Emerging Potters Issue 20 Royal College of Art 2020 Show

EMERGING

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Potters Royal College of Art Show 2020 Ceramics & Glass

Issue 20 Special Edition

Emerging Potters - 20

RCA Show 2020

Introduction Welcome to a special issue of the magazine which captures some of the work of international students from the Ceramic and Glass course at the Royal College of Art. With so many degree shows being cancelled for the public to be able to see, many colleges have turned to using the internet to run online coverage of their students work.

Never the same as a live show and talking to the students, the magazine still aims to capture the spirit and diversity of the work. All credit should also go to the RCA staff who have worked miracles during lockdown.

Paul Bailey Editor

The magazine is an independent journal. The publishers do not accept any liability for errors or omissions.

The views expressed in the features are not necessarily those of the editor. Reproduction in part or whole must be with the consent of the editor. All rights reserved.

Contributions to the gallery of work from makers and students are welcome and will be included wherever possible on a first come basis. Send to the email address – paulbailey123@googlemail.com. The editor’s decision is final. © Paul Bailey 2020 Emerging Potters is produced in association with Aylesford Pottery UK.

Emerging Potters Issue 20

RCA Show 2020

Contents Professor Felicity Aylieff Alice Johnson Beatrice Galletley Bethany Ellen Walker Bingqing Hu Bryony Applegate Chloe Monks Elise Ruffell Elly Glossop Emma Mounsey Eugenio Michelini Gerald Mak Harriet Hellman Isabella Kullmann Jasmine Simpson Jiali Huang Linyu Mei Luke Fuller Sandy Layton Shau Tzu Tian Chen Xinwen Zhang Yifan Gao Yuan Chen Yuxin Tang Applications

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Emerging Potters – Issue 20

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Professor Felicity Aylieff RCA For the first time in its history, the RCA’s renowned graduate show has this year taken place online as a digital discovery platform – RCA2020. Like artists, creators, designers and curators around the world, the 2020 graduates of the Royal college of Art have adapted, innovated and reimagined.

The Ceramics & Glass show would normally have taken place in the department, housed in the Woo Building sited just across from Battersea Bridge, south of the River Thames, in London. Opened in 2015, and designed by Howorth Tompkins in close collaboration with staff and students for the specific needs of the programme, it celebrates a ‘state of the art’ kiln room and glaze laboratory, glass facilities and wonderful open plan studios.

Felicity Aylieff is Senior Tutor in Ceramics & Glass at the Royal College of Art and an artist of international standing, recognised for her research into largescale ceramics. She has more recently developed a collaborative relationship with factories in Jingdezhen, China, where she makes monumental pots.

She has work in numerous international private and public collections including the Victoria and Albert Museum, London, and is represented by the Adrian Sassoon Gallery, London.

In this dynamic learning environment, the students spend two years working in an intense relationship with raw materials and transformative processes. They are encouraged to take up opportunities to explore ideas within and beyond the traditions of art and design; to expand their imagination and find their professional voice. Significant to this year was the pilot of a student residency project in Jingdezhen, China, with two students collaborating with local artisans, engaging in projects that would have been difficult to undertake back in London. There was also the development of community projects, notably workshops with dementia groups, and new projects exploring material thinking, encouraging students to locate themselves in a more global context. All have been a source of motivation and a spur to creativity.

It therefore comes as no surprise that the events of mid-March 2020 and the Covid pandemic, presented what felt like insurmountable new challenges, as students needed to abandon unfired work on their benches, kilns were left un-emptied and furnaces to cool down. Over the past weeks both staff and students shared the process of experimental teaching and learning through the possibilities and pitfalls of technology. The physical expression of work had to be rapidly translated onto screen, and the ability to improvise became a life skill. Suddenly forced to stay at home, bedrooms, kitchens, gardens all became studios, and students, cut, glued, constructed, painted and stitched together their ideas, augmented by virtual realisations, videos and animations, as they strove to present their practices in new and unexpected ways.

Emerging themes this year explore the transformation of states, phenomena of substance, and the materiality of colour – references to geology and landscape sit alongside narratives that document contemporary world events or imagined undersea utopias, or propose ceramic masses in the gravity-free digital world.

Alongside the online platform, to bring everything together the programme delivered three Webinars that gave students the opportunity to elaborate on the ideas and thinking behind their work.

