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<!DOCTYPE html> <html > <head> <meta charset="utf-8"> <meta rel="search" type="application/opensearchdescription+xml" href="/open_search.xml" title="Academia.edu"> <meta content="width=device-width, initial-scale=1" name="viewport"> <meta name="google-site-verification" content="bKJMBZA7E43xhDOopFZkssMMkBRjvYERV-NaN4R6mrs"> <meta name="csrf-param" content="authenticity_token" /> <meta name="csrf-token" content="aVfncIZ9mD8kp0sXfKsE7EXzfYwe/zrnN/Kot+w70ehrTnCDZjKZAnhJ6m3YAKlaZxllUvG9nxAx2iAzw4Dqbw==" /> <meta name="citation_title" content="Deconstructing Failure: The Ceramic Works of Peter Voulkos" /> <meta name="citation_author" content="Yi Shan Tan" /> <meta name="twitter:card" content="summary" /> <meta name="twitter:url" content="https://www.academia.edu/25659467/Deconstructing_Failure_The_Ceramic_Works_of_Peter_Voulkos" /> <meta name="twitter:title" content="Deconstructing Failure: The Ceramic Works of Peter Voulkos" /> <meta name="twitter:description" content="Peter Voulkos is an American West Coast Ceramist who is best remembered today as an Abstract Expressionist hero. 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Instead of perpetuating this ongoing narrative however, my paper compares his work to lesser-known creative influences, such as American" /> <title>(PDF) Deconstructing Failure: The Ceramic Works of Peter Voulkos | Yi Shan Tan - Academia.edu</title> <link rel="canonical" href="https://www.academia.edu/25659467/Deconstructing_Failure_The_Ceramic_Works_of_Peter_Voulkos" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = '92477ec68c09d28ae4730a4143c926f074776319'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1732838419000); window.Aedu.timeDifference = new Date().getTime() - 1732838419000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"Peter Voulkos is an American West Coast Ceramist who is best remembered today as an Abstract Expressionist hero. Instead of perpetuating this ongoing narrative however, my paper compares his work to lesser-known creative influences, such as American avant-garde composer John Cage, dancer Merce Cunningham, Japanese potter Shoji Hamada and not least, Zen ceramics. In doing so, I argue that that it is more productive to see Voulkos as a revolutionary figure who strategically employed failure, performance and deconstructive techniques in a way that is medium specific to ceramics. Also, I will examine how Voulkos’ clay pieces employ the notion of paradox in order to complicate and challenge accepted preconceptions of ceramics and its perceived relationship to function. In doing so, he reframed the clay vessel as an aesthetic object in its own right and ultimately, established ceramics as an autonomous medium.","author":[{"@context":"https://schema.org","@type":"Person","name":"Yi Shan Tan"}],"contributor":[],"dateCreated":"2016-05-27","dateModified":"2016-06-15","datePublished":null,"headline":"Deconstructing Failure: The Ceramic Works of Peter Voulkos","inLanguage":"en","keywords":["Paradox (handling ambiguity)","Poststructuralism","Cold War and Culture","Ceramics (Ceramics)","Deconstruction","Cold War","Zen Buddhism","Heroism","Ceramics (Art History)","Structuralism/Post-Structuralism","Derridean Deconstruction","Paradoxes","Cold War International Relations","Abstract Expressionism","John Cage","Pottery","Failure Analysis","Ceramics","Paradox","Clays","Ceramic Sculpture","Handbuilding Ceramic Sculptures.","Throwing potteries using the wheel.","Merce Cunningham","Avant Garde Music","Kintsugi","Postwar Avant-Garde Music","Vessels","John Cage, experimental music","John Cage Spiritual Art Explorations","Japanese Pottery","Chawan","American West Coast Ceramics","Peter Voulkos","Shoji Hamada","Zen Ceramicware","Anagama Wood firing","Avant-garde Dance"],"locationCreated":null,"publication":null,"publisher":{"@context":"https://schema.org","@type":"Organization","name":null},"image":null,"thumbnailUrl":null,"url":"https://www.academia.edu/25659467/Deconstructing_Failure_The_Ceramic_Works_of_Peter_Voulkos","sourceOrganization":[{"@context":"https://schema.org","@type":"EducationalOrganization","name":null}]}</script><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/single_work_page/loswp-102fa537001ba4d8dcd921ad9bd56c474abc201906ea4843e7e7efe9dfbf561d.css" /><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/design_system/body-8d679e925718b5e8e4b18e9a4fab37f7eaa99e43386459376559080ac8f2856a.css" /><link rel="stylesheet" media="all" 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Instead of perpetuating this ongoing narrative however, my paper