Royal College of Art – Work in Progress
A view by Paul Bailey to the show
An insight into the creative process can be rewarding and risk taking. First year students in Ceramics & Glass Course at the Royal College of Art undertake a research based project at the V&A Museum , resulting in the ‘Work in Progress’ show.
Students come from all over the world for the postgraduate course, recognised as one of the very best. They are chosen on their creativity, imagination and innovation, as well as a potential to benefit from the programme.
The course has a belief in the transformative power of material thinking, research and making, to enrich the world in imaginative and meaningful ways. The dynamic environment provides exceptional opportunities beyond the traditional art and design, individual practices and industry.
The ‘Work in Progress’ shows looks at the research the students have undertaken at the V&A and then how they re-interpret their conclusions. Not intended to be a final show it is an insight into the creative process during their first year at the College.
Here we look at the work of just a few of the students from the February 2020 show.
Annette Lindenberg chose an object entitled ‘Figure in Mongol Dress’ dating between 1260 – 1300.
Having interviewed women of various ages and races who wear the hijab, she wanted to create a piece that shows the complexity and beauty of what that might feel like. Each of her plates marks different circumstances, from being around a family and friends to being out in public.
Monica Tong chose an early Tang Dynasty porcellanous stemcup 618-77AD. Her work aims to capture the intricacy of the material form linked to intertwined emotions.
Elizabeth Jackson was inspired by a agateware teapot from the 1750’s to 1765. She created a curiosity inspired by food imports. The process is imitating precious stone in ceramic.
Jingyi Wu took a Wedwood perfume bottle, she decided to use decoration to describe characters and storytelling telling love through scenes. Starting with Oscar Wilde’s “the Nightingale and the Rose”, the moment when the nightingale is dying in the early morning.
Antonio Fois (above) chose a Neolithic ewrer from the V&A. His response to the piece was to undertine the sanctity of water in terms of source of life and its complexity in contemporary societies.
Daria Coleridge called her “Marking of Time” as her response to the Monumental Doccia Clockcase. The ornge glassbell is a spontaneous reaction to attrecing attention both in appearance and fanction as the original Clockcase.
Fang Wang selected a 500BC Ancient Greek Amphora from the V&A Museum. The expressive dynamism of the illustrated legs captured his attention and led to the production of multiple small scale and big scale legs that challenges and changes contemporary values in the work.
Leonora Lockhart was drawn to Dungeness in Kent and it’s neglected presence in the landscape.
Playing with scale she aims to create a piece that sums up a feeling of human-made paraphernalia.