collapse in on itself. Patience in construction would be required for drying times and being able to attain a single form appearance out of many sections. The techniques and attention to detail with Daley’s work is astounding, making it look as though it would be from a mould, and not handmade.

Fig. 6 Brown, C (1946-Present) “Child of Glass 3”, 1995, ceramic-press moulded, 73x25x15cm.

After her studies in 1982, at Harrow Shcoll of art, Christie Brown opened her own studio She describes her practise as being “informed by an interest in our relationship with objects, and the significance and relevance of museum collections and archaic artifacts” (Brown, 2024). Unlike many other artists in the list selected for the exhibition, Brown

primarily uses the method of press-moulding to make her works, allowing multiples to be made.

This selection of Brown’s work is in her ability to generate life, from a solid and static form. The face, though unmoving, gives the air it could turn and look directly at the viewer. The work makes the viewer question what happened to it and garner sympathy for the figure. By being able to achieve this level of intimacy between viewer and artwork, Brown has also shown great skill, as well as the ability to give the air of being unearthed from a long-forgotten time, much as the work of Kohyama

Fig. 7 Kayoko, H (1949-Present) “Cut Out Fan 18-3”, 2018 Stoneware with ash glaze, 12 3/4 x 16 1/2 x 10 in.

After studying ceramics in the city of Kyoto, Japan, Hoshino Kayoko settled in Shiga (Joan B Mirviss LTD, 2024). Kayoko’s practise involves the blending of multiple types of clay, creating simple and decorative pieces. The mark-making in these pieces are unique, decorative, but at the same time feel very natural. To create these marks, Kayoko uses a combination of natural and man-made materials, to imprint on her works.

The selection of this artwork by Kayoko is for the striking and simple nature of the shape, and construction. The appearance in defying gravity shows the skill Kayoko possess. As

when clay dries, it shifts and is liable to fall or collapse, showing that Kayoko understands the complex capabilities the medium has and how to compensate for them. The wall thickness can also play into this and being able to be unaffected by these follies shows her deep knowledge of ceramics.

Fig. 8 Yamaguchi, M (1992-Present) “Shura” 2020 (size unknown).

After graduating from Aichi University, Yamaguchi (Japan) began studying ceramics at the Ishoken Tajimi City Pottery Design and Technical Centre, and has been there since 2020 (Ceramics Now, 2022). She has a fascination with the natural world’s use of repetition, and this features heavily in her work.

The selection of this work is (such as with Christie Brown), in being able to simulate life where there is none. The thin layering of clay gives the impression one is gazing upon undersea plant life, such as coral, and these layers also give the sense of gills, as though it is breathing. This work has also been selected for the complexities in construction. These thin-layered structures can be very difficult in nature, as if they are brought out too much

(as in away from the main body of the piece) they can snap, or even fall off, if not attached correctly.

Fig. 9 Tanaka, T (1983-Present), “Fly in a dream”, 2019, Ceramic, 4/5 × 15 7/10 × 9 4/5 in | 25 × 40 × 25 cm Tomoni Tanka, originally desired to be a painter in high school, but ceramics appealed to her more at university (scholartists by Daria Solignac, 2024). Though many think her works are inspired by nature, she sees her works as a reflection of herself. Her works begin as simple illustrations and base sculpture, then slowly build clay layers upon one another, some taking months to complete (scholartists by Daria Solignac, 2024). Tanaka believes these works express her emotions far better than she can herself, being very introverted.

The selection of this work is due to the complexities and skill in the construction of the artwork. Tanaka hand-rolls each of these sections and painstakingly attaches them with tweezers. To be able to achieve this, and on such a small scale, shows how Tanaka has made a name for herself in the world of ceramics. Much like with the work of Yamaguchi, the process of being able to attach these thin sections has a host of problems, such as breaking. The fact that they don’t, highlights Tanaka’s outstanding abilities.

Fig. 10 Perry, G (1960-Present), “Model for 'temple for everyone”, 2008, Glazed ceramic 77 x 50 x 65 cm 30 1/4 x 19 3/4 x 25 5/8 in.

Grayson Perry’s journey to art-stardom, is one of turbulence, ending in joy. His childhood was unhappy and his demons followed him into adolescence, personifying a father figure in a childhood teddy bear (Alan Measles) and his education greatly suffered (Bloomberg Originals, 2015). Still, he persevered and eventually went on to study art at Braintree College of Further Education in Essex (Moredock, 2019) He then later received a BAat Portsmouth Polytechnic in 1982 (artnet, 2023). Perry has earned a firm place in art history, winning the Turner Prize in 2003, with his use of pots depicting modern British life in a humorous fashion.