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Alice Johnson

“No Doubt”, Motivational Totem (2020) Size - H:17cm, W:10cm, D:6cm Originally from Stroud, Gloucestershire, she studied illustration at the University of Brighton where she graduated in 2017. Following this she went on to study Ceramics and Glass at the Royal College of Art starting in 2018.

The work is a catalyst for how Alice worked during the lockdown period.

In a time of uncertainty and complete doubt in educational institutions and the government decisions, this totem acts as a motivator to the artist, and that despite the turmoil and uncertainty to have faith in oneself, and as a reminder that you can do it, on your own. The totem is made from domestic materials (Polyfilla, foil, paint and paper) to reflect what was at hand while staying at home over lockdown. This piece really is a sign of the times and proves that you can keep making even with the humblist of materials around you.

Moving forward, Alice would like to get back to making with clay and hopes to remain in London to finish off work that lockdown has held in its grasp.

Contact: studioalicejohnson@gmail.com

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Beatrice Galletley

She is a ceramic artist living and working in London. In 2013 she began her Foundation Degree at Kingston University and went on to study her BA in Fine Art at Newcastle University (2014-2018) and culminating in recently completing a two-year MA in Ceramics & Glass at the Royal College of Art. At the RCA she became particularly inspired by objects that are multidimensional; that defy boundaries both physically and metaphorically.

‘Flow’ (2020) and ‘Shape Shifters Collective’ (2020) are new ceramic works which engage with the artists’ direct and intuitive approach to her practice. Rooted in the artists’ deep fascination with objects in a state of flux, these works challenge our existing perception of the world by defying our need to categorise things and thus allowing objects to be seen in a new light. The ambiguity of these works defies boundaries and categorisation.

She achieves this through merging opposing forms; including geometric and organic, playing with scale, manipulation of context, and colour, to create works that are suggestive and act as prompts.

Using process-based abstraction she is able to create playful and intriguing forms using techniques

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such as slab building and coiling.

Whilst creating these forms she moves with the work, changing and pushing the material to its limit, giving a performative component to the sculptures.

Contact Beatrice at galletleyart@gmail.com

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Bethany Ellen Walker

The Liminal Space, Kilnformed glass and welded steel rod, 30 x 25 x 20 cm Born in the West Midlands, UK, she graduated from the Royal College of Art in 2020 with an MA in Ceramics and Glass. Previously she received First Class Honours for a BA in Contemporary Crafts from Falmouth University in 2014.

The Liminal Space focuses on the fusing together of coloured glass on top of a metal welded skeletal form.

Initially she positions the unfired work inside the kiln, finding the anticipation of the precariousness of the firing simultaneously exciting and frightening.

Once the door is shut, the glass comes alive, moving and being shaped by heat and gravity, draping over the metal rods that lie in its pathway.

Contact: bethany.walker@network.rca .ac.uk

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Bingqing Hu

Size:27cm*30cm Material:Longquan Porcelain Traditional Celaodn (blue/green)glaze Born in Longquan, zhejiang province,China, she first completed a foundation course in CSVPA in Cambridge, followed by a BA course in 3D design at Camberwell College of Arts. After that she worked at her families factory for two years, and finally completing her MA studies at the Royal College of Arts in London.

In her work “Yuanguang” she believes that the traditional form has a great power.

Contrasting and updating the traditional form with a contemporary massage of loss of culture and landscape due to human behaviour.

For the future course of her work, she is developing new pieces in her home town and aims to set-up her own branding especially longquan celadon.

Email:bingqing.hu@network.rc a.ac.uk

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Bryony Applegate

Born and raised in Hertfordshire, England, Bryony completed her Foundation at Oaklands College in 2013, followed by a BA at Staffordshire University in 2016. After Graduating with her BA Hons in 3D Design, she proceeded with an MA at the Royal College of Art. She has a studio in Much Hadham, specializing in high-end tableware and interior ceramic objects. She has won awards such as Potclays 2016, QEST Scholarship 2019 and The Charlotte Fraser Prize 2020.

Recently, Bryony focused on material-led thinking and innovative processes in order to create a collection of lighting for the home as well as a collection of tableware aimed at Michelin star restaurants. info@bryonyapplegate.com (Photography by Jon Applegate)

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Chloe Monks Through persistent innovation of techniques such as the testing of glazes, props, frameworks, and varying kiln atmospheres, the work embraces the opportunity of chance and effect.

Chloe will be exhibiting her works in Spain later this year with CICA and has been accepted as a Future Light of Ceramics where her work will be showcased at Ambiente in Frankfurt in 2021.

