Ceramics: Art, or Craft?

The distinction within ceramics of art versus craft comes down to the historic uses of ceramics. Most commonly, ceramics are encountered in the form of things like plates, cups, pots and other functional objects. Whilst these items can be handmade with artistic intent and significant creativity, generally it is considered that if they are produced primarily to perform a function, they are a craft. This distinction is the subject of much debate, and at the end of the day it can come down more to opinion than a truly objective distinction. There is much more to ceramics than plates and pots however, and generally within sculpture you’d expect to find ceramic works existing in forms and ways more familiar with other sculptural mediums. As such, the distinction is something to be aware of and consider, but as with all things in the world of art, is rather subjective.

Barn Owl by David Cooke

Taken into consideration as art, ceramic work dates back thousands of years. Use of clay in making simple decorative figures goes back as far as 25,000 BC. The earliest known ceramic figure is a small nude which was produced by moulding and firing a mixture of clay and powdered bone. From these humble origins, the use of clay has spread across almost all cultures in all corners of the globe and has evolved tremendously. At its core however, the process remains the same, no matter how sophisticated the piece and techniques used. A material is formed into shape by the artist, and the object is fired in a kiln or otherwise heated by fire to cure and harden.

The topics explored in ceramic sculpture are widely varied, and the tactile process of moulding clay by hand or with tools allows for a diverse range of styles and subjects. Figurative works are popular within the genre, and in a sense this is the oldest type of ceramic work- the representative figures produced by ancient man being the first examples. As techniques and tools have evolved, realism emerged within ceramic art and from there it has developed to match most other movements and styles that have been developed in the art world. Today, it is as common to find realistic works alongside more figurative and minimalist pieces, pieces that blend the two, and everything else in between. The accessibility and low cost of working in ceramics, particularly clay, means that it remains an enduringly popular medium.

Swirl by Regina Heinz

Smoked Torso by Ferri Farahmandi, an enchanting and surreal depiction of a female torso with a beautiful smoky glaze.

The Visitor by Guido Deleu, a delightful bright red figure that is forever admiring the beauty of the sky above. With editions available in all shapes and sizes, this is a popular piece.

Viking Longboat by Mark Smith, a piece that really demonstrates the variety of subjects explored in ceramic sculptures as it captures a most unusual subject.

Tourterelle by Marilyn Vergne, a radiant figurative work that captures the familiar form of a bird in such a distinct and unusual manner.

Ceramic Sculpting Methods

Coiling is a pottery method that has been used for making clay pots for thousands of years. The process enables the creator to work at varying thicknesses and work taller than conventional pots would have been. The process is still used today to great effect and some works use the process to decorative effect. It is also one such tool that artist can use in the production of ceramic sculptures. The clay is rolled into thin strips about the same thickness as a common pencil, but can be used thicker, and is then coiled around in circular motions to form shapes. Originally the clay would have been smoothed over but some have used this process to explore line, layering and texture within their work. ‘Embrace’ by Ferri Farahmandi is a good example of the coiling method and how it can be used to good effect as a finished aesthetic in sculpture. The lines that loop around the figure of ‘Embrace’ enhance the curvature of the figure and play with light and dark to show folds that hint at fabric and skin. The surrealist nature of this work lends itself to the abstracting technique of coiling.

Embrace by Ferri Farahmandi, the texture and form of this piece clearly demonstrates the use of coiling, and piled lines of material are arranged in such a way to give the impression of wrapped cloth or rope.