D E S I G N . V I S I O N : C O N F E R E N C E
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c o n f e r e n c e . . . . p r e s e n t e r s . . . . p r o g r a m. . . . l o c a t i o n . . . . c o n t a c t s

 

C O N F E R E N C E . P R E S E N T E R S



M A R E K . C E C U L A

Professor in ceramics: Artist, designer and educator, principle of Modus Design, Marek Cecula works in the field of ceramics in a wide range of creative activities. Marek is represented by Garth Clark in New York and Modernism Gallery in San Francisco; his work is in collections of major art institutions. He is a recipient of grants from Luis Comfort Tiffany Foundation and New York Foundation of Arts, Fellowship and Award. Art & design are the most central components in Cecula's practice, moving between physical and conceptual presentation, redefining in his work the status of ceramic objects and its meaning in our culture. In 1985 he established the ceramic design program at Parson's School of Design in New York and lead this department until 2004. Today Marek Cecula is a professor at KHIB National College of Art & Design in Begen Norway and a visiting professor at the Royal College of Art, London. He maintains a ceramic studio in Poland and design office in New York City. In 2012 he established the Design Cenrum Kielce in his home town in Poland and in 2013 initiated

My artwork has no typical uniformity in its subject matter. I experiment with many physical and conceptual representations of ceramic objects and explore their meanings in contemporary culture. I am seduced by the role ceramic plays in our lives and the esthetical values it carries. I am a watcher, an anthropologist, who is constantly discovering how we form relationships with these objects and their functions. By rendering my ideas in three dimensions, I attempt to involve the viewer in the same process of focused imagination, leading through the landscape of ideational space that I passed through.

There has always been a co-existence between art and design in my work.
As one direction co-habituates next to the other, a wide transference remains in the middle.
It is within this overlap that the most interesting and creative aspects of art and design occur.

Ceramic design programs must be introduced in clay departments to widen and diversify the traditional ceramic curriculum. The adaptation of such programs will help to train and prepare graduate students to the challenges this medium demands in twenty first century. The new technologies with improved materials created a place for a new breed of ceramic designers who are versatile and knowledgeable in industrial processes and have good orientation in the constantly changing atmosphere of fashion, design and art.

. . .

In Dust Real (2004)
"Select(ed) forms from various porcelain manufactures (which) were “fired again” in high temperature in traditional anagama wood fire kilns to achieve totally opposite condition from conventional industrial standards. Destruction of classic pose and twist in appearance, breaks down established values and standards of a mass-product, as we know it, long hours of wood fire leaves marks of ash and fire on the industrial forms, transforming the classic porcelain into new original artwork. This is my sort of post-modernism, the concepts are funny and have a slight edge of the absurd while the product is beautiful. Often with post-modern work the physical object is not well enough crafted to carry the idea. Although Marek Cecula's pieces play with (and take a totally irreverent approach to) ceramic materials I feel his connection to ceramics and enjoyment of surface comes through."

See Marek Cecula's latest project "SEEDS"

Visit Marek Cecula's website at: http://www.ceculamarek.com/index.php

Marek Cecula (Lengyelország)
keramikusművész, designer, a Modus Design alapítója. A művészet és a design határterületét elfoglaló kerámia design kreatív teljesítményét vizsgálja. Ma számos művész és designer gyakorolja ezt a posztindusztriális mesterséget, többnyire ipari módszerekkel és anyagokkal dolgozva feszegetik a kerámia tárgy határait, saját kategóriájuk megalkotása érdekében. Valahol a művészet és a design között elhelyezkedve, a tárgy inkább a koncepcióról, mint a használhatóságról szól, művészi jelentést ad a háztartási terméknek, és egy új fúziót hoz létre a kortárs kultúrában.



T A V S . J Ø R G E N S E N

Tavs Jorgensen’s practice spans a number of diverse fields. Although his initial base in the craft sector is still evident in his creative approach, much of his later work focuses on design for industrial production. His specialist skill base in plaster modelling and mould making is developed from years of ‘hands-on’ experience in this sector.

In recent years his practice has become increasingly focused on research, in particular developing new models of creative practice based on the notion of combining new technology tools with traditional craft skills and material knowledge.

Tavs Jorgensen is a research fellow at the Autonomatic Research Group, University College Falmouth. Jorgensen studied 3D Ceramic Design at Cardiff Institute and following his graduation in 1995 he established his own ceramic design consultancy, working for some of the world’s leading tableware companies. In recent years his practice has been increasingly focused on research, in particular exploring how new models of design practice can be developed on the basis of new technology tools. He still maintains an active creative practice and his work is regularly featured in national and international exhibitions. Jorgensen is a regular visiting tutor on the Ceramic and Glass course at the Royal College of Art and he is also a frequent guest lecturer at leading international universities and colleges.

"My research is located in the wider context of post-industrial production focused on exploring how digital design and manufacturing tools can be used as the foundation for new models of creative practice in a borderline area between craft, design and digital production. Within this field I have a number of specific project under continual development. One of the central projects over recent years has been the investigation of emerging gestural computer interfaces and the possibility of using these to facilitate a visual evidence of the ‘hand of the maker' in the aesthetics of artefacts designed and produced via digital tools."

Tavs Jørgensen initially trained as a craft potter in his native Denmark. He went onto study 3D Ceramic Design at Cardiff Institute and following his graduation in 1995 he established his own ceramic design consultancy, working for a number of international tableware companies.

In 2005 he was appointed permanent research fellow at the Autonomatic Research Group, University College Falmouth, and since then his practice has been predominately focused on research - in particular investigating how new models of design practice can be developed on the basis of new technology tools. In this research he has explored also how new computer interfaces can facilitate more personal and expressive aesthetics in the artefacts created via digital fabrication tools. He still maintains an active creative practice and his work is regularly featured in national and international exhibitions. Jørgensen is a regular visiting tutor on the Ceramic and Glass course at the RCA and also a guest lecturer at numerous international universities and colleges.

. . . . . .

Reconfigurable Pin Tooling
Over the last couple of years I have been exploring a novel moulding method called ‘Reconfigurable Pin Tooling’. The concept which is also described as ‘Universal Tooling’ is broadly the same principle as the one used for the popular 1980’s Pin Screen toy, which consists of a set of perforated screens in which an array of nails is inserted, enabling impression of hands, face and objects to be made. However, the history of this concept dates back much further. The principle has been explored for at least 150 years as a reconfigurable mounding apparatus capable of producing an infinite variety of shapes.

But despite many attempts by inventors and engineers over the years the technical challenges associated with the concept have never been fully resolved and a real ‘killer application’ has so far eluded the inventors. In many ways it has remained the ultimate but also unobtainable tooling concept.

However, digital technology has in recent years provided increased access to tools which enable new applications and creative approaches to explored with this production concept.

The pieces from the creative investigation of this method of making was first shown in the CRAFT CODE - 011 exhibitions at the Wills lane Gallery in St Ives in September 2011. Another piece form the exploration was exhibited at Chipstone Faundation’s “Tool in Hand” exhibition at the Milwaukee Art Gallery in winter 2011/2012, and work from the project will also be featured the 2012 Collect show at the Saatchi Gallery, London.

Glass investment casting with 3D printed moulds
This research project was initiated in 2010 by senior lecturer Gayle Matthias and research fellow Tavs Jorgensen with an aim to develop method that enable the creations glass moulds directly from three-dimensional computer data without the need for a physical mould pattern.

The concept is based on Additive Manufacture (AM) - a technology that is also commonly known as ‘Rapid Prototyping’ or ‘3D printing’.
The three-dimensional data used in the process can originate from a number of sources including: computer aided design files (CAD), scanned surface data, or CT scan data.

The concept which has been developed is based on method where parts of the mould is printed on a 3D printer, parts which is then surface treated to create a refractory moulds that has structural integrity to withstand temperature needed for investment casting with glass and metal alloys. This moulding method enables a standard Z corp 3D printer to be used as a rapid manufacturing unit without the need for any retro fit or specialist building medium.

See Tavs Jorgensen on "The Minds of Makers" video on YouTube . . . here

Visit Tavs Jørgensen http://www.tavsjorgensen.co.uk

Digitális gyártás – Új eszközök az alkotóknak – Tavs Jørgensen (Dánia/Egyesült Királyság) a Royal College of Art tanára, a Falmouth University tudományos munkatársa, a Tavs Jorgensen Design tervezője. Előadásában azt vizsgálja, miként lehet a design új modelljeit és a gyártást az új digitális gyártó eszközök segítségével fejleszteni. Példákat mutat be saját gyakorlatából, valamint áttekintést ad erről az izgalmas és gyorsan fejlődő területről.


Dr . S Z E N T P É T E R I . M Á R T O N

Márton Szentpéteri, design theorist and historian of ideas, professor at the Moholy-Nagy University of Art. The global economic crisis has particularly accentuated the role of sustainable design within contemporary design culture. This session will shed new light on contemporary craft cultures with many people now talking directly to the renaissance of the craft. In his presentation about the real or perceived renaissance, he will endeavour to clarify some concepts and pertinent historical questions in order to determine what kind of cultural appropriation has been the victim of recent contemporary craft culture.

Dr. Szentpéteri Márton eszmetörténész és designteoretikus, a Moholy-Nagy Művészeti Egyetem docense A gazdasági válság következményeképpen különösen hangsúlyossá vált a fenntartható tervezés szerepe a kortárs designkultúrában. Ez a hangsúlyeltolódás pedig új megvilágításba helyezte a kortárs kézműves kultúrákat is, sokan egyenesen a craft reneszánszáról beszélnek immár. Előadásában erről a vélt vagy valós reneszánszról szól, s tisztázni fog néhány témába vágó fogalomtörténeti kérdést is annak érdekében, hogy lássuk, milyen kulturális kisajátítások áldozata volt a közelmúltban a kortárs kézműves kultúra


L U B L O Y . Z O L T A N

Lublóy - Leslie Lublóy porcelain designer and artist, Assistant Professor, Moholy-Nagy University of Art. Lublóy porcelain maker design workshops have become known today as a place where everyday objects are given a contemporary re-interpretation. Zoltan Lublóy items are now available throughout Hungary and abroad and numerous exhibitions and fairs have seen a growth in interest. The most successful product being the badminton salt shaker and the successes that Eastern European design possibilities have achieved to date, are the backbone of the presentation.

Lubloy – Lublóy Zoltán porcelántervező művész, a Moholy-Nagy Művészeti Egyetem adjunktusa. A Lubloy porcelán egy ma már egyre ismertebbé váló kis porcelánkészítő design műhely, ahol főként használati tárgyak nyerik el kortárs újraértelmezésüket. Lublóy Zoltán tárgyait több ponton lehet kapni Magyarországon és külföldön, számos kiállításon és vásáron láthatták a design iránt érdeklődők. Legsikeresebb terméke, a tollaslabda sószóró története, és egy kelet-európai tervező lehetőségei, eddig elért sikerei képezik előadásának gerincét.

 


informatió:
Kormos Emese, Nemzetközi Kerámia Stúdió
icshu@t-online.hu


Nemzetközi Kerámia Stúdió - International Ceramics Studio
Kápolna u.11. Kecskemét 6000, Hungary

www.icshu.org