We caught up with funding recipient Isabel Clarke, to tell us about her recent trip to Jingdezhen, China to attend a three-week Ceramic Workshop and take part in a group Exhibition with other artists from all over the world.
Tell us about yourself and your project?
My name is Isabel, I was born and raised on the Isle of Man, and am about to begin my final year studying Fine Art at Kingston School of Art. I have had a love for ceramics for about as long as I can remember, and finally had the opportunity to work with the material myself during my Art & Design Foundation degree at UCM. Since then my passion for ceramics has flourished, and it has been my primary medium for around 2 years now. My current work encompasses sculpture, sound, and installation, and uses clay in a variety of states - bisqued, glazed, bone dry, or hydrated - displayed in conjunction with sound recorded from the clay itself. I have wanted to work with porcelain for a long time, however the high cost of the material has held me back.
My interest in Chinese porcelain in particular is due to its purity, high density, and crystalline structure, making the material far more ‘glassy’ and resonant than other clays. As someone whose work centres around ceramics and sound, this trip was an absolute dream. The city of Jingdezhen is known as China's "Porcelain Capital", as its production of porcelain dates back as early as the 6th century, and it remains a hub of ceramic production for many incredibly skilled artists. This fascinating clay is also widely accessible and inexpensive to makers in this region, thus the city has pulled in a vast network of both traditional ceramicists and artists from around the world, who each in their own way continue the traditions of this art form and cause it to evolve. Everything I thought I knew about ceramics was flipped on its head, and the rich variety of modern and ancient techniques I was able to witness or even practice has deepened my admiration of this beautiful craft
How did you find out about Isle of Man Arts Council and what funding was available to you?
I have been aware of the Isle of Man Arts Council since I started getting more serious about art during my A Levels, but until recently wasn’t sure if I had a project of enough worth to apply for it. This trip was incredibly important to me, so I decided now was the time to give it a try, and thankfully the council agreed with me!
What type of funding did you apply for?
I applied for a general funding grant from the Arts Council to cover the cost of the flights to Jingdezhen and the workshop costs for MenLo studio.
How did the Isle of Man Arts Council help you?
The council agreed to cover both of these expenses, which I almost couldn’t believe! Not only did this allow an opportunity of a lifetime to become a reality for me, but it felt incredible to know that the Arts Council believed in the work I make and wanted to support me in it.
How did you find the application process for funding?
The application process was very simple, and everyone I have spoken to from the council has been very kind and helpful when I’ve needed any support!
Would you have been able to do this without Isle of Man Arts Council funding?
Absolutely not. The cost of travel alone with connecting flights to and from southeast China - especially during the summer - was not cheap. As for the workshops, what I learned from artist in residence Alex Simpson and all the makers I had the great pleasure of meeting, having three weeks of 24/7 access to materials, tools, and a studio specifically for ceramics, alongside all the help I received from Nick and Yezi at MenLo studio, and the beautiful experience they created for us at their lovely studio was priced in line with its high worth. It was a truly special trip, made possible through the generosity of the Isle of Man Arts Council and their belief in my work.
What was your favourite part of the trip/experience?
In addition to all I learned, the people I met there formed an integral part of this experience. Being surrounded with other artists and makers from all over the world offered me the chance to understand, learn from, and grow with each of these people over our three weeks in Jingdezhen. By the end, we felt like a little family, and now I have connections with like-minded creatives across the globe that I know I can look to for guidance if I ever need it. The friendships I made and the knowledge I gained from these friends will stay with me for life.
The attendees of the show were of all different ages and backgrounds, some were artists local to the area or from other countries, and others were simply members of the public with an interest in the arts. Our exhibition brought together all of these people in one space, to connect, learn, discuss, or just to have a good time. The children that attended were fascinated by the work, and to see younger people having such an interest in my craft was very gratifying. This investment in myself as a Manx artist and part of the creative community is valuable in itself, but I am now also equipped with knowledge that could only have been gained from the people and practices of this incredible city, which I can share with the community. Meeting people from all over the world gave us the opportunity to discuss our cultures, and among the group and visiting artists I am proud to say there was a lot of interest in the island.
How will the experiences from this trip help inspire your future work?
We were lucky enough to have multiple lessons with specialists in traditional ceramic techniques, such as blue and white painting, overglaze painting, and carving. The incredible skill necessary for these techniques has inspired me to work harder in perfecting the basics of my craft, and to appreciate more of the skill that goes into making, rather than the ideas behind it. Also, the city’s attitudes regarding artistry and ownership of intellectual property are very different to what my experience so far as an artist has been. Typically, the production of a single piece in Jingdezhen is split up amongst many different people - throwers, trimmers, kiln workers, painters etc. My belief that I have to make all my materials has always caused me to work slowly and cautiously, but I have learned from my time here that this limiting mindset holds me back from producing work. Being in this new environment has encouraged me to change the way I work and to take a little pressure off myself, which in my opinion is really invaluable.
While I wanted to explore new forms and techniques, my glazes still followed my usual style which draws from the nature of the island - sparkling crystals of blue and green, speckled woody browns and blooming yellow crystals, rusty bronzes, bubbling volcanic glazes, and cloudy whites with dripping blues. We were apparently the most productive group the studio has ever had, and we all worked hard together to push the limits of our materials. We learned and used techniques such as physical vapour deposition coating, cnc drills and 3D printers, which i have so far not been able to access anywhere else! I also continued my study into ceramic art in conjunction with sound, and created a delicate porcelain wind chime inspired by the tile-makers we visited. We were kindly praised by the local artists for our innovative approaches to this ancient material, and for the sheer amount of work produced in only three weeks.
Thank you so much for all your help!