Epoch of Simultaneity IV, (Digital Render) Original; Porcelain, Gas Glaze, 45 x 28 x 24 cm Born in London, she spent her childhood moving around the globe before coming back to the UK to graduate from Cardiff School of Art and Design with a BA(Hons) in Ceramics. She subsequently worked in industrial ceramics in Stoke on Trent before self-funding a 4-month trip to India to intern in Vineet Kackers studio and demonstrate at festivals across the country.

Website: chloemonks.cargo.site & chloe.monks@network.rca.ac.uk

She is fascinated by the changing state of a substance. Time takes centre stage in the work: they appear to have a precariousness, the sense of not being fixed. In a moment, a work could collapse and possibly resolve itself into a pure form. Her practice is heavily rooted in research, particularly into the core fluidity of glaze and flux.

Often objects are realised into a series of pieces or are the continual development of a single piece.

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Elise Ruffell

Following a previous career as an IT consultant in the late 1990s, she discovered a passion for clay, graduating from Central Saint Martins College of Art & Design in 2007 with a First Class BA (Hons) in Ceramic Design.

Alongside her studio practice, Elise is an art & design teacher who has worked with students of all levels from primary school to university.

Her work focuses on the use of colour to represent emotion and personal self-expression within the constraints of geometric forms. She has developed methods of incorporating coloured Parian clay utilising techniques such as grating, pressing and inlaying. In each case, the final appearance is not revealed until the piece is removed from the mould.

Elise enjoys divesting this control and allowing the materials to move and merge without the pressure of predefined expectations.

Email: elise@eliseruffell.co.uk

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Elly Glossop

Born in Edinburgh, and raised in Australia, Elly moved to Denmark where she studied for a BA in Ceramics at the Royal Danish Design School on Bornholm in 2014. She graduated receiving the prestigious National Banks Jubilee Fund (travel grant) for her development during this period of study. In 2018 she began her MA studies at The Royal College of Art, receiving the Charlotte Fraser Prize in the first term for her V&A project Accretions.

In her most recent work blocks of strata are constructed in layers from both natural and man made materials, dipped in clay; which are burnt away; alluding to the transient nature of our existence.

Currently this work is in the early stages, and these exact pieces are 15cm x 9cm. The initial tests use the fluidity of porcelain slip to encompass and petrify a range of added materials, exploring the relationships between surface and

In 2019 Elly was the recipient of the Queen Elizabeth Scholarship Trust and most recently she has been awarded the RJ Washington Prize for her graduation portfolio of practice.

Contact: elly.glossop@network. rca.ac.uk

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substance, what is hidden and what is concealed.

Cross sections reveal all that is contained in these layers, as copper growths emerging from surfaces through layers of heavy oxides in the process of electroforming.

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Emma Mounsey

100 x 7 W.15 x H.20 x D.15 cm Originally from Cambridge, Emma completed her Art Foundation at Loughborough University in 2015 and went on to gain a BA in Applied Arts from the University of Wolverhampton in 2018, later on gaining an MA in Ceramics and Glass from the Royal College of Art. She constructs spaces with abstract architectural, and structural references into wholly sculptural forms. The work is based in hand-building, hand rolling individual coils of clay and painstakingly constructing and finishing the fragile and complex frameworks. The laborious and meditative nature of this process goes hand in hand with the focus on barriers, protection and entrapment.

With the piece, ‘100 x 7’ the limitations were placed on the size and quantity of rods used to build with. Each piece is comprised of 100 rods each 7cm long and from this very controlled starting point the structural forms evolve differently each time. This object explores the inherently fragile line between the exposed and the enclosed.

Contact emma.mounsey@network.rca.ac.uk

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Eugenio Michelini

Entropic Diptych 2 panels h:295 x w:410 x d:10mm. Stoneware porcelain, Parian clay, glazes. Contact: eugenio.michelini@ network.rca.ac.uk

Raised in Bologna’s province of Italy, he started focusing his ceramic work at Santa Monica College, Los Angeles, California.

Eventually receiving a BFA from California State University in 2016, which was followed by an MA at the Royal College of Art in 2020.

This body of his work is a wall diptych of two panels with textured surfaces inspired by childhood memories - a glass jar in his mother’s kitchen containing kidney beans.

The press-moulded panels offer a resistance to glazes through their texture and a sort of unpredictability

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about the flows and glazes and movement propelled by gravity hindered by the bumps.

He is looking to find a studio to develop the work in preparation for a physical show this coming spring. In the meanwhile he will be applying to art residencies in Europe.

