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Fiona Thompson

Edinburgh
Ceramic artist, making handbuilt non functional vessels for exhibition.
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I graduated from Edinburgh College of Art in 1994, and completed an M.Phil (post graduate research degree) at the University of Sunderland in 2010. I have exhibited widely in the UK and further afield, with work available through various quality galleries. I am a professional member of the Craft Potters Association. Residencies have been a  part of my practice, and I've undertaken numerous commissions. Teaching experience includes at universities and colleges, community arts work and adult education. I have had a couple of articles published in ceramic and tourism journals, and have co-authored a chapter in 'Travel, Tourism and Art' published 2013. In 2012 I set up a social enterprise ceramic studio and teaching facility in Edinburgh with partner Chris Donnelly- Cyan Clayworks. We offer courses, artist project support and other ceramic services. 

The non-functional vessel is my main focus; I usually work in a series. Work in recent years has explored travel narratives,  the souvenir and the photograph. The pieces developed were, in a sense, personal souvenirs. Other series explore themes of authenticity, display and collection within the natural history collection and wider museum collections. 

My most recent project  ‘The Altered Animal’ returns to exploring our complex relationships with animals, in particular ‘farm’ animals. The history of the domesticated animal (in particular the last 2 centuries in the UK) is very focused on altering, and manipulating the animals over time to suit our requirements. I want these pieces to be more focused on the abstract- familiar(ish) vessels that explore surface layering, textures, discord and opposites, contrasts. Contradictions, slight jarring of the slick and glossy with dark textured surfaces. Altering and distorting the form, cutting into the surface/through the walls of the pieces, forms balancing on small feet or bases. The text is taken from articles and books; snippets of lines referring to the language of the way the animals are described and their ‘function’..intentionally hard to read it reflects the overwhelming and complex layers of language and texts around the subject of farming and food. I would like them to be quietly unsettling, showing hints of what they reference.

The work is handbuilt in stoneware clay. Imagery is built up in layers through slips, underglazes, oxides and glazes. Images and text are often monoprinted, sometimes linoprinted or screenprinted. Photographic transfers (decals) are applied, with lustres on selected pieces. 

 

 

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