1,726 research outputs found
Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies
No full textThis practice-based research investigates the potential applications of digital manufacturing technologies in the design and production of hand-made tableware at the Leach Pottery. The methodology for the research establishes an approach grounded in my previous experience as a maker that is informed by an open, experimental, emergent, and responsive framework based on Naturalistic Inquiry.
A critical contextual review describes the cultural heritage of Leach which, for the purposes of the research, is developed through the Leach Pottery as a significant site, the historical production of the iconic Leach Standard Ware and the contemporary production of Leach Tableware. This is followed by an examination of Potter’s Tools in the Leach production environment, and a review of makers’ digital ceramic practice.
The contextual review is followed by an explication of ‘standards’ presented through visual lineages of Standard Ware and Leach Tableware to define ‘standard’ at a design (macro) level, followed by an examination of how ‘standard’ operates at a making (micro level) level. This chapter presents new knowledge in relation to defining the visual field of Leach Pottery tableware production and its standards of design.
A chapter focussed on practice presents the outcomes and analysis of my engagement with digital manufacturing technologies which resulted in the development of new tools to support Leach Tableware production and the interrogation of Leach forms, in different mediums, which led to the creation of Digital-Analogue Leach forms. The practice culminated in the design and development of new 21st century Standard Ware: a range of 9 forms, called Echo of Leach, that were developed by myself using digital and analogue methods: the designs were realised by myself, the Leach Studio, and a further four makers. The outcomes of the research were presented in a three month exhibition at the Leach Pottery in 2013.
The conclusions of the research draw on the key points raised in the analysis of the practice and relate these to the approaches to making pottery that are highlighted in the cultural heritage of Leach in the contextual review. These are also discussed in relation to ways in which these findings could be taken forward into development of knowledge about Standard Ware, especially in a broader studio pottery context
Bernard Leach: discovered archives
No full textA new study of the life and work of the pioneer studio potter Bernard Leach based on critical readings of newly discovered archives and collections, and set in the context of his practice and thinking located both in St Ives and in Japan. Texts by Dame Magdalene Odundo (Foreword) and chapters by Simon Olding, Yuko Matsuzaki and Sadahiro Suzuk
Bernard Leach and Simon Carroll: place, tradition and iconography
No full textA comparison of the slipware of Bernard Leach and Simon Carroll, presented at the symposium accompanying the exhibition, Shima Kara Shima E, by Ashley Howard and Risa Ohgi. The theme of the symposium looked at how East and West have been influencing makers recently and how our views of this dialogue are developing in the field of ceramics
The etchings of Bernard Leach
No full textThe Etchings of Bernard Leach is the first systematic account of Leach's output as an etcher. Focused on the 65 etching plates that Leach brought back from Japan in 1921, the book presents in addition original archival research drawn from museums and private collections in the UK and Japan, and includes a translation of its text in Japanese.
The book draws upon Leach's diaries from Japan 1912–21, as well as on other primary materials in the Bernard Leach Archive held by the Crafts Study Centre. Considering his work alongside primary material from the Mingei-Kan (Japan Folk Craft Museum), Tokyo, and private papers connected with the Leach family, the book places Leach in the context of British and European etching in the early 20th century, and also addresses the contribution of Leach’s graphic art both to traditional slipware decoration and to his other ceramic work in a modernist idiom.
The book is the first stand-alone study of Leach as an etcher, and its catalogue of etchings is the first summary of his output in this medium. It therefore constitutes an authoritative and rounded source of information about Leach's early career as an artist, documenting the period in which he set off to Japan with the intention of pursuing a career as an etcher. The book is now used as the standard reference for UK Auction Houses selling Leach's etchings, most recently for Asobi: Ingenious Creativity & Ceramics From the Bernard Leach Collection at Christies, South Kensington (15 Oct. 2013
Lowering Simon Fraser A public discussion in New Westminster
No full textA public roundtable discussion with artist Maddie Leach (NZ-Sweden), moderated by community planner Kamala Todd (Metis-Cree) . The purpose was to explore Leach's artistic project 'Lowering Simon Fraser', themes of catalysing public awareness and generating dialogue around commemorative monuments, and the complex implications of their continued presence in our current time
Haunts and Follies
No full text'Haunts and Follies': Penny Byrne, Sam Leach, Simon Mee and Kate Rohde.
