MA Progress Since August Assessment

This analysis is based on my Learning Agreement and is intended to help me reflect on, and assess, the progress I have made since the August assessment.

To write short rhymes that form the basis of original character-driven stories

Since August, I have started using a dedicated book for my narratives. This has taken the stories off my phone and iPad, out of my head, and into a physical space where I can properly work with them. Importantly, it has allowed me to work on more than one story at a time, linking characters together and weaving additional detail into a larger, connected narrative world. This has made the stories feel more purposeful and cohesive rather than isolated ideas.

Alongside this, I have been researching aspects of Victorian life that are directly relevant to the narratives as they develop. For example, researching the decline of freakshows in the UK helped me determine the year in which Deaders’ demise needed to occur. This then informed the date placed on the console (plaque) on the side of his chest tomb. As a result, I am now working at the latter end of the Victorian period, around 1880. This decision led to further research, such as how milk was transported around London at that time, to directly inform a narrative involving Scrawny. In this way, research has become an active part of story development rather than background reading.

In a brave moment, I used ChatGPT to gain feedback on my writing style, primarily to establish whether the stories were functional as narrative foundations for my ceramic work. The feedback suggested the writing was effective for this purpose. While I could pursue more formal critique through traditional channels, I feel this level of validation is currently sufficient, given that the stories are intended to support the ceramics rather than exist as standalone literary works. I reflected on this process more fully in a blog post on my website.

Since August, I have grown my characters significantly. I created a Freakshow section on my website under Portfolio, where each character is broken down and given more background. This has become a useful space to add narrative detail alongside sketches and build photographs as the work develops. It has also helped me see the characters more clearly as part of a shared world rather than individual pieces.

There is, and always will be, more work to do on the narratives. I have many further ideas for stories, settings and adventures. In the future, I would like to build a full visualisation of the freakshow tent and the home of Lady D, Crookville Towers. Creating tableaux of characters would allow the narratives to be communicated more fully through spatial relationships as well as individual objects.

To design and make ceramic forms, primarily in stoneware, that visualise these narratives

In August, I was still working predominantly with an origami-style slab-building approach. To develop ideas more efficiently and work through engineering and stylistic questions, I chose to focus on a single character, Deaders. Concentrating on one character felt like a practical and manageable way to make progress more quickly. In hindsight, this proved to be a well-judged decision.

By making build after build, I was able to evolve what I wanted Deaders to look like, what kind of style suited my work, and just as importantly, what I didn’t like or want to pursue further. This process of repetition and refinement led to clearer decision-making and a stronger sense of direction. I feel I made significant progress during this period.

Alongside the builds themselves, I spent time drawing in different styles, researching artists whose work resonated with me, and revisiting previous exhibitions with a specific focus on relevant aesthetics. I also experimented with printing onto clay, carried out extensive glaze trials, and explored surface finishes that suited my narratives. I had dies made to extrude architrave for Victorian coffins, experimented with kanthal wire to establish firing timings that allowed it to blacken without becoming brittle, and explored ideas such as knitted mouse bodies for mould-making before ultimately abandoning them. Although not all of these experiments were successful, they were important in clarifying the boundaries of my practice.

Further research included looking at clockwork, metalwork and soft toys as potential stylistic influences, physically researching cemeteries both in the UK and France, and reading about Victorian burial traditions. This helped me consider what a coffin for a dead mouse might plausibly have looked like in 1881. I also researched mouse skulls to produce a version that referenced the medieval skull-and-crossbones tradition, which persisted into Victorian times. Even Deaders’ first name, Jago, was researched to ensure it was appropriate to his social class and Cornish background. All this research fed directly into both the narratives and the builds.

This combination of research, making and reflection has resulted in work that is now far more clearly narrative-led. The latest build of Jago Deaders more convincingly communicates the story of a dead mouse from 1881 through form, surface detail and material choice. While the piece is not yet resolved, particularly in terms of glazing and narrative layering, there is a clear and noticeable progression from earlier work.

To identify ceramic processes that most effectively communicate narrative elements

Fully communicating the narratives behind each piece remains challenging. I am aware that relying too heavily on external explanation weakens the work, and I continue to explore ways of embedding story more directly within the ceramic forms themselves. This is an ongoing area of enquiry.

