Workshop 30
Workshop 30 SOON
Shipibo conibo ancestral pottery workshop, Sanken Yaká
General objective:
To develop skills in the construction of different pots and their decoration with kene, through the learning of a traditional ceramic technique of the Peruvian Amazon.
Especific objective:
- To identify the materials and tools used by the Shipibo Konibo ethnic group.
- To arrange the materials for the construction, engobing, sealing and painting of the works.
- To develop pieces applying the Shipibo Konibo construction technique.
- Analyze and emulate the design of the kené in the decoration of the vessels.
- To design a personal work with the knowledge obtained.
Teacher:
Lily Virginia Sandoval Panduro, Native of the native community of Nuevo San Rafael, Amazonia, Peru.
Requirements:
- It is essential to bring personal tools. The school will provide15 kg of dough per student previously agreed with the teachers, are included.
- It is important to keep in mind that in Tapalpa, the location of the school, access to shipping service and the acquisition of bubble rubber is non-existent; the packaging, transfer or shipment of the pieces made during the workshop is the responsibility of the author.
- It is necessary to arrive at El Mesón del Ticuz on Sunday, August 21 at 6:00 p.m.. The return will be at 10:30 a.m. on Sunday, September 4.
- We will work from Monday to Saturday during the 2 weeks at the following times: morning from 9:00 a.m. to 2:00 p.m. and afternoon from 3:30 p.m. to 3:30 p.m. on Sunday, September 4 afternoon from 15:30 to 18:30 pm.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
From August 21 to September 4, 2022
Not including:
Transportation and personal tools
Lily Virginia Sandoval Panduro, Native of the native community of Nuevo San Rafael, Amazonia, Peru.
Workshop 29
Workshop 29 SOON
Ancestral techniques of ceramics from Chulucanas, Peru
General objective:
To learn the techniques of modeling with a palette and stone and hand modeling, pre-Hispanic techniques to créate pre-Hispanic techniques to create objects or vessels. As well as to understand the technique of the Vicus culture, 500 B.C., rediscovered by the master Gerásimo Sosa Alache and widely Gerásimo Sosa Alache and widely developed in Chulucanas, Peru.
Especific objective:
- To understand and master the use of the tools of the modeling technique with trowel and Stone and stone modeling technique.
- To develop the ability to build ceramic pieces with the technique of troweling and the hand modeling technique.
- To experience the transformation of the pieces, through the phases of each technique.
- Execute the negative decoration with an atmospheric semi-reduction system.
Teacher:
Geránimo Sosa Alache Originally from Chulucanas, Peru
Requirements:
- It is essential to bring personal tools. The school will provide the trowel and the stone, the cost of these must be covered by the students. The school will provide 15 kg of pasta per student, the burnings will be previously agreed with the teachers, are included.
- It is important to keep in mind that in Tapalpa, the place where the school is located, Access shipping service and the acquisition of bubble rubber is non-existent; the packaging, transfer, or shipment of the pieces made during the workshop is the responsibility of the author.
- It is necessary to arrive at El Mesón del Ticuz of El Mesón del Ticuz on Sunday, June 19 at 6:00 p.m. The return will be at 10:30 a.m. on Sunday, July 3.
- We will work from Monday to Saturday during the 2 weeks at the following times: morning from 9:00 a.m. to 2:00 p.m. and afternoon from 3:30 p.m. to 3:30 p.m. on Sunday, July 3. afternoon from 15:30 to 18:30 pm.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
From June 19 to July 3, 2022
Not including:
Transportation and personal tools
Geránimo Sosa Alache Originally from Chulucanas, Peru
Workshop 28
Workshop 28 SOON
General objective:
To understand and internalize the importance of details in each stage of the creation process of the techniques learned in the use of porcelain and the addition of color in a perfect balance.
Especific objective:
- Develop a color palette that defines each personal project. . To study and understand the degree of plasticity of porcelain.
- To learn the preparation of pastes and slip applicable to the development of the project . . To know from a test firing the results in terms of color, plasticity and shrinkage.
- To design and elaborate mosaics of the personal proposal.
- To build pieces from the use of previously made mosaics.
Teacher:
Sandra Tatiana Mendoza Wong de Lima, Perú
Requirements:
- It is essential to bring personal tools (3 small brushes, yellow sponge, fine sponge, awl, etc.). The school will provide 15 kg of paste per student. previously agreed with the teachers, are included.
- It is important to keep in mind that in Tapalpa, the place where the school is located, access to the school is located in Tapalpa, access to shipping service and the acquisition of bubble rubber is non-existent; the packaging, transfer or shipment of the pieces the pieces made during the workshop is the responsibility of the responsibility of the author.
- It is necessary to arrive at El Mesón del Ticuz of El Mesón del Ticuz on Sunday, February 27th at 6:00 p.m. February 27 at 6:00 p.m. The return will be at 10:30 a.m. on Sunday, March 13.
- We will work from Monday to Saturday during the 2 weeks in the following schedules: morning from 9:00 am to 2:00 pm and afternoon from 3:30 pm to 6:30 pm.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
From February 27th to March 13th
Not including:
Transportation and personal tools
Sandra Tatiana Mendoza Wong de Lima, Perú
Workshop 27
Workshop 27 SOON
A life size Portrait Bust in Clay with Personal Object.
General objective:
To build a human figure on an armor supported by a model, to achieve a sense of reality by sculpting its emotional and spiritual aspects detailing its expressions and gestures.
Especific objective:
- Understand the construction of the structure (skeleton) that will sustain the pose of the sculpture.
- Analyze and execute the construction technique.
- Understand the measurements and proportions of the model.
- Characterize sculpture with its expressions and gestures.
- Learn different manual construction techniques.
- Know and apply the painting technique of Professor Tip Toland.
Requirements:
- Basic ceramic knowledge.
- Artistic training.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
21 of november to december 5, 2021
Not including:
Transportation and personal tools
Workshop 26
Workshop 26 SOON
To know the manufacture of Anasazi ceramics