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Gerald Mak

On the other hand, I am overflowing with emotions (triptych) 99 x 156 cm, each panel 99 x 52 cm (Photography by Marta Fernandez Canut)

Contact: gerald.mak@network.rca. ac.uk

Gerald is an interdisciplinary artist based in London with roots from Hong Kong. He works across drawing, sculpture, ceramics, and writing. He previously studied BA Fine Art at Chelsea College of Art. During his second year at the Royal College of Art, he participated in the RCA China Project Cultural Experience where he spent three months studying and making work in Jingdezhen, China.

He uses carving on porcelain and watercolour to document recent circumstances and personal experiences.

These events in the past year have led him to recognise his latent concern over his identity, and notions of otherness and human relationships.

On the other hand, I am overflowing with emotions (triptych) is part of a series of carvings created with these concerns in mind.

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Collaborating with local factories in Jingdezhen, the triptych comprises three panels,which have a porcelain body, then handrolled, and carved onto.

Gerald is looking to travel back to Jingdezhen soon to complete some of the work put on halt because of Covid. Soon after he will also be looking to set up a studio in London where he currently resides to develop his practise.

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Harriet Hellman

Having completed a BA Fine Art/Sculpture, she pursued a career in the Art Dept. for Film and TV for 16 years. She went on to complete an HND in ceramics at Richmond Adult Education College and a ceramics diploma at City Lit in 2014. This was followed by an MA at the Royal College of Art. She continues to work as a self-employed artist and part-time educator from her studio in South London. In September she is taking part in a residency with Sail Britain, where she will be sailing around the Scottish Islands looking at the impact of the climate on our oceans.

Her practice is centred on the concerns with coastal erosion and rising sea levels, specifically the wild Atlantic coastline of North Devon and the west of England.

Contact: harriet.hellman@network. rca.ac.uk

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Isabella Kullmann

Isabella came to glass late, after a career in publishing. As a relative novice to the discipline she questions existing practices, and in particular, the use of materials and the very model of the workshop itself.

The work shown here is an early set of samples which explore multiple bubbles within a single blown form.

Viewed from above, the internal structures resemble a bronchial tree with separate superimposed chambers emanating from its central core or spine. Seen sideways these chambers may be read as closed bubbles, while the solid areas of the object appear hollow.

In her MPhil research project she speculates on an alternative glass practice. Describing it as a ‘diffuse’ practice.

One which is not grounded in a workshop, but instead remains flexible, moving on and off site.

She advocates a light and fluid approach to making, where facilities are rented as and when required, and precision engineering is accessed via digital networks.

These digital technologies are expanding the creative possibilities for applied arts but as the lockdown demonstrates there is still a need for real spaces to make physical work.

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Contact: Isabella.Kullmann@networ k.rca.ac.uk

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Jasmine Simpson

Mural: 56cmx84cmx0.5cm The tile mural is made up of six 28cmx28cm fine white porcelain tiles, made by using a special technique perfected by local craftsmen in Jingdehzen. Decorated with greyhound design in brilliant blue cobalt oxide.

Born in Boston, Lincolnshire and raised in Stoke-on-Trent, Jasmine received her BA in 3D Design and Ceramics at Staffordshire University 2014 and her MA in Ceramics & Glass at the Royal College of Art, London in 2020 and was awarded a Griffin Scholarship.

During her time at the RCA she collaborated with Waddesdon Manor to create a set of tableware designs, which then went on to be exhibited at Thomas Goodes for London Craft Week 2019. She was also selected for the RCA’s China project, where she did a residency on behalf of a newly funded project space in the cultural centre for ceramics Taoxichuan in Jingdezhen, China. She continues her practice in Stoke-on-Trent where she is currently living, exhibiting up and down the UK and intends to develop her practice internationally.

Contact: Jasmine.simpson@network.rca.ac.uk

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Jiali Huang The title of the work is Cycle, made by plaster carving and slip casting. The objects produced explore and blur the boundaries of sculpture and product.

Jiali was born and raised in China and first discovered a passion for design whilst studying for a BA at Central Saint Martins, London (2015 2018) and later went on to undertake an MA at Royal College of Art graduating in 2020.

Email: Jialihuang@outlook.com

This project explores how the resources of kaolin (china clay- the main ingredient in porcelain) have been depleted through mining in the area surrounding Jingdezhen area in China.