In August, my work was largely slab-built, using origami-inspired forms. While this approach had some visual appeal, it proved limiting when attempting to incorporate narrative detail and text. The work often felt compromised, caught between process-led making and narrative intention.

I have since moved towards sculptural processes, which suit both my way of working and the needs of the narratives more effectively. I find sculpting more intuitive and efficient, allowing greater freedom in form and making the engineering process more straightforward. This has enabled me to focus more on character, expression and storytelling rather than being constrained by the limitations of a particular construction method.

To experiment with surface design techniques to explore their potential for storytelling

Surface design within the origami-based work felt restricted and less impactful than I wanted. Moving away from slab-building has significantly freed up my approach to surface and mark-making. I now see surface detail as a way to add nuance and depth to a piece, rather than as a defining stylistic feature in its own right.

I still intend to use monoprinting for any text elements required, as I find this method straightforward and more sympathetic to the clay surface than decals. It maintains a handmade quality that suits the narratives and the overarching style I’m trying to achieve.

Glazing has been one of the more complex areas of development. My aims have remained consistent since August: to establish a colour palette that suits the narratives, apply a dirty, shabby layer over the top, and seal the piece with a clear matte transparent glaze. I have completed numerous test tiles exploring these requirements.

Underglazing experiments have included varying stain percentages, glaze mediums, and applications between one and three coats. Some results have been successful, others complete failures. However, the narrowing of options indicates progress, and I am nearing the end of this testing phase.

Achieving the dirty surface layer has proved the most difficult. Manganese produced results that were too brown, while copper shifted green under the matte glaze and remained overly shiny when left unglazed. Although some outcomes have been promising, consistency remains an issue and this line of enquiry continues. The matte glaze was also difficult to resolve, but after testing four recipes, I now have one that I feel is workable. Further testing over the dirty layer is required, but this represents a clear step forward.

To research artists and ceramicists who use narrative as a core element of their practice

As with most artists, I am constantly researching and exploring the work of others within and beyond my medium. Artists who have particularly resonated with me during this module include Fleur Schell, Nick Cave, Kelly Boesch and Sally Walk.

Schell’s work stands out for her mark-making, design ideas and colour palette, all of which strongly appeal to me. Cave’s ceramics were impactful in their combination of humour and darkness, reinforcing the validity of this balance within my own work. Boesch’s AI-generated imagery was especially relevant during a period when I was exploring textile-inspired styles, despite her working outside of ceramics. Reflecting on these artists has helped me clarify where my work aligns and where it diverges, particularly in relation to character-driven narrative.

Positioning myself within this field has not been straightforward, and imposter syndrome remains something I actively work through. Feedback from my previous assessment highlighted the importance of sharing my skills rather than hiding behind anonymity. Recognising my reasoning behind my work and my overall point in making ceramics.  Acting on this, I removed password protection from my blog and began writing more openly about my motivations and personal sources of inspiration. This process has helped me recognise the importance of imagination and emotional engagement within my practice.

Changing my website domain to my own name was another significant step. While it may seem minor, it represents a move towards professional visibility and confidence. These actions place me on a more level footing with my contemporaries and prepare me for presenting my narrative-driven body of work more publicly.

To bring these strands together into a consistent personal style

I am increasingly aware of the need to establish a consistent and recognisable personal style. While I understand that style often emerges naturally, I want to reach a point where I feel confident relying on it. This will inform not only my making but also my website, marketing and overall presentation of my work.

I am recognising that I do have strong technical skills, and that these have developed noticeably since my last assessment. Ceramics is a broad discipline, and I am consciously focusing on becoming competent in weaker areas while continuing to strengthen those that come more naturally to me.

Recently, I have been drawing my three current characters in a consistent visual style to support coherence across three-dimensional builds. This is helping me move towards a recognisable aesthetic that can function across multiple pieces.

Summary

Overall, I feel I have made significant progress since my last assessment. This includes development across narrative writing, research, technical experimentation, output, skills and personal confidence. My satisfaction with my body of work has increased, alongside a clearer sense of direction.

I now look forward to continuing this level of growth through to the end of my MA, with the aim of establishing my own narrative-driven ceramic practice by the autumn.