2022 AWARD WINNER | Manchester School of Art

ED LEE

Manchester School of Art | BA Hons Product Design & Craft

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Tell us about yourself, your work, and your career path so far.
I am a Manchester-based maker who has recently graduated from Manchester Metropolitan University studying Product Design and Craft. Coming from the countryside of the Brecon Beacons I have developed a deep appreciation for the landscape and the materials provided by it. This has developed into an evolving project called ‘Situated Aesthetics’, where this connection to the landscape is exemplified through a variety of surface textures and forms. The ethos of this is to directly link materials back to their original, found location. Through making with clay I have developed a series of objects that have an intertwined link to the landscape. These conceptual objects exemplify the significance of my surroundings and have captured the link back to the land through their situated aesthetics.

Describe your first encounter with clay?
My first encounter with clay was in an art class at school. I remember being fascinated by the malleability and play in the material. The fact that it came from the ground and could be manipulated into any form was exciting and showed vast potential.

Why did you choose ceramics?
The freedom of ceramics is vast, there is an abundance of processes and stages with clay that creates endless opportunities. I think digging and processing my own clay has created a strong appreciation and value for the material. Ceramics is a fascinating and tactile process that allows me to be experimental and challenge the material.

Where do you find inspiration? Places, people, objects, music…
I find my inspiration from my surroundings, living in the countryside has created an appreciation for the landscape and its materials. Textures, colours, and forms from the land inspire my practice and are archived within me. My project strongly illustrates this influence of the landscape through a series of objects that have ‘situated aesthetics’ entangle within the forms. As a maker, I am hugely site-specific and allow the area around me to inform and guide my making decisions. An integral part of my practice is that I value materials and form a dialogue with the material, land, and making.

What are the tools of your trade that you can't do without?
Throwing on the wheel is a hypnotic satisfaction that entices me to make more and more. The wheel is a piece of equipment that I can't do without, it is a crucial part of my practice. There is a connection between maker and material when on the wheel as it allows you to manipulate the clay in a variety of methods, and processes.

My hands are the most important tool within my practice, a reason why I love ceramics is the tactile connection there is with the material. As a kinesthetic learner clay allows a physically engaging way of learning. I learn through making and allowing mistakes to happen, this forms a learned hands-on knowledge of the material.

What is a typical day in the studio like?
A typical day in the studio usually starts with me laying out some recycled clay on the plaster bat, to leave it to get to the right consistency for wedging. As I throw and slip-cast I head over to the plaster room and pour some slip molds to then leave until ready. Once I have done this and have got all my tools out I will wedge some clay ready for the wheel. Usually, I will have thought about what I will be making that day but sometimes I just start throwing and see what I make. Whilst making I think of new ideas and forms to be made on the wheel and different processes that can be used on the wheel. Throwing is a very satisfying and peaceful process that usually allows an almost daydream train of thought.

Usually when waiting for things to dry or I have nothing to make I will be utilising the time in the glaze room, glazing the objects that have been bisque fired. Doing this allows a flow of work and keeps me from sitting there waiting for my slip casts or for the recycled clay to be ready.

What do the next 12 months have in store for you?
Now graduated from Manchester university I will be focusing on making externally as I now dont have the universities facilities to make anymore. I have been offered a studio job in Stockport, where I will be teaching how to throw ceramics to beginners. This will be a great way to share my learned knowledge and also develop my skill sets further.

Winning the Guldagergaard award at my degree show means that I have been nominated for a 6 weeks residency in Denmark. This residency provides full access to a ceramics studio and a range of wood, gas, and soda-firing kilns. This will be a tremendous opportunity for me to further develop my work and also produce a site-specific body of work relating to the Danish surroundings.

What advice do you have for those currently studying ceramics in further education?
My advice would be to make the most of the facilities and explore the vast amount of processes and techniques within ceramics. Ask lots of questions and push the limit of the material. Making mistakes is a crucial part of learning and the development of work. I found that whilst throwing on the wheel I would try to pull the clay as tall as possible until it fell over, this meant I learned the boundaries and the feel of the clay. I think the best advice I could give is to learn, develop and take pride in the work you make.