In her 2013 essay ‘What is contemporary about craft’ Julia Bryan-Wilson puts forward eleven propositions about the nature of contemporary craft, encouraging debate about the relationship between art and craft today. Many of the propositions are paradoxical – Craft is contemporary because it can be found everywhere in contemporary fine art/craft is irrelevant and a romantic leftover of the past. Craft is contemporary because it is a rebellion against capitalism/ craft is contemporary because it is thoroughly capitalist and obsessed with the market. Craft is contemporary because it embraces the digital/craft is contemporary because it retains its tactile quality and connects people in the flesh rather than the digital world.
In all propositions it’s possible to see both sides of the argument. However, I’ve been attempting to define which statements I agree with more and less in order to reach my own definition of contemporary craft. Proposition 5 is problematic to me. It puts forward the idea of craftivism as craft intermingled with activism, something radical and revolutionary. I like the idea of contesting the tyranny of mass production such and the advertisements run by members of craft collectives and the makers movements every christmas to buy handmade presents. Proposition 5 also states that ‘Craft is environmentally conscious and respectful of the earth’s diminishing resources’ which is something I vehemently disagree with. There seems to be some assumption in the ceramics community that what we do is somehow good for the environment because we are learning to be respectful of a natural material and are working ‘slowly’ or in alignment with a philosophy of the vitality of things. How many ceramic students know exactly where their clay came from or where the cobalt, manganese, chrome oxide etc. was sourced or how it was processed? In the glaze room we are lucky enough to have jars of powders already ground down to mix into glazes but there is nothing to teach us what these materials looked like in their naturally occurring state. I don’t know anything about the workers involved in the chain of events that led to the materials reaching my desk at CSAD, the processes of purifying the chemicals, the impact of the processes on the environment. The electricity and gas used for the kilns are finite resources. The only way the work that would be environmentally friendly is if I dug my own clay, sourced my own glazes and used a sustainable method of firing e.g. using wood from sustainable sources. Close to my home in North Wales, hidden in the hills outside Corris is the CAT (Centre of alternative technology). I wonder if it could be possible to fire ceramics through truly renewable resources – harnessing energy from solar, tidal, wind or hydroelectric resources to fire a kiln without leaving an imprint on the environment.
Image source: https://www.dayoutwiththekids.co.uk/electric-mountain