ARTgila 123
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.
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With clay and fire we can teach the elements of our humanity |
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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 1100oc). |
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Paloma Palau Spain |
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Angeles Saura Spain |
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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 … |
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Ana Mampaso, Spain |
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SLOWNESS 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 |
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Inquiring Mirena VASEVA Bulgaria "Through the doors of inner perception" " 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 |
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creation
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Egypt |
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Transformation
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Hoda Ali Ahmed Mohamed Madany. Egypt |
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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 ℃
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attention to the vitality of the surface and mass movement 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 |
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An ornament is another subject matter |
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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. |
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we communicate minimally with others by touch… |
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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… |
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Spatial expression |
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Czech Republic 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.
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it is still posiible to draw with it |
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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
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love the mud |
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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 |
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in the things of the familty there was a piece from Venice |
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Ana Barbero Franco Spain Earthenware, engobe, glazed fired: 1100º.
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ithe quieteness of geometry 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 |
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a way of meditation Czech Republic There are no roses without thorns! Title: There are no roses without thorns! 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. |
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shapes |
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Egypt |
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light, shadow, form, mass, physics, chimistry |
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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
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because Egypt
Live to continue
The work reflects oppression and pressure based on women in the Arab countries because |
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alchimie, enchantement, |
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Jennifer Wicks Canada |
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impredictible science, magic of learning |
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Yuraldi Rodriguez Cuba terracota with oxide fired 1000º |
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Annie Jones
England |
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awareness , re-grow, regeneration 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. |
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Growth. 2017. Mohamed Hamed Elbezra – Egypt, 7×5×Dimensions: 3 cm
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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
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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 |
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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 |
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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.
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Hanan Hanafy , Egypt .
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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. |
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Samar Mohamed Abdel sadek Helal Egypt work name: Twin size:7*4*4 material:Red clay
technic:Raku (Horse hair) |
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Augusta Gaspar, Portugal white glazed earthenware Love for education: growing flower fired at 1020º |
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Maria Joao Pereira , Portugal imbroglio : nut symbolising education in Portugal , red for difficulties/green for hoping white glazed earthenware fired at 1020º
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Angela Saldanha, Portugal white glazed earthenware fired at 1020º |
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Emad El-din, EgyptEl-maghrabyTitle: "Together..to face drought..desertification..and malnutrition"Dimensions: 1.5 x 2.5 x 3.5 cmType of clay: Terra cotta Glaze used: black engobe Firing temperature:1050 ˚C |
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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.
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http://www.insea.org/docs/inseaprojects/artgila/anabarbero.jpg
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 )
HOW TO PARTICIPATE:
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.
Catalogue
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 insea@insea.org
Contacts
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