Vicky Shaw


I draw inspiration from the world that surrounds me; the selection of objects and forms are purely visual, chosen for their aesthetic qualities. They form an eclectic mix, often having a reference to the domestic and the everyday. Close-up photography has been a useful way of capturing compositions of contrasting surfaces. Architectural details such as windows and doors with distressed surfaces and peeling paint have been a fascination.
The ceramic prints are inspired from formal elements found in these sources, compositions are assembled from abstract shapes and lines such as circles and squares, there is also a direct relationship with the three dimensional vessel compositions, in that they draw inspiration from the bowl, spatula and base on which it sits. I am interested in the relationship of space; object and the space it occupies within the composition.

The techniques I use to create surfaces on clay involves direct screen printing and mono printing. The colour, surface qualities and the drawn line are an important aspect of my work, the composition and organization of these surfaces is what I find exciting.
The ceramic prints are made from stained stoneware clay and others are made from porcelain paper clay, screen-printing and mono printing is carried out on leather hard clay using coloured slips and underglaze colours. These are fired to 1250c and further screen printing takes place to build up layers of underglaze colour and glaze to achieve a depth of colour and surface. The pieces undergo multiple firings; each time a greater depth and richness of surface is achieved. The printing process can create unexpected results; this can often provide the thread to the next stage.
I find this an exciting way of working allowing the process to suggest and the unforeseen to occur, reflection is an important part of this process to assess results during printing and after firing. The surface can often benefit from over printing creating a depth of surface as the layers interact with each other. In some instances ceramic transfers are applied to small areas to add details.


Education 

1981-1984 BA (Hons) Design (Ceramics), Staffordshire Polytechnic
1984-1986 MA Ceramic Design, Staffordshire Polytechnic
1986-1989 Researcher in Ceramic Print, Wolverhampton Polytechnic

Awards
2009 British Ceramic Biennial, Built Environment Award
2008 The 8th International Ceramics Competition Mino, Japan, Ceramics Mino Park, Tajimi City Gifu, Japan, Honorable Mention
2007 The 4th World Biennale 2007 Korea, Icheon World Ceramic Center, Korea, Diploma of Honor, ‘Ceramics for Use’

Selected group exhibitions
2009 Jury selected, 12th Westerwald Prize 2009, Germany
’Beyond the Tradition’, The Gallery at Bevere, Worcester
2008 The 8th International Ceramics Competition Mino, Japan, Ceramics Mino Park, Tajimi City Gifu, Japan
2007-2008 ‘Porcelain: Ritual & Process’ A Llantarnum Grange Arts Centre (Touring Exhibition)
2007 The 4th World Biennale 2007 Korea, Icheon World Ceramic Center, Korea
2005-2006 ‘Whitegold’, China Clay Country Park, St. Austell, Cornwall (Touring exhibition)

Selected solo exhibitions
2007 ‘Compositions in Context’, Aberystwyth Arts Centre, Aberystwyth, Wales
2005-2006 ‘Compositions’ colour-pattern-form, Deutsche Porzellanmuseum, Selb, Germany

Commissions
2001 Wedgwood, ‘The collection’, (Jasper Ware) ‘100% Design’ exhibition, Earl’s Court, London
2001 Wedgwood retail UK, 36 bowls in Jasper
2000 White House Restaurant Prestbury, Cheshire, four printed porcelain wall panels

Collections
Ceramic Collection, University of Wales, Aberystwyth
Imerys Minerals Head Office, Paris
Wedgwood Museum Trust, Barlaston, Staffordshire

Publications
2008 Exhibition catalogue, The 8th International Ceramics Competition Mino, Japan, Ceramics Mino Park, Tajimi City, Gifu, Japan
Craft Courses, ‘Wolverhampton University’, co author, Gwen Heeney, Craft & Design, Craftsman Magazine (pages 76-77)
2007 Exhibition catalogue, The 4th World Biennale 2007 Korea, Icheon World Ceramic Center, Korea
2007 Exhibition catalogue,‘Porcelain: Ritual & Process’, Published by Llantarnum Grange Arts Centre, Wales
2005 Exhibition catalogue,’Compositions’ colour-pattern-form, edited by Wilhelm, Siemen, Medienhaus Mintzel-Munich
2005 Contributor to ‘Porcelain and Bone China’ a book compiled by Sasha Wardell,

 

Exhibitions

Archive

2009

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