How in a single generation, have ceramicists managed to elevate ceramics from a niche-interest craft to the pristine territories of the contemporary art gallery?
Ceramics is now encountering, drawing on and colliding with sculpture, both formally and intellectually. The upturn in fortune has been propelled by the kind of critical discussion usually reserved for the 'higher' discipline of sculpture.
What does this mean for the old divisions between art and craft, the identity of the potter, and the character of a discipline committed to a specific material but with interests that range far beyond clay?
My forthcoming book, due to be published by Routledge in early 2018, looks to sculpture as the decisive creative stimulus on contemporary ceramics in Britain, while tracing a current of influence not as one-directional as might first be assumed.