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Lookup NU author(s): Eva Masterman
This is the final published version of an exhibition that has been published in its final definitive form by British Ceramic Biennial and Clay Arch Gimhae, 2017.
For re-use rights please refer to the publisher's terms and conditions.
Touch Me Use Me is an installation of sculptural ceramic objects, commissioned by the British Ceramic Biennial in 2017, and first shown at the AWARD exhibition at Spode Factory, Stoke on Trent, UK. It was also developed further as a second installation as part of the 2017-18 cultural exchange between South Korea and Britain, at the internationally renowned museum and ceramic residency, Clay Arch Gimhae in South Korea. It continues Masterman’s practice-based research examining the public and private nature and definitions of ‘studio’ through the transformation of domestic and industrial ceramic languages into sculptural objects. It aimed to build on the legacy of site-specific work as a device through which environment and context can be interrogated, by using the industrial heritage of Stoke on Trent, and later the contemporary environment of Clay Arch, to connect past histories with personal narratives and communities. The research investigates the studio as a site to manifest Derrida’s supplement, a place that is inherently incomplete and is supported or fulfilled through the addition of other objects. The significance of this brings the contexts of ceramics as sculpture and ceramics as an anthropological tool together, in order to question the definitions of sculpture as object and object as installation. The work itself was a collection of made and found objects that referred to the collapsed ceramic industry of Stoke on Trent and Masterman’s personal studio. Certain pieces were activated by the movement and interaction of the audience with the objects, examining the relationship between maker, object, site and audience. It aimed to compile a visual language that expanded dialogues around the performative, private and community activities involved in ceramic making. The unglazed surfaces further utilised signifiers of industrial process to imply potential and a sense of transition within the work, referencing ‘blanks’ within a traditional factory. It’s unique and meaningful contribution to the field lies in its significance in relation to the extended field of ceramic sculpture and its intersection between craft, industry and fine art.
Artist(s): Masterman E
Publication type: Exhibition
Publication status: Published
Number of Pieces: 1
Venue: British Ceramic Biennial and Clay Arch Gimhae
Location: Stoke on Trent and Gimhae South Korea
Media of Output: Ceramic Sculpture