The aim has been to create functional objects that are symbolic and reflective to express the interaction between civilization and its impact on nature. These objects explore and blur the boundaries of sculpture and product. The kaolin mines are represented in the work through the material (porcelain) and qualities expressed as form and texture, suggestive of the rugged, hewn surface of a quarry. Next, Jiali will focus on combining physical making with digital techniques to explore and blur the boundaries of sculpture and product.

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Linyu Mei For the next stage Linyu will go back to Jingdezhen, to run the international program in Sanbao International Ceramic Art Institute, while still running a studio.

Contact: mcreative@foxmail.com

TAO H 90 D 170 mm Slip Cast Porcelain Born in Jiujiang, and raised in Jingdezhen, China, Linyu completed a BA in Comprehensive Design at the Fudan University， Shanghai Institute of Visual Art 2013. Over the following five years, working as a designermaker and curator mainly focused on the relationship between tradition and the contemporary, followed by an MA at the Royal College of Art in London in 2020.

The work titled TAO was designed for fine dining food presentation.

Collaborating with chef friend Andy, this project explores the relationship between people and how they interact with tableware. The work draws on the philosophy of Chinese Taoism. An interest in the conversion of matter and energy, therefore the idea of ‘shifting’ is strongly is embodied in this work.

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Luke Fuller

Shale, Stoneware, 40 x 52 x 25cm (Photo: Sylvain Deleu)

The work Shale is part of the Faults series. It is the result of an investigation into geological processes, and humans’ desire to control and obtain organic matter. The work produced uses a layering technique informed by sedimentary rock formations to create a combustible mould. The technique creates cracking across the outside surface of the work which is uncontrollable due to rapidly heating the clay. The human induced tension that is created in the clay could be compared to contemporary concerns towards our own environment.

Contact: lukefuller@live.com.

Luke graduated from the Royal College of Art in 2020, gaining an MA in Ceramics & Glass. He was awarded the Charlotte Fraser Scholarship for outstanding work. Since he completed his BA (3D Design & Craft) at the University of Brighton in 2018, he has won a number of prestigious prizes and bursaries, including New Designer of the Year at the Business Design Centre, and the Nagoya University of Art, Grand Prize. He has shown work internationally at various exhibitions including Masterpiece London, British Ceramics Biennial and Fog Design+Art in San Francisco and is represented by the Sarah Myerscough Gallery, London.

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Sandy Layton

Encircling embrace h:27 x w:26 x d:23 cm (Stoneware clay with engobes.)

There is a warm relationship between the blue base and the pyramid form encircled by yellow loops.

London is her home and it is also where she grew up and later studied. After having had a career as a teacher and then as a psychotherapist she pursued a diploma course in ceramics at the City Lit. Then later, worked for some years as a ceramicist, experimenting with a range of approaches. Wishing to develop a more personal voice she decided to pursue further studies, at Kingston School of Art before undertaking the MA at the Royal College of Art 2018- 2020.

The sculptures were made using a slab building technique. But instead of creating slabs by rolling out clay, she threw discs on the wheel and added circular markings. The expressive loops of clay are characteristic of her sculptures and were made using an extruder.

Contact: Sandy.Layton@network.rca.ac.uk

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Shau Tzu

Ascription Stoneware 20x25x35cm Born and raised in Taipei, Taiwan, Tzu received her BA in Crafts & Design from the National Taiwan University of Arts in 2016. Then she went to TAMA Art University in Tokyo as an exchange student.

Before starting her MA at the Royal College of Arts’s ceramics and glass, she worked for the Taipei Contemporary Art Museum. Last year, she also finished an artist residency in Jingdezhen’s Sanbao Ceramic Institute.

Shau’s work is often inspired by collecting people’s emotions and observing the vivid moments in her own life. Through her work, she wants to connect to the viewer’s life experience and trigger their own individual thoughts and responses.

The work is usually constructed by building numerous clay coils. The fingerprints will be left during pressing the coil layer by layer, which perfectly reflect the time spent undertaking this process, when there is only clay and herself.

Contact: shau.tzu@network.rca.ac.uk

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Tian Chen

Departure Glass (3d rendering) 25×20×30cm Born in the Sichuan province of China, Tian studied Integrated innovative design at Jiangnan University, where she graduated in 2016. She then went on to study Ceramics and Glass at the Royal College of Art in 2018.

Her practice is mainly about environmental installations and sculptures. Architectural structure and living space are the starting point of her inspiration as well as her passion. She expresses her feelings about space with materials, and generates different work based on themes and scenes.

