An Exhibition for Artist/Teachers

THE WORKS  ( in progress) 

In the beginning it was the water, and earth and fire We made the objects of daily life; we made our symbolic objects, We  transformed earth through fire, we have learn processes of transformation, we have built process of wondering through the humble materials of life , we had used arts  for inquiring and learning. 




With clay and fire we can teach the elements of our humanity 



Dr. Ashraf Kamal El-Din

Assistant professor of Ceramics

Faculty of art education, Helwan University, Cairo, Egypt



title: Compression. 

 Materials: (Red clay, ball clay, Talc, Soft Grog, nickel chrome coil, transparent frite glaze, assiette a dorer rouge,  Silver nitrate, Copper sulphate, ceramic raku firings to 1100oc).






Dorothy Deschamps



Title: Baby Buddha Sancturary

Size: 3 cm x 3 cm x 4 cm

Materials: Stoneware, glaze, gold luster, cone 1135 C and 670 C


Technique: hand built clay modelling





Elaine Humpleby










Eman Elshokery







Hoda Ali Ahmed Mohamed Madany.



Colour, mind and body


Hoda Ahmed Ragaa Hashem



title:   spring flowers

Dimension: 4×4×1 cm


White clay  Glazes used: orange, green, red ,yellow and gold glaze.   Firing temperature: 1050 ℃



 attention to the vitality of the surface and mass movement 

Marwa Amer


In creating the ceramic piece, I adopted the transformation of the functional vessel into an geometric shape and I made use of the inclined line in providing aesthetic relations between the surfaces.


First piece: Title :  Vessel, Size : 6.5 * 2* 2 cm. Ball clay. Golden halo glaze cone 05

Second piece. Title : Blue vesselSize : 5 * 4.5 * 2.5 cm. Clay Duncan outer space glaze cone 06


Third piece: Title : Joker, Size : 6 * 3.5 * 2 cm

Ball clay, Mayco northern lights glaze cone 06


An ornament is another subject matter  



David Medek

Czech Republic


Ornamental sculpture

size: 22 x 51 x 75 mm


material: Wood firing stoneware 1200 °C

I was taken by the possibility to ‘use’ sculpture in an unconventional way – to use it as a tool with which to create an image, which significantly extends the approach to this otherwise classical medium. My work has been influenced by my visit to a printing house, by the enchanting rotating cylinders, and by the link between a three-dimensional object and a printed area. Inspiration can be found anywhere, for example, in such a mundane phenomenon as the print of a tyre is. Printing of stamps leaves prints similar to patterns and ornaments. An ornament is another subject matter of my art production. Lately, I have been using Rapit prototyping as well as 3D printing in my work.


 we communicate minimally with others by touch… 



Monika Dokoupilová

Czech Republic

Title: Nests

Size: 50 mm, 74 mm, 25 mm

Material: paperclay, used pottery light-colour LA clay, and paper pulp. Type of firing: firing in a kiln for wood with ash deposit, slightly reduced firing. Temperature of firing: 1200°C

We all have a need for an intimate safe place. A quiet nest which we can make warm, soft, cosy… All the while we communicate minimally with others by touch…


Spatial expression 

Czech Republic

Robert Bucek



On Sundays; 1“ x 2“ x 3“; Wood firing stoneware with engobe 1200 °C. 

All my works are based in drawings. I draw intuitively following the images and feelings not only from the surrounding but mainly from the inner world. These records play the role of subjects for tiny clay models in which I seek the best proportion and composition while defining a feeling, a story, or a thought.

Spatial expression is the most natural approach for me. The final work must always come from me through my hands. This process is most intensive when working with clay.



it is still posiible to draw with it




Glazes, Firing Temperature 960°C degree – Cooling Firing and no glazes: Therefore it will be still possible to draw on walls, asphalts etc. with the tool


              love                         the                        mud


Rosa Vives-Almansa



I love the mud" is a small format work made specifically for this call. It responds to the inspiration in the theme of the exhibition that many art teachers share. The formal configuration follows the same line as other pieces. The hole as a symbolic form connects with the feminine world, of labour and even of nest, in a patient doing in relation to the generosity and fullness that invades us in the process of artistic creation


in the things of the  familty there was a piece from Venice



Ana Barbero Franco


Earthenware, engobe

fired: 1100º.  Glazes used: one fired slag glaze, transparent glaze and colored engobe



ithe quieteness of geometry                                          

Safaa Attia


The title: Geometric construction (inspired from Doodle concepts and items) Dimension : 1 inch X 2 inch x 3 inches. white earthenware clay. Glazes used: one fired slag glaze, transparent glaze and colored engobe. Firing temperature: 1050 C



a way of meditation                                                     

Teresa Kuhn

Czech Republic

There are no roses without thorns!

Title: There are no roses without thorns!
2 figures, 1 hedgehog, total size: 1inch x 2inch x 3 inch
Clay: porcelain (Imerys) , engobe, coloured stains, transparent glaze (Carl Jäger) , firing 1250°C, electric kiln

I work with stoneware and porcelain, do functional and art work. I like the sense of discovery and experimentation in working medium that can be formed to any shape, express an immense spectrum of surface effects and fire in surprising ways. The possibilities of new discoveries are inexhaustible.
My hand-build work is created spontaneously out of my present mood and feeling. My FUNCTIONAL WARE is mostly created on the wheel. Throwing on a wheel is a meditation and centering of the clay and of me is always a new challenge....( read more) 




Wael Farouk Ibrahim



light, shadow, form, mass, physics,  chimistry              



of the burden of many things and the lack of understanding

Zeinab Hassan Ali Almeshad



Live to continue  
Working dimensions 5 cm x 8 cm  
The raw material used is the Aswan clay 
The bushings were used before the fire  
The shape was burned at 950 ° C


The work reflects oppression and pressure based on women in the Arab countries because
 of the burden of many things and the lack of understanding of the community of the importance of their role, making them live without life, The artist split the face in half to  illustrate the extent of fatigue of women in society and carry a lot of burdens.  


alchimie, enchantement,                                              


Jennifer Wicks



impredictible science, magic of learning                         







Earthenwre clay; one fired: 1100º, engobes and transparent glaze (Iron , Chromium and Manganese oxides)

in ceramics I regain the prime elements of life : time; earth, water and fire, the wisdom of slowness, the magic of learning through making.























Hoping. 2017. Mohamed Hamed Elbezra – Egypt . Dimensions: 5x1,5x ? cm

Hanan Hanafi, Egipt. 


Hannah Jones, Liverpool, UK






awareness , re-grow, regeneration                               



Title: When the Night Has No Right

Material: Earthenware- Firing: cone 03

When the Night Has No Right draws inspiration from the rocky landscape of the

Canadian Shield, and from the lyrics of the Leonard Cohen song Amen: “Tell me again,

When the day has been ransomed, And the night has no right to begin”.

Veronika’s ceramic practice draws on her experience working in reforestation in the Canadian North. In these vast sylviculture sites, mechanical incursions mix with the strength and beauty of nature, and a constant air of devastation mixes with the possibility of magnificent regeneration. This phenomenon, drawn from a forestry landscape, mirrors the human condition : moments of dejection and despair are transitory, with re-growth and renewal just around the corner.


  white glaze                             with copper and iron wire    



Mohamed Hamed Elbezra – Egypt

 Date: 2017. Dimensions. Materials: red earthenware- white glaze- cobalt oxide- copper sulfate- molten copper- iron wire. Firing range: 1940 ˚F (1060 ˚C).  Biscuit fired to 900˚c, then white glazed was applied with copper and iron wire. And frit based glaze contains cobalt oxide, copper sulfate sprayed over the white glaze, then fired to 1060 ˚C






Hanan Hanafi, Egipt.  











.... art education for me is about facilitating connections. For connecting students with these influences allows them to create something greater, as every connections builds, the whole is more than the sum of its parts. 


Hannah Emily Jones



Title: Connecting the Dots


Year: 2017. Materials: Buff clay, powdered glazes and transparent frite glaze. Temperature of firing: 1200°C


Making connections between students and materials, techniques, processes and fellow artists; art education for me is about facilitating connections. For connecting students with these influences allows them to create something greater, as every connections builds, the whole is more than the sum of its parts. 



