Category: Uncategorized
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I am interested in the sensate nature and social interiorities that are surfacing through drawing.
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Hans Coper and the Egyptian Vessel/Wallace Stevens ‘Anecdote of the Jar’. Studio As A Becoming Apparatus~Threshold THRESHOLD / 2026This text has become less an argument than a gathering. Earlier and present bodies of research enter one another without resolving their differences. Coper remains Coper; the vessel remains a vessel; innerness remains an earlier proposition. Yet…
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Hans Coper : The Shape of Time/Working Notes/Diagrams Sainsbury Centre UEA Norwich Hans Coper : Working Notes Crafts Study Centre. 2014. Extracts from catalogue “The Esssential Potness, Hans Coper and Lucie Rie 2014” “I become part of the process, I am learning to operate a sensitive instrument which may be resonant to my experience of…
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A Vessel Defines Emptiness As Presence : Craft, Studio Practice /Theory and Analysis on Hans Coper, Edmund De Waal, Martin Heidegger STUDIO PRACTICE, THEORY AND ANALYSIS. MA SCHOOL OF CRAFTS AND DESIGN. Working Notes : Brockwood Granary 2014 Theory and Analysis Documents, UCA Farnham Working Contexts/Title : Spatial/Making analogies/relationscapes “Innerness” in Ceramics/Architecture and Philosophy/Painting BUILDing…
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A humble, passive, somewhat absurd object, yet potent, mysterious, sensuous : Hans Coper Hans Coper, Theory and Object Analysis, Crafts Study Centre, Farnham. MA Interior Design A vessel (as membrane/threshold that can hold social rituals/traditions and memories) seems to occupy space but simultaneously be occupied by space. Theories of relativity and uncertainty have shown that…
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I am referring in particular to Russell Moreton’s ceramics as having a palpable quality way beyond the image of his work that has a force-feeling a landing site in which a hospitality of the alluring object is also strangely withdrawn. Your phrasing captures the exact ontological tension at the heart of Russell Moreton’s spatial ceramic…
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Tentative and Open Spatial Bodies, Ceramic. 2026 Lived Experience A Situated Ecology. This practice has not developed through a linear progression of ideas, but through a shifting ecology of encounters. Ceramics, drawing, photography, architecture, interiority, landscape, teaching, spatial research and collaborative making have remained in correspondence across different periods of the work. Some propositions have…
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INSIDE THIS CLAY JUG/Like the piddock the studio is itself a living organism~a hospitable field of correspondence about learning to make. I think this is now a learning correspondence ecologically open with others participating in a spatial practice of learning to make. Yes. I think “learning correspondence” is a particularly productive development of what is…
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Forces into Forms: Fire, Intra-Action, and Ontological Bodying The Ontological Relationship Between Clay and FireFocusing on ontology and material transformation, this title targets niche audiences interested in art theory. The violence is not theatrical, it is embedded in the accumulation of small operations and gestures. The work asks the viewer to slow down and discover…
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Thank you for sharing these. They confirm something I had begun to suspect from our conversations: the philosophy has not been imposed on the work; it has emerged from it. The photographs show a practice that is already operating through a sophisticated set of material operations. What I find most interesting is that the finished…