August 3rd opening night. Closing September 16, 2012
Linden-Centre for Contemporary Art.
Curator and Writer: Simon Mee
Writer: Kim Wilkins
The artists, Penny Byrne, Sam Leach, Simon Mee and Kate Rohde
Haunts and Follies featured new artworks by the artists, Penny Byrne, Sam Leach, Simon Mee and Kate Rohde.
Picture a haunt and a folly, some bizarre spooky pseudo ruin, partially overgrown, the kind of place that if you were watching a D grade horror movie you just know that a girl and a guy would go on and meet the something very much unexpected.
The artists, Penny Byrne, Kate Rohde, Simon Mee and Sam Leach use the historical within their art as a means of dealing with the contemporary. They are all highly skilled in the execution of their art but even if their methods reminiscent of the historical, they leads us away from where we think we were going, the comfortable and familiar, to a destination that is stranger but also strangely enthralling.
Penny Byrne’s work combines meticulous re-workings of porcelain figurines that passionately address a range of issues from the political to the environmental. Kate Rohde teases out sinister twists in a room full of brightly coloured ornate baroque forms. Sam Leach combines his well deserved recognition for his painting with a narrative that seems to combines mad scientists and deranged modernists; animals, birds and nature attempting to escape from the fate of geometrical transmogrification. Simon Mee takes drawing for a walk but through American gothic via French rococo, accompanied by a range of characters you think twice about sitting next to on a bus. These artists are hunting out the locked closet, bricked up room and the funny smell coming from the blocked chimney of subconscious
A Concise Introduction to John Arden and Margaretta D'Arcy : Guide
No full textRobert Leach, Former Reader in Drama and Theatre at the University of Birmingham, introduces John Arden and Margaretta D'Arcy. Leach details their collaboration on a whole host of works considered to be alternative and daring, to the creation of Loose TheRobert Leach, Former Reader in Drama and Theatre at the University of Birmingham, introduces John Arden and Margaretta D'Arcy. Leach details their collaboration on a whole host of works considered to be alternative and daring, to the creation of Loose TheDescription based on online resource; title from title screen (Digital Theatre+, viewed January 25, 2022
Related and evocative elements
No full textPublished to accompany an exhibition of collaborative work by Ashley Howard and Risa Ohgi at the Leach Pottery, St Ives, Cornwall, 13 September - 12 October 2014
A computerized volumetric segmentation method applicable to multi-centre MRI data to support computer-aided breast tissue analysis, density assessment and lesion localization.
No full textDensity assessment and lesion localization in breast MRI require accurate segmentation of breast tissues. A fast, computerized algorithm for volumetric breast segmentation, suitable for multi-centre data, has been developed, employing 3D bias-corrected fuzzy c-means clustering and morphological operations. The full breast extent is determined on T1-weighted images without prior information concerning breast anatomy. Left and right breasts are identified separately using automatic detection of the midsternum. Statistical analysis of breast volumes from eighty-two women scanned in a UK multi-centre study of MRI screening shows that the segmentation algorithm performs well when compared with manually corrected segmentation, with high relative overlap (RO), high true-positive volume fraction (TPVF) and low false-positive volume fraction (FPVF), and has an overall performance of RO 0.94 ± 0.05, TPVF 0.97 ± 0.03 and FPVF 0.04 ± 0.06, respectively (training: 0.93 ± 0.05, 0.97 ± 0.03 and 0.04 ± 0.06; test: 0.94 ± 0.05, 0.98 ± 0.02 and 0.05 ± 0.07)
Lowering Simon Fraser: An itinerant monument, New Westminster BC
No full textPanel title: The Problematic Sculpture - Context and Negotiation in the Twenty-First Century. 'At some point between 1986 and 1988 a large section of granite disappeared from the Simon Fraser Monument in New Westminster, a municipality of Metro Vancouver close to where the Fraser River branches into its northern and southern arms, before reaching the Strait of Georgia on Canada’s west coast. In the process of relocation, from a grassy traffic island near the Pattullo Bridge to the new riverfront boardwalk at Westminster Quay, Simon Fraser—‘Explorer’—was lowered by a good four feet. There is no record of what happened to the removed section, and the original stature of the monument is long forgotten. This is where Lowering Simon Fraser began, from a simple question and an act of curiosity: what happened to that piece of stone?
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