My practice relies heavily on me connecting the dots, receiving all the possible information about a student to make rounded decisions over how best to facilitate their creative journey. Personalising learning in such a way allows me to see each student as the unique individual they are. This relates to the work as each 'dot' is handmade, making them one of a kind. 


simbolic objects                                                            


Marwa Aly Mohamed Hussein, Cairo, Egipt


Earthenware body, Drawing with Slip, Transparent Glaze, Fired at 1010C





we celebrated life and death in clay ; we described our toughs, our griefs; our wars; our  lives with  engobes and glazes; we communicated though small sculptures , humble shrines; little goods; functional objects, toys, writing tablets; large portals; geometric patterns in tile walls, simple objects of our histories coming from ancient times.






Planned Exhibitions:

 August  2017- Portugal ( Organization: InSEA affiliate  Portuguese art teachers association APECV) 

August 2017  -  InSEA world congress in Korea ( Organization InSEA)

September 2017 Spain -        ( Madrid-Organization InSEA member  - Angeles Saura) 

 October  2017  Spain-  ( Logrono/Granada/castellon -  Organization InSEA world Councillor   Joaquin Roldan) 

 November 2017 Greece ; - (Organization InSEA member  Maria Letsiou)

December 2017  Cairo (Org AmSEA) 

january  2018 England -  ( Organization  InSEA world Councillor   Susan Coles)

February 2018  Czech Republic - ( Organization InSEA affiliate Czech section of INSEA ) 

March  2018 Canada-    (Organization  InSEA member Jennifer wicks) 

May 2018  Mexico ( Org.  Leonardo Trias )





Size: Each piece can be no larger than 1-inch x 2-inches x 3-inches , so it will fit in a matchbox.

Label: Each piece must be labelled . ( author name, affiliation, email address of the author; date; title and photo) 

Shiping and Insurance

Artworks may be hand delivered or shipped prepaid to arrive no later than 3th June 2017 at  the InSEA affiliate Organization APECV in Portugal.  Artists  are responsible for shipping costs  as well as insurance. Works can  be sent back at the artists’ expense once the tavelling exhibition finishes.

Address to send the works:

APECV - Quinta da Cruz. Estrada de São Salvador, 3510-784 São Salvador, Viseu Portugal.


InSEA will make an online catalogue and will coordinate the travelling . Authors will be requested to send short bios and brief descriptions of the piece to the catalogue  by end April 2017.

Local Exhibitions

  Coordinatorsin each country will organize the exhibitions and the shipping to another coordinator. Coordinators may include local artists in the local exhibitions if they wish. 


This exhibition is open to all ceramic artists/teachers/researchers. Works should reflect the theme of ceramic education and the artist/teacher’s approach to and love for clay. Each piece can be no larger than 1-inch x 2-inches x 3-inches and ceramics must make up 80% of the materials used. Work must be original  and can be functional or sculptural (or both!).Artists may enter one piece, which can also be a mini installation – the whole installation must not be bigger than 1” x 2 x 3”. Please send a photo or diagram of the set up along with the work, so that we know how to exhibit it. Send a label with the work including last name, first name, the title, materials used (including the type of clay, glazes used, and firing temperature) as well as the city and country of origin.


Artworks may be hand delivered or shipped prepaid to arrive no later than 3th June 2017 at  the InSEA affiliate Organization:

APECV - Quinta da Cruz. Estrada de São Salvador, 3510-784 São Salvador, Viseu Portugal.

Insurance while in transit is the artists’ responsibility. Works will be sent back at the artists’ expense. Please include prepaid return shipping forms or payment for return shipping with your work.


All reasonable precautions will be taken by InSEA to ensure the protection of submitted work upon receipt. However, no liability will be assumed by InSEA or the gallery(ies) connected with the exhibition for damage incurred or loss of work while in transit. Please pack pieces well to protect them from damage. Artists are advised to insure their work during shipping and are responsible for shipping costs (including the cost of return shipping) as well as insurance.

We closed the reception of the proposals on the 30th April 2017, but If you still  want to join this project please contact 

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