A fashion designer creates a custom garment for a dancer, who improvises movement in the centre of a circle of potters. The potters simultaneously create works in response to the movement of the dancer and the forms created by the garment.
Once the ceramics are fired, they are exhibited and performed with by the dancer, for an open still life/life drawing session. A group of artists are asked to participate, documenting the event in book form.
slip = movement = slip = garment = slip = clay = slip = paper
• (movement) relative movement of an object or surface and a solid surface in contact with it
• (garment) a loose fitting garment, typically a short petticoat
• (clay) a creamy mixture of clay, water, and typically a pigment of some kind, used especially for decorating earthenware
• (paper) a small piece of paper, typically a form for writing on or one giving printed information
• Thrown pottery (on a wheel) is ideal, as this is the origin of the idea (almost constant movement) however hand built ceramics still works.
• During the making stage, the dancing is broken up into several sessions across one day: 45 min. dance + response (+ 15 min. break) (x3) for the sculpting, followed by a long break for the ceramics to dry enough for slip to be applied. Dancing resumes for the slip stage, with one last 45 min. dance + response. The ceramics are then left to dry and are fired.
• Ceramicists must use only black and white slip.
• There should be slips of paper available in the making stage so the ceramicists can sketch any ideas.
•Reclaimed clay was used, and is encouraged.
Mathias Karl Gontard
Joseph Bradley Hill & Patrick Fitzgerald
Joseph Bradley Hill & Nathalie Hollis / Second Skin Costumed Life Drawing
With thanks to Duncan Hooson & Linda Bloomfield!
Duncan is Head of the Ceramics Department at Morley College and Associate Lecturer BA Ceramic Design at Central Saint Martins. He has co-authored The Workshop Guide to Ceramics with Tony Quinn, published by Thames and Hudson. He is a long-standing member of the Craft Potters Association. Duncan is co-director of Clayground Collective, with his colleague Julia Rowntree, an arts educational organisation committed to skills sharing around ceramics.
Participant in Late Works:
Rosie Broadhead is an apparel designer specialising in biomaterials in the fashion industry. She is a graduate from Central Saint Martins’ MA ‘Material Futures’ course and has a background as designer and Head Sustainability at ski wear brand Perfect Moment and the R&D department at cycling brand Rapha. She is interested in the interaction between skin and clothing, and how science and technology will influence the future of fashion. By looking at what is natural on our bodies, Rosie looks at how we can create sustainable yet functional clothing. Through collaboration with scientists, her work focuses on developing materials and clothing that are healthy for our skin, have minimal impact on the environment, and use technology that works in synergy with the body. More recently she has co-founded Surface Tension, a platform centred around realising the positive potential of materials.
Participant in Late Works: