ARTgila 123

Shine

Dr. Ashraf Kamal El-Din

Assistant professor of Ceramics

Faculty of art education, Helwan University, Cairo, Egypt

Instagram: https://www.instagram.com/wiki_ceramic/

Facebook: https://www.facebook.com/groups/1668398836741049/

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 1100^oc).

Paloma Palau

Spain

Angeles Saura

Spain 

Victoria Pavlou:  stoneware clay, magazine paper, wool, iron plexiglass

Temperature of firing: 1200°C

Victoria Pavlou, Cyprus

A suitcase … a trip … everything in life is a trip … a happy trip leading to new adventures and experiences … a sad trip leaving behind loved ones … your home … your country. Nothing stays still … everything is moving …. And you … you need to take the challenge and make your mark.

In my art education classes, I invite students to embrace in a journey of exploration of their world, of their dreams, to imagine possibilities, to take risks, to be open to new experiences, to realize their potentials and to pursue their ambitions.

In this artwork, I express my personal trip with my companion in life (the two ceramic birds). The suitcase is well used … it has travelled a long way, ‘lived’ many – mostly happy – moments. The umbrella and the shirt have provided us shelter from the rainy days, the red woolen skein indicates the joys we are looking forward to living with our kids, who are starting their journey (three paper birds).

Nothing stays still …

Nothing is taken for granted … 

Ana Mampaso, Spain

SLOWNESS

Dorothy Deschamps

Canada

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

Inquiring

Mirena VASEVA 

Bulgaria 

" We ar part of the universe and the universe is in us .... There are so many possibilities ... we just have to open the gates of consciousness and move beyond our perceptions ... then we will discover the hidden knowledge ...." 

Red Clay.  glaze 

creation

Eman Elshokery

Egypt

Transformation

Hoda Ali Ahmed Mohamed Madany.

Egypt

Colour, mind and body

Hoda Ahmed Ragaa Hashem

Egypt

title:   spring flowers

Dimension: 4×4×1 cm

Materials:

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

Egypt

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

www.robertbucek.cz

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

Rolf LAVEN

Austria

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

Spain

http://esibit.com/rvives

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

http://www.insea.org/docs/inseaprojects/artgila/anabarbero.jpg

Ana Barbero Franco

Spain

Earthenware, engobe, glazed

fired: 1100º.  

the quieteness of geometry                                          

Safaa Attia

Egypt

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) 
 

shapes                                                                       

Wael Farouk Ibrahim

Egypt

light, shadow, form, mass, physics,  chimistry              

TT

Portugal

2 dwarfs to protect students during school time

Earthenware clay; one fired: 1100º, engobes and transparent glaze 

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

because
of the burden of many things and the lack of understanding

Zeinab Hassan Ali Almeshad

Egypt

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

Canada

impredictible science, magic of learning                         

Yuraldi Rodriguez

Cuba

terracota with oxide

fired 1000º

England 

awareness , re-grow, regeneration                           

VERONIKA HORLIK

Canada

Title: When the Night Has No Right

Size: 3” x 1” x 2”

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.

Growth. 2017. Mohamed Hamed Elbezra – Egypt, 7×5×Dimensions: 3 cm

  white glaze                                                                 

Mohamed Hamed Elbezra – Egypt

 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

Hannah Emily Jones, Connecting the Dots. 2017. Materials: Buff clay, powdered glazes and transparent frite glaze. Temperature of firing: 1200°C

creATING CONNECTIONS                                               

Hannah Emily Jones

England

 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

symbols                                                                  

Marwa Aly Mohamed Hussein, Cairo, Egipt

"THREE EGYPTIAN CELEBRATIONS" 4.5 7.5 2.7CM

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

Hanan Hanafy , Egypt .

-Necklace formed of pottery beads and silver units.-Weights 10 gr. -Turquoise Blue Color.

A necklace of Pottery beads , also called "Ancient Egyptian Paste , that is considered to be the first type of glazed pottery ever exited in human history . It is characteristic of including each : the glazed material and the color, it is to be formed and left to dry then burned for one time. Once settled the color and the glazing face cover the whole body's surface . Which occurs between 850 - 950 C.T.

Hanan Hanafy , Egypt .

Nayera Subaih, Egypt

The black swan, 0.787402"×1.1811"×1.37795" ,clay glazed with iron oxide fired in 900 and reducted.

 This art work represent all the events that taking place in our lives and the world, and every thing that we wanted and wished to happen ,as the black swan represents every rare wish and dream that will be fulfilled by our own will.

 

Samar  Mohamed Abdel sadek  Helal

 Egypt

work name: Twin

size:7*4*4

material:Red clay

technic:Raku (Horse hair)

 Augusta Gaspar, Portugal

white glazed earthenware

Love for education: growing flower

fired at 1020º

Maria Joao Pereira , Portugal

imbroglio : nut symbolising education in Portugal , red for difficulties/green for hoping 

white glazed earthenware

fired at 1020º

Angela Saldanha, Portugal

white glazed earthenware

fired at 1020º

we celebrated life and death in clay ; we described our thoughs, 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.