I am writing grant acquittals this week and finding it’s very beneficial to summarise and assess the effectiveness and/or success of my original proposed project. The process of writing about my experience is also a good reminder of how extremely grateful I am for the support of The Ian Potter Cultural Trust, ARTS NSW and The Creative Industries Career Fund. These organisations all contributed to my skills development, research, exhibitions and mentorship overseas. Of course I also spent a lot of my own money too but it was so worth it!The residency at Sundaymorning@ekwc was an intensely focused period of learning and artistic production. The program certainly met my expectations in that I acquired skills in ceramic modelling, mould making, casting and finishing techniques and experience using CAD computer technology. In addition I learnt a great deal about ceramic slip and glaze, about the various types of clay, about gas and electric kilns and different firing times and processes. I applied these skills to the creation of new works and developed prototypes for a sculptural installation to be exhibited in Sydney and Hunter Valley later this year.
claude jones_ roo-boy prototype and headless girl on kiln shelf in studio at ekwc_2013
Whilst in the Netherlands, I undertook a concurrent mentorship with Dutch artist Chrystl Rijkeboer who is based in Haarlem, near Amsterdam. http://www.rijkeboer.com/gallery. Chrystl maintained regular contact with me throughout the residency program, providing advice, assistance, networking opportunities and an ongoing friendship. In addition to her support she exhibited some of my new ceramic works in her gallery in Haarlem.
Several of my ceramic works were also included in a solo exhibition at Nopx gallery, Turin, Italy from March 28th – April 22nd. This exhibition was well received with inquisitive and engaged audiences and positive feedback.
In the last week of my residency at EKWC I opened my studio to the public in a final presentation on April 16th. This was an opportunity to show work both finished and still in progress and to informally discuss my work with other artists, staff and visitors of the centre.
claude jones_bits and pieces in studio at ekwc_2013
Overall, I was impressed by the European audience’s open curiosity and engagement with my work. People asked questions about the methodology and concepts behind the work, commented on which works they favoured and why, and even photographed some of the work for their own records.
The facilities at EKWC far exceeded my expectations. In addition to the 13 kilns and Cadcam facilities, there was a fully equipped plaster room, a wood workshop, synthetic mould making room and a library. EKWC is so well equipped in terms of materials and facilities that you seldom have to go to the art supply store as everything you need is available at the residency.
Glaze and slip samples at ekwc
The residency gave me the time, space, facilities and technical support in which to develop the sculptural component of my practice and I have expanded the breadth of media I employ and the manner in which my ideas are articulated. I now have the practical skills and confidence to push my work in a challenging new direction and to create larger and more ambitious works suitable for installations and outdoor exhibitions.
My arts practice and professional career has greatly benefited for this program of learning, researching, networking, mentorship and exhibiting in Europe.
And a few more images…
claude jones_glazed roo heads in studio at ekwc_2013
claude jones_’rabbits revenge’ in progress in studio at ekwc_2013_39x15x12cm
claude jones_headless girl ( work in progress)_ekwc_2013
claude jones_Off with their heads! (the roo king)_2013_glazed ceramic_36x32x24cm
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