ARTgila 123 - InSEA

The Project: ARTgila 123 is an international ceramic miniatures exhibition travelling during 2017 -2020 These clay-based works have been limited to the size of a matchbox – 1” x 2” x 3” – and explore the intricacies of ceramics based pedagogy through miniature sculpture and reflect the theme of art education and the artist/teacher’s approach to and love for clay.

The Artgila exhibition ceramic pieces arrived in the UK in September. These were exhibited as part of the 2019 Big Draw at The Durham Sixth Form Centre in Durham, County Durham, England. We gave the role of curator to one of the sixth form students, who is using this experience as part of her personal CV and also her national Arts Award qualification. Jennifer (Oakley) carefully unwrapped and photographed every single item and also noted any damage or wear and tear. She then curated the exhibition, placing them in two secure glass cabinets and the work was seen by 300 plus people. Jennifer also gave a talk about her experience of looking after the exhibition to a large audience at an art teacher network meeting the following month.

Susan Coles (Artgila at 2019 Big Draw at The Durham Sixth Form Centre in Durham, County Durham, England, October 2019)

CERAMICS

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

Ana Mampaso, Spain

SLOWNESS

Dorothy Deschamps

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).

Inquiring, Red Clay. glaze

Mirena VASEVA , Bulgaria

"Through the doors of inner perception"

" We are 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 ...."

Transformation

Eman Elshokery

Egypt

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

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.

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…

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.

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

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

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

Teresa Kuhn, Czech Republic

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

Egypt

TT, Portugal

2 dwarfs to protect students during school time

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

Through ceramics I regain the prime elements of life : time; earth, water and fire, the wisdom of slowness, the magic of learning through making.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.Through ceramics we can teach the elements of our humanity and the foundation of our cosmic nature. 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.

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.

Yuraldi Rodriguez, Cuba

Annie Jones, 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.

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, England

Connecting the Dots. 2017.

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

CREATING CONNECTIONS

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

Marwa Aly Mohamed Hussein, Cairo, Egipt

"THREE EGYPTIAN CELEBRATIONS" 4.5 x 7.5 x 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.

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.