compares his work to lesser-known creative influences, such as American avant-garde composer John Cage, dancer Merce Cunningham, Japanese potter Shoji Hamada and not least, Zen ceramics. In doing so, I argue that that it is more productive to see Voulkos as a revolutionary figure who strategically employed failure, performance and deconstructive techniques in a way that is medium specific to ceramics. Also, I will examine how Voulkos’ clay pieces employ the notion of paradox in order to complicate and challenge accepted preconceptions of ceramics and its perceived relationship to function. In doing so, he reframed the clay vessel as an aesthetic object in its own right and ultimately, established ceramics as an autonomous medium."},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Deconstructing Failure: The Ceramic Works of Peter Voulkos","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [49296977]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":45996403,"attachmentType":"pdf"}"><img alt="First page of “Deconstructing Failure: The Ceramic Works of Peter Voulkos”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/45996403/mini_magick20190210-31927-4l7j3l.png?1549851609" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/assets/single_work_splash/adobe.icon-574afd46eb6b03a77a153a647fb47e30546f9215c0ee6a25df597a779717f9ef.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Deconstructing Failure: The Ceramic Works of Peter Voulkos</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="49296977" href="https://independent.academia.edu/TanYiShan"><img alt="Profile image of Yi Shan Tan" class="ds-work-card--author-avatar" src="//a.academia-assets.com/images/s65_no_pic.png" />Yi Shan Tan</a></div><div class="ds-work-card--detail"></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Peter Voulkos is an American West Coast Ceramist who is best remembered today as an Abstract Expressionist hero. Instead of perpetuating this ongoing narrative however, my paper compares his work to lesser-known creative influences, such as American avant-garde composer John Cage, dancer Merce Cunningham, Japanese potter Shoji Hamada and not least, Zen ceramics. In doing so, I argue that that it is more productive to see Voulkos as a revolutionary figure who strategically employed failure, performance and deconstructive techniques in a way that is medium specific to ceramics. Also, I will examine how Voulkos’ clay pieces employ the notion of paradox in order to complicate and challenge accepted preconceptions of ceramics and its perceived relationship to function. In doing so, he reframed the clay vessel as an aesthetic object in its own right and ultimately, established ceramics as an autonomous medium.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":45996403,"attachmentType":"pdf","workUrl":"https://www.academia.edu/25659467/Deconstructing_Failure_The_Ceramic_Works_of_Peter_Voulkos"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":45996403,"attachmentType":"pdf","workUrl":"https://www.academia.edu/25659467/Deconstructing_Failure_The_Ceramic_Works_of_Peter_Voulkos"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="45996403" data-landing_url="https://www.academia.edu/25659467/Deconstructing_Failure_The_Ceramic_Works_of_Peter_Voulkos" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="28606971" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/28606971/Auther_Dump_and_Death_Peter_Voulkos_and_Contemporary_Ceramic_Sculpture">Auther, Dump and Death: Peter Voulkos and Contemporary Ceramic Sculpture</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="27063692" href="https://independent.academia.edu/ElissaAuther">Elissa Auther</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Peter Voulkos: The Breakthrough Years, 2016</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Auther, Dump and Death: Peter Voulkos and Contemporary Ceramic Sculpture","attachmentId":48968864,"attachmentType":"pdf","work_url":"https://www.academia.edu/28606971/Auther_Dump_and_Death_Peter_Voulkos_and_Contemporary_Ceramic_Sculpture","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/28606971/Auther_Dump_and_Death_Peter_Voulkos_and_Contemporary_Ceramic_Sculpture"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="30682578" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/30682578/Peter_Voulkos_an_Influential_Sculptor_Who_Broke_the_Rules_NY_Times_Review_30_December_2016_">Peter Voulkos, an Influential Sculptor Who Broke the Rules [NY Times Review, 30 December 2016]</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="54345438" href="https://getty.academia.edu/AndrewPerchuk">Andrew