Vicky Shaw

My area of interest and expertise is ceramic printing techniques, with a particular focus on direct screen-printing on porcelain.

Q&A

Artist Statement

For me the process of drawing on paper through printmaking has become a tool through which ideas flow.Objects subjectively chosen for their aesthetic qualities found and kept for their shape, colour, and pattern along with close-up photography and the landscape are some of the subjects of interest which indirectly inform my work.Surface qualities, mark-making and colour are an important aspect of my work and the composition and the organisation of these is what I find exciting. I use ceramic print techniques, this offers the opportunity to work in both a precise way and if desired a less controlled way, allowing for the unexpected to arise, each have their own challenges. I like to explore colour, pattern, and spatial composition as they interact with form and the ceramic materials that are applied to the surfaces but at the same time holding on to a playful intuitive approach.

What craft do you work with? 

I am a ceramic designer-maker, I mainly use porcelain in combination with ceramic print techniques. I use porcelain for its purity and direct screen-printing for the precision and quality of the surface it gives.The process of direct screen-printing is a very important aspect of my work because of the surfaces qualities that I can achieve using this method of applying colour, pattern and mark making.

What inspires you to work with this craft? 

My journey into ceramic print started when I was appointed as a research fellow in ceramic printing in 1988 at Wolverhampton Polytechnic (now Wolverhampton University) Printing on paper and ceramics were my two main areas of interest but as separate activities. This opportunity to specialise in researching into the possibilities of combining the two techniques was very exciting. The results of this experience have enabled me to discover the unique qualities of direct screen-printing along with other ceramic print processes and bring together my two passions and firmly established my practice in this area of craft.

How do you start your creative process?

I draw inspiration from the world that surrounds me; this comprises of objects and forms chosen for their aesthetic qualities. They form an eclectic mix, often having a reference to the domestic and the everyday. 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.I begin by putting ideas down on paper, developing abstract compositions using mostly screen-printing, it is as a means of gathering information and starting to explore ideas, which when assimilated, could be applied to my ceramic practice. I do not always refer to the prints directly, but this way of working informs my approach to applying colour and surface qualities using ceramic print on porcelain.

How would you best describe your workspace and what tools could you not do without?

I live on a former farmstead on the island of Sanday in Orkney, Scotland, I moved here in 2017 and established my studio in one of the farm buildings specially renovated for this purpose, I share the studio with my husband, who is a potter.It is set in the gentle and spacious landscape, with the sea in the distance. Recently the landscape that surrounds me has become an inspiration.In the studio I have on display my collection of inspirational objects that consist of kitchenalia, old brushes and finds from the beach. My first objective when establishing the studio was to put together the display before work could commence. It is not only inspirational but reflects my interests and is assembled as a work in itself.

Are there new techniques you would like to try?

The screen prints on paper that I develop as a starting point for new work have been an exercise to nourish and inform me visually.  I enjoy the process and the end results. Recently I have started to see the potential of them as limited-edition prints. This is an area of interest I would like to develop as a related strand to my practice which would sit well alongside my ceramic work. To carry this out I would need to attend a workshop or undergo training.

What have you learnt or the best advice you have received that you would like to share with fellow crafters?

The two years I spent as a research fellow in ceramic printing at Wolverhampton Polytechnic was firstly research, testing and experimenting with the application of printed surfaces to ceramic, and secondly to share my findings with the department and its students. My research attracted interest from other ceramic courses nationally, this led me to deliver a series of demonstrations and workshops in several intuitions. In turn this enabled me to establish a career teaching in higher education and sharing knowledge has become a big part of my practice. Other opportunities have also enabled me to work internationally on teaching and community projects in the UK, Scandinavia, Germany, USA, and Brazil.

 

Media & Contact

Representation

Freelancing: Vicky Shaw

 

Contact

Email: studio@vickyshaw.co.uk

 

References

Website: http://www.vickyshaw.co.uk/

Instagram: vickyshaw_designer_maker

Facebook: Vicky Shaw

 

Photography credit

Steven Allen – Bowl compositions, Stoke on TrentPortrait – JAEA Jingdezhen, China

All others Vicky Shaw, Orkney Islands

Location

Sanday, Orkney Islands, Scotland, United Kingdom