Specification : a0.04


It is evident that craft knowledge has been replaced in many curricula by theoretical and historical knowledge

Singerman, H. (1999) Art Subjects: Making Artists in the American University, Berkeley: University of California Press

Reviewed in: Pearse, H. (2002). Studies in Art Education, 43(2), 182-187. . Retrieved from http://www.jstor.org/stable/1321004

Day 04

7th July 2016 ,19.30 visit to http://www.sysongallery.com very generous and informed tour of current show Nature Ape with Jennie Syson. particularly intriguing with small chiaroscuro works on stairway, artist, Paul Harraway. Inspired by 16th  natural philosopher Giambattisa della Porta, Natural Magic of 1558; the relationship between art, the artist and nature


Dec. Arts

Back to clay. Unable to access the print area, however the ceramic/glass technician is supportive and does not mind if I revisit throwing on a wheel after a three decade + absence and in the intervening years acquiring 26 + pins in my left hand.

4.01 Clay

Emulate the cardboard tubes using white stoneware . Handbuilt holders for found acrylic and laser cut pieces. Slab build a small structure based on dimensions of the blue insulation foam.





In The Poetics of a Wall Projection, Turnovsk (2009,p.21), discusses
two approaches to architecture. The conceptual approach and the empirical. He suggests that the
conceptual approach follows man made rigid geometry and absolute forms whilst the empiricism follows natural forms and sits within its topology. Turnovsky suggests the paradigms of the Greek temple and the cave as the origins for these two approaches.

Wedging 1kg balls of clay. Dividing into 500g balls and ox bow kneading Throwing cylindrical shapes.

Ceramic workshop

4kg of White Stoneware

1 electric Alsager wheel potters wheel

Natural sea sponge


1litre of water in a plastic jug

Testing Site

What is a wall (2)? Structural/surface/solid/light (glass curtain) in education? An educational wall?

      The modernist wall differs from the classical wall, yet could the tension between what Kandisnky called the bare (white) modernist wall and the Bauhaus colour wall experiments be examined in the context of Gropius Einheitkunstwerk, Joost Schmidt 1923 wall as relief, and the Bauhaus teaching wall – wall painting workshop.

      How can walls be interrogated as critical surfaces as connectors between architecture, art, education, a singular connector of three areas. Or the wall as isolated component, but interconnected?

      What are the demands / conflicts of a wall in educational institutions? What are the structural elements of pedagogy in relation the wall in the Bauhaus, Braziers