The selection of the work is for the complexities in the construction and the techniques demonstrated. This work contains many elements that have been attached, whether large or small. The smaller the object, the less surface area of attachment, making it likely to

fall off, and with larger objects, the weight can cause similar issues. The fact that Perry has been able to achieve this, without any great errors, is remarkable. This piece, unlike the rest of the works submitted for this dissertation exhibition, has many different elements, all different colours, textures and sizes. This could be jarring for the viewer, however, each piece works in harmony with each other and tells a vibrant story of life.

4. The Venue Selection and Curatorial Influences

4.1.

Venue Selection

When selecting a venue to host this exhibition, there are many which could suit. One could take the approach of giving this exhibition a home in a ‘white space’, such as a museum or gallery. However, the research thus far shows the venue should fit the work, not the other way around (Sotheby's, 2021). If taken literally, ceramic is of clay, and clay is of earth, so a natural setting would seem more fitting. However, if a natural setting is selected, then one must heed the concerns of curators, regarding the hazards that accompany this, such as elemental (Cohen, 2018). The public, and possible vandalization, is a joint concern (Johnston, 2024). In finding a happy medium of natural and protected, this dissertation has found four possible locations.

These being The Eden Project in Cornwall, England; The National Botanic Garden of Wales, Llanarthney, Wales; The Kew Palace Orangery, England; and the Dundee Eden Project, Scotland. These have the sense of being natural, but also being a controlled environment. The Kew Orangery is bright, and the greenery is controlled in where it is placed along with the artworks, though it has a very stark and white space feeling to it. However, this is a finite space for large artworks, such as Woodman’s “Ming Sisters”, resulting in a claustrophobic feeling. The National Botanic Gardens of Wales and the Eden Project in Cornwall, offer a far more ‘authentic’outdoor space, and are enclosed in their dome-like structures, meaning that the weather elements could not harm the artworks, preserving them (Cohen, 2018).

Both these sites can offer an abundance of natural light with the added protection from the elements. These venues also have manufactured paths through them and sectioned off parts, reducing the risk of human interference. Having the works in this natural setting would also

be able to attain a sense of an unforgettable experience for the visitors, as previously stated by Obrist (Stedelijk Museum Amsterdam, 2018), the audience experience is the most important.

If the audience’s experience is placed first, then a truly memorable one would be the opening of the Eden Project in Dundee, a collaboration between the Eden Project in Cornwall and the University of Dundee. It will be built at the old gas works, a location which once brought a lot of pride to the people of Dundee (Eden Project, 2023). Dundee has been driving towards a greener space and the Eden Project is one way of achieving this. Aplan has now been approved and though it looks striking, it does not offer visitors a lot of indoor space (Ogston, 2024). This dissertation proposes more covered spaces, giving refuge from the elements, not only for this theoretical exhibition, but also for the visitors.

This dissertation’s Eden Project would feature four large indoor locations, for foreign or native plant life, giving year-round greenery There would be a bus terminal at the location and one small car park for the disabled, keeping in line with Dundee’s and Eden Project’s environmentally-friendly aim (The Eden Project, 2024a). The old gas works would be the entrance, with a small history of the site then flowing into the tethered building, leading them to the future, where the proposed exhibition would be held. Though this dissertation proposes more indoor spaces, there would still be the outdoor grounds, which visitors could traverse The only other building currently onsite, would be converted for hospitality, generating more income for the venue. Four ponds situated onsite would highlight the diverse domestic wetland plant life (Glasgow Science Centre, 2024). Wildlife would also be able to source food and shelter here. Bridges would connect these ponds, that the public could traverse, in reminiscence of the Japanese Garden at Cowden (The Japanese Garden at Cowden, 2014).

The design submitted by this dissertation would make better use of the location and be able to entice the public to visit other similar locations. Having an increased number of indoor spaces

would give refuge to those who visit the location, but still be able to enjoy the natural life on show.

The second building in the proposed design would hold the exhibition, the dome, allowing natural light and high walls that foliage would sweep down. Interior walls would face each other, with staircases leading to a platform, which viewers would be able to look down from

These interior walls would break up the space, but also give the visitor an immersive experience, as though they were in an exhibition, discovering not only the pant life, but the artworks along the way. The larger artworks would be placed in with the plant life, getting progressively smaller, as rising to the top of the structure. This would afford the larger pieces the ability to stand out from amongst the plant life, and the smaller artworks would be able to stand out more, as the plant life gets less and less.

Fig. 11 ‘National Botanic Garden of Wales’, Carmarthenshire, Wales

Fig. 12 ‘Orangery’at Kew Gardens, London England

Fig. 13 ‘The Eden Project’, Cornwall, England

Fig. 14 ‘Eden Project’in Dundee, Scotland

Abigail Jane Mowitt’s Model of Section of Dundee Eden Project

15 Mowitt’s concept for the Dundee Eden Project

16 Outside of section of Eden Project

Fig.

Fig. 17 Tunnel leading into the section

Fig. 18 Bird’s eye view of the inner walls/steps of second section

2 Having the larger scale art works on the ground level to give balance to the exhibition. This will encourage the viewer to walk amongst the artwork to give the sense of emersion. Woodman and Daleys work around the outside of the inner walls as they are the largest and would overwhelm the others if places in a different location.

Fig. 19 Birds Eye View with art works

Fig 20 Bird’s eye view of selected artworks

Fig. 21Another view of the platform above

Fig 22. View from Window

Fig 23. Interior wall view

Fig 24. Entrance to room from tunnel

4.2 Curatorial Influences

Jorunn Veiteberg –“Made in China”, by Clare Twomey (1968-present), 2011, West Norway Museum of DecorativeArt, Bergen.

“Made in China” , by Twomey, was part of a larger exhibition “Thing Tang Trash” , at the West Norway Museum of DecorativeArt in Bergen (Moriarty, 2016). Twomey’s contribution comprised of 80 ceramic vases, 79 made in China, and one at Royal Crown Derby in England. Her work here was a commentary on cheapness, which encompasses everyday life, where the one Royal Crown Derby vase took as long to make as the 79 cheaply manufactured (Moriarty, 2016). This exhibition was thoughtfully curated by Jorunn Veiteberg (Twomey, 2024), who has many accreditations to their name, such as attaining two PhDs (Art and Philosophy) (The NorwegianAssociation of Curators, 2014).

This curation has influenced this dissertation’s exhibition, as Veiteberg has displayed the work in conjunction with the meaning behind it. The vases have been set up in the venue as though one was walking into an opulent world, with richness and warmth, it is only looking further, does the viewer start to see the proverbial cracks. Slyly mapped around the room, are the crates in which the merchandise (the vases) have been sent in. Sometimes hidden behind the vases or behind pillars, and it is only when the viewer can obtain a bird’s eye view, can the cheapness of a mass-production line, be felt.

Fig. 25 & 26 Twomey, C, 2011, “Made in China”, ceramic, transfer, 22 carat 1.5m tall.

Veiteberg’s use of hiding works around other objects, leading the viewers to continuously discover new objects, has directly influenced my placement of sculptures in the exhibition, where the viewer would find more works while walking around the site.

Patrick Elliot“Smash Hits”, by Grayson Perry, Sat 22 Jul 2023 - Sun 12 Nov 2023, Royal ScottishAcademy (RSA), Edinburgh, Scotland.

As previously mentioned in this dissertation, Perry has become a staple in the British art scene and the exhibition “Smash Hits” (2023), at the RSAcelebrated his success. Curated by Patrick Elliot (National Galleries Scotland, 2024), this is a showcase of Perry’s mastery of ceramics. The true highlight for the author of this dissertation, was how Elliot was able to give breathing room to each piece of work, and how he was able to display each work in an appropriate nature. Hereby meaning that the vases and plates Perry is so well-known for, are displayed behind glass covering, as though they were ancient artifacts, and other works, such has his ceramic ship (Tanham, 2023), “The Tomb of the Unknown Craftsman” (The British Museum, 2024), has no covering, so that the viewer is able to see each detail and that was placed on a high platform, so that all aspects of the artwork could be easily seen.

Fig. 27 Perry, G, “The Tomb of the Unknown Craftsman”, 2021, ceramic, glass, (size unknown)

Fig. 28 Perry, G “Alan Measles and Claire Under an English Moon”, 2023, glazed ceramic, 44 x 38 cm.

Elliot’s choice of not having glass covering some works, has directly influenced me to not have any glass separating viewer and work, as this would create a barrier between artwork and visitor.

5. Dissertation Conclusion

From the curation thesis of this dissertation, there are many aspects that the curator must take into consideration in designing an impactful exhibition, such as Ulbricht discussing how the audience’s experience could be considered the most important aspect (Stedelijk Museum Amsterdam, 2018) This dissertation’s aim was to be a proposal for a ceramic exhibition, celebrating the ceramic artworld. The artworks selected demonstrate the skills and abilities of those who have near-mastered the craft, making the artworks appear deceivingly easy to construct only when looking (or researching further) does one understand the complexities. By installing these chosen artworks in a natural-style setting, being the Dundee Eden Project, this illustrates a sympathetic curation, based on the material they are made from: clay (Sotheby's, 2021). Deciding to select the natural-style location, being that of the Dundee Eden Project, would give the audience a true experience, as this location is still in planning stages. This venue would offer protection to these artworks, unlike being set outdoors, with such affordability of security to intervene with the public, enclosed spaces to protect from the elements and to be kept from harm from wildlife. What a way it would be to celebrate the opening of the Eden Project in Dundee, one which has already welcomed the artistic world with the completion of the V&A, and foundation of the Duncan of Jordanstone Art School, than by demonstrating what is possible within the ceramic art world.

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