Helen Felcey
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Embodied Clay

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British Ceramics Biennial, Associate Artist

Spode Works, Stoke⁠-⁠on⁠-⁠Trent

Dena Bagi, Priska Falin & Helen Felcey

(2018)

Em­bod­ied Clay was a week-long master­class for early-ca­reer art­ists, led by art­ist-re­search­er Pris­ka Falin and my­self.

The main pur­pose of the work­shops was to en­a­ble in­di­vid­u­als to dis­cov­er an in­creased self-aware­ness through mak­ing with clay. Our ap­proach was un­der­pinned by the the­o­ry of Em­bod­ied Cog­ni­tion (Mark John­son), which rec­og­nises non-sep­a­ra­tion be­tween the ex­pe­ri­ences of body and mind.

Re­pet­i­tive pro­cess was iden­ti­fied as a key meth­od to ex­plore, pro­vid­ing op­por­tu­ni­ty for par­tic­i­pants to dwell and ex­pe­ri­ence, with no re­quire­ment of a des­ti­na­tion. In our prep­a­ra­tion and plan­ning, we con­sid­ered our tone of de­liv­ery and the work­shop site, which need­ed to gen­tly yet con­fi­dent­ly hold the per­son­al ex­pe­ri­ences as they un­fold­ed.

Em­bod­ied Clay was de­sign­ed by Dena Bagi (Brit­ish Ce­ram­ics Bi­en­ni­al), Pris­ka Falin (Aalto Uni­ver­sity, Fin­land) and Helen Fel­cey. Fund­ed by Arts Coun­cil Eng­land and part of the Ce­ram­ics and it’s Di­men­sions (Euro­pean Com­mis­sion) proj­ect.

Helen Felcey

Nº 1

Helen Felcey

Nº 2

Helen Felcey

Nº 3

Helen Felcey

Nº 4

Helen Felcey

Nº 5

Helen Felcey

Nº 6

Helen Felcey

Nº 7

Helen Felcey

Nº 8

Helen Felcey

Nº 9

Helen Felcey

Nº 10

Credit

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Nº 1, 2, 3, 4, 5, 6, 7, 8, 10; Photos — Jenny Harper

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Embodied Clay

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British Ceramics Biennial, Associate Artist

Spode Works, Stoke⁠-⁠on⁠-⁠Trent

Dena Bagi, Priska Falin & Helen Felcey

(2018)

Em­bod­ied Clay was a week-long master­class for early-ca­reer art­ists, led by art­ist-re­search­er Pris­ka Falin and my­self.

The main pur­pose of the work­shops was to en­a­ble in­di­vid­u­als to dis­cov­er an in­creased self-aware­ness through mak­ing with clay. Our ap­proach was un­der­pinned by the the­o­ry of Em­bod­ied Cog­ni­tion (Mark John­son), which rec­og­nises non-sep­a­ra­tion be­tween the ex­pe­ri­ences of body and mind.

Re­pet­i­tive pro­cess was iden­ti­fied as a key meth­od to ex­plore, pro­vid­ing op­por­tu­ni­ty for par­tic­i­pants to dwell and ex­pe­ri­ence, with no re­quire­ment of a des­ti­na­tion. In our prep­a­ra­tion and plan­ning, we con­sid­ered our tone of de­liv­ery and the work­shop site, which need­ed to gen­tly yet con­fi­dent­ly hold the per­son­al ex­pe­ri­ences as they un­fold­ed.

Em­bod­ied Clay was de­sign­ed by Dena Bagi (Brit­ish Ce­ram­ics Bi­en­ni­al), Pris­ka Falin (Aalto Uni­ver­sity, Fin­land) and Helen Fel­cey. Fund­ed by Arts Coun­cil Eng­land and part of the Ce­ram­ics and it’s Di­men­sions (Euro­pean Com­mis­sion) proj­ect.

Helen Felcey

Nº 1

Helen Felcey

Nº 2

Helen Felcey

Nº 3

Helen Felcey

Nº 4

Helen Felcey

Nº 5

Helen Felcey

Nº 6

Helen Felcey

Nº 7

Helen Felcey

Nº 8

Helen Felcey

Nº 9

Helen Felcey

Nº 10

Credit

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Nº 1, 2, 3, 4, 5, 6, 7, 8, 10; Photos — Jenny Harper

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