Perchuk</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Calling Peter Voulkos a ceramist is a bit like calling Jimi Hendrix a guitarist. The charismatic, rebellious sculptor and teacher was a genuine rock star of his medium, a trained potter who went on to violate every rule of pot-making — often before a live audience. His sculptures started out clearly enough as polite, wheel-thrown vessels but evolved into nervy and transgressive abstract paintings, looming behemoths fired in industrial-size kilns, precarious assemblages and live-wire performances (no ritual immolation but lots of smashing and dropping of plates and vases). " Voulkos: The Breakthrough Years, " a taut, electric exhibition at the Museum of Arts and Design, shows us just how quickly and deftly Voulkos (1924-2002) reinvented ceramic art. ...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Peter Voulkos, an Influential Sculptor Who Broke the Rules [NY Times Review, 30 December 2016]","attachmentId":51123435,"attachmentType":"pdf","work_url":"https://www.academia.edu/30682578/Peter_Voulkos_an_Influential_Sculptor_Who_Broke_the_Rules_NY_Times_Review_30_December_2016_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/30682578/Peter_Voulkos_an_Influential_Sculptor_Who_Broke_the_Rules_NY_Times_Review_30_December_2016_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="38238938" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/38238938/Reconstruction_the_Artistic_Meaning_Destroying_As_An_Action_In_Contemporary_Ceramics">Reconstruction the Artistic Meaning: Destroying As An Action In Contemporary Ceramics</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="72226796" href="https://independent.academia.edu/SafiyeBasar">Safiye Basar</a></div><p class="ds-related-work--metadata ds2-5-body-xs">SERES'18 Full Text Booklet., 2018</p><p class="ds-related-work--abstract ds2-5-body-sm">Ceramic has been known not only as a traditional production material but also art material from the beginning of the 20th century. However, the most important progression and transformation in the field ceramic art are experienced after Second World War. This progression is observed in the artworks created by some important artists such as Hans Coper, Ruth Duckworth. These works, which showed a formalist approach at the beginning, evolves towards critical approaches in the future. Especially this critical approach has been observed in “Pop and Funk” since the late 1960’s and it continues today. Nowadays, everything can be the material of art. In addition to the traditional materials, today art works are created with a wide variety of material such as inner oil, artist’s blood, glass, ceramic or wheat seed and these materials becomes an instrument for artists to express their feelings and to materialize ideas and meanings. At this point, ceramic material is considered by relating physical characteristics, historical ties, rich layers of meaning comes from tradition of production in the art works belongs to modern artists such as Ai Weiwei, Jeff Koons, Charless Craft. In these art works, the most remarkable thing is that artists destroy or broke ceramic sculpture or object. Even that this actions may be interpreted as vandalism. Is it possible to consider that the action of destruction is a process for to create the level of meaning, when it has been take into consideration the art theory of Kant that is based on “aesthetic idea” and the art theory of Danton based on “embodied meaning in the object”?</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Reconstruction the Artistic Meaning: Destroying As An Action In Contemporary Ceramics","attachmentId":58280464,"attachmentType":"pdf","work_url":"https://www.academia.edu/38238938/Reconstruction_the_Artistic_Meaning_Destroying_As_An_Action_In_Contemporary_Ceramics","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/38238938/Reconstruction_the_Artistic_Meaning_Destroying_As_An_Action_In_Contemporary_Ceramics"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="3638486" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/3638486/Fire_it_Up_Ceramic_as_Material_in_Contemporary_Sculpture_exhibition_essay_Zurich">Fire it Up: Ceramic as Material in Contemporary Sculpture, exhibition essay, Zurich</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3700983" href="https://independent.academia.edu/OlgaStefan">Olga Stefan</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Fire it Up: Ceramic as Material in Contemporary Sculpture, exhibition essay, Zurich","attachmentId":31474818,"attachmentType":"pdf","work_url":"https://www.academia.edu/3638486/Fire_it_Up_Ceramic_as_Material_in_Contemporary_Sculpture_exhibition_essay_Zurich","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/3638486/Fire_it_Up_Ceramic_as_Material_in_Contemporary_Sculpture_exhibition_essay_Zurich"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="35528800" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/35528800/Ceramics_as_the_conveyance_of_art">Ceramics as the conveyance of art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="69145788" href="https://uah.academia.edu/ScienceParkResearchOrganizationCounselling">Science Park Research Organization & Counselling</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The concept of art has varied according to space and time perspective in each and every period and it has emerged in different forms in every culture. Artists or designers produce a wide range of forms with different materials representing the period and culture while creating their ceramics. Ceramics symbolizes a thousand-year-old endeavor as well as being considered as one of the arts. It has shed light on the history in different shapes and cultures in addition to undertaking the task of conveyance of art with original structure and formal style in the works of art. Ceramics makes identity differences thanks to background knowledge, form and decorative techniques and originality. Art is not for society's sake; it aims to relieve the tension, to satisfy pleasure, to enable people to see and hear, to use and to evaluate. Different cultures have generated new styles in their ceramics by integrating creativity into their own traditions and techniques as well as interacting with Mayan vases and pots, Greek pottery, Anatolian ceramics and tiles. Some of these impacts have been so profound in ceramics that they have been passed on from generation to generation. This paper seeks to address to the following questions: How was ceramics used in different cultures and periods with composition features such as form, decoration, motif and figure; and how has it undertaken the task of conveyance of art by investigating what features they have.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Ceramics as the conveyance of art","attachmentId":55393837,"attachmentType":"pdf","work_url":"https://www.academia.edu/35528800/Ceramics_as_the_conveyance_of_art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/35528800/Ceramics_as_the_conveyance_of_art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="91070803" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/91070803/Relating_to_Clay_Tuning_in_to_the_Workings_of_the_Aesthetic_Dimension_in_Ceramic_Practice">Relating to Clay: Tuning in to the Workings of the Aesthetic Dimension in Ceramic Practice</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="49751657" href="https://mediaconcepts.academia.edu/PriskaFalin">Priska Falin</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Aalto University publication series DOCTORAL THESES, 2022</p><p class="ds-related-work--abstract ds2-5-body-sm">Through sustained practice, creative practitioners begin to develop a relationship with the material with which they work. This kind of relating to the material accompanies aesthetic qualities that are not only perceived as belonging to the material but also recognised within the body, creating a connection between the practitioner and the material. This research emphasises the role of aesthetic qualities in creating these connections and concentrates on this level of ceramic practice, where the body's role is central in feeling, sensing and extending towards the material world. This research has developed in two phases; the research material was firstly gathered through practice-led research focusing on the subjective experience in ceramic practice, and then, secondly, the research has continued to develop from the topics identified during the first phase within a collaborative approach to conducting research. The first phase of the research included studio work, an artist residency period and a workshop. The second research phase discussed and developed the identified research topics within and through workshops in collaboration with other professional practitioners. The particular interest is in the subtle body that implies understanding a more nuanced level in material work. Here, the bodily perspective in creative practice is examined, and the discussed practice is focused on attuning to feeling and experiencing the material bringing our body's sensuous understanding to the forefront. The aim is to understand how creative practitioners begin to tune in with the aesthetics of materials and their processes within making. The research focus is framed through three directions on the body: the experiencing body, the sentient body and the performing body. The common perception of creative practice is through its outcomes; however, a practitioner's creativity that sustains a material practice is built through experiences understood in the body. What is opened up through this research is the experiential and performative dimension of creative acts in the context of ceramics. One of the main outcomes of this research is the Subtle Ground method that offers an aesthetic-driven direction in making whereby the creative practitioner's attention is directed towards the subtle body and the experiential dimension in making.This research argues that focusing on aesthetic qualities and giving attention to embodied connections can create the basis for a meaningful material relationship in the context of creative practices. Relating to material is a process that engages the body to perform and experience the felt material qualities. These felt and performed qualities in creative material work can also have therapeutic possibilities and thus widen the implications of the research results.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Relating to Clay: Tuning in to the Workings of the Aesthetic Dimension in Ceramic Practice","attachmentId":94461468,"attachmentType":"pdf","work_url":"https://www.academia.edu/91070803/Relating_to_Clay_Tuning_in_to_the_Workings_of_the_Aesthetic_Dimension_in_Ceramic_Practice","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/91070803/Relating_to_Clay_Tuning_in_to_the_Workings_of_the_Aesthetic_Dimension_in_Ceramic_Practice"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="100591735" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/100591735/Provocative_Ceramic_Vessel_Sculpture_in_context">Provocative Ceramic Vessel-Sculpture — in context</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="217368168" href="https://independent.academia.edu/GloriaLesser">Gloria Lesser</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Espace Sculpture, 1994</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Provocative Ceramic Vessel-Sculpture — in context","attachmentId":101371573,"attachmentType":"pdf","work_url":"https://www.academia.edu/100591735/Provocative_Ceramic_Vessel_Sculpture_in_context","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/100591735/Provocative_Ceramic_Vessel_Sculpture_in_context"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="5912509" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/5912509/Out_of_Necessity_Contemporary_Ceramic_Interventions">Out of Necessity: Contemporary Ceramic Interventions</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5086867" href="https://stjohns.academia.edu/OwenDuffy">Owen Duffy</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Out of Necessity: Contemporary Ceramic Interventions","attachmentId":32893651,"attachmentType":"pdf","work_url":"https://www.academia.edu/5912509/Out_of_Necessity_Contemporary_Ceramic_Interventions","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/5912509/Out_of_Necessity_Contemporary_Ceramic_Interventions"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="39226356" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/39226356/_Artists_Biographies_Bibliography_and_Exhibition_Checklist_In_The_Human_Condition_The_Stephen_and_Pamela_Hootkin_Collection_of_Contemporary_Ceramic_Sculpture_Exh_Cat_by_Russell_Panczenko_Garth_Clark_and_Christy_Wahl_Madison_Chazen_Museum_of_Art_2014">“Artists’ Biographies, Bibliography, and Exhibition Checklist.” In The Human Condition: The Stephen and Pamela Hootkin Collection of Contemporary Ceramic Sculpture, Exh. Cat., by Russell Panczenko, Garth Clark, and Christy Wahl. Madison: Chazen Museum of Art, 2014</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="106656379" href="https://wisc.academia.edu/ChristyWahl">Christy Wahl</a></div><p class="ds-related-work--metadata ds2-5-body-xs">The Human Condition: The Stephen and Pamela Hootkin Collection of Contemporary Ceramic Sculpture, Exh. Cat., by Russell Panczenko, Garth Clark, and Christy Wahl. Madison: Chazen Museum of Art, 2014</p><p class="ds-related-work--abstract ds2-5-body-sm">This book is published on the occasion of the exhibition The Human Condition: The Stephen and Pamela Hootkin Collection of Contemporary Ceramic Sculpture, held at the Chazen Museum of Art, University of Wisconsin–Madison, September 4–November 30, 2014. © 2014 The Board of Regents of the University of Wisconsin System. 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