Her recent works focus on the transparency of bone china as well as glass structure.

Contact: Tian.Chen@network.rca. ac.uk

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Xinwen Zhang

PEEP Medium: porcelain， underglaze Size: 21.2x27.5x13.9cm Xinwen gained her BA in oil painting from the Central Academy of Fine Arts in Beijing, China in 2014, and her MA in Ceramics from the Royal College of Art in 2020.

She now lives and works in London, and exhibits her work in the UK and China.

In her work, the inside structure is emptied so that the flowing glaze can flow naturally in the kiln, and then accumulate on the bottom, forming a rich color in the inside space.

It reveals the time passing through temperature and time changes in the kiln.

Wen hopes to return to Jingdezhen as soon as possible to complete her graduation work.

Contact xinwen.zhang@network.r ca.ac.uk or zxw91329@sina.com

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Yifan Gao Glass, mixed media.

24.0432cm x 9.486cm x 9.6261.

Born in Wuxi, China, she graduated with a bachelor’s degree in fashion jewellery from the London College of Fashion in 2018, and then went on to study Ceramics and Glass at the Royal College of Art. As a fashion designer her work has repeatedly appeared in London Fashion Week as well as international fashion magazines such as I:D, Vogue Italia, dazed and WWD. Yifan’s work explores the possibility of where a highly advanced civilisation has adapted to an Atlantis-like living environment. Human beings will have returned to the one place where life started, and the hyperintelligent future tech is formed in symbiosis with sea creatures and structures. Here, the organic and the artificial are blended together, which her visual combination of metal and glass shows - also including geometric forms and seemingly arbitrary structures.

Contact: Yifan.Gao@network.rca.ac.uk

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Yuan Chen

Born in China she obtained a BA’s degree in ceramics in 2014 from Jingdezhen Ceramic Institute. There she studied the history and techniques of Chinese porcelain, which later influenced her to reinterpret a contemporary expression. Later she applied to the RCA to advance her studies.

In the near future she plans to return to Jingdezhen to set up her own studio and continue exploring in the direction she has taken at RCA. Contact: yuan.chen@network.rca.ac.uk

The title of her first work is Trace Porcelain 6cm×20.2cm×4).The inspiration for this installation work comes from her hometown, and observing weathered stone. she used the simple column shape and a blue similar to her hometown’s sky to evoke a personal memory.

Her second work (top) 12 days of London lockdown (White stoneware, Black clay, Resin 20.5cm×15cm).

Because of the inability to use the kiln and studio, she washed the raw clay with water every day during lockdown to complete the work. It is her response to the global pandemic (COVID-19).

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Yuxin Tang

Dessert Rose Cube shape, expected size: 190mm x 190mm x 190mm Yuxin was born and raised in South China.

She completed her BA degree in Product & Furniture Design at Kingston University in 2018, and then her MA in Ceramics & Glass at the Royal College of Art in 2020. Currently, she is working as a ceramic artist and mainly traveling between China and UK Her current project called wonder series is focusing on natural and wild structures. This project starts with her experience of outdoor activities such as caving and rockclimbing during recent years. Due to the lockdown, her project is still work in progress.

Contact: townesoup@gmail.com www.yuxin-tang.net

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Applications to the Royal College of Art – Ceramics and Glass The MA Ceramics & Glass programme at the Royal College of Art welcomes practitioners who understand the transformative power of material thinking, research and making to enrich our world in imaginative and meaningful ways.

Students are supported by outstanding staff, excellent facilities and a peer network who have shaped the programme’s leading research and international standing over many years.

Students come to the RCA from across the globe and bring with them a wide range of backgrounds, educational approaches and experiences. Some transfer straight from undergraduate degree to postgraduate study, while others have spent time practising their craft or working in industry before returning to education to focus their interests or refine their skills.

Candidates are selected entirely on merit and do not need to have a previous degree in Ceramics & Glass – our students come from a range of related backgrounds from textiles and fine art to architecture and industrial design. Our selection process considers creativity, imagination and innovation which should be demonstrated in the portfolio submitted as part of the application process.

To find out more about the MA Ceramics and Glass programme and how to apply, please visit the RCA website. Applications for entry in 2021 will open in September 2020.

Fulltime staff for Ceramics and Glass, Royal College of Art: Dr. Steve Brown - Acting Head of Programme Felicity Aylieff - Prof of Ceramics & Glass Katie Spragg - Tutor Heike Brachlow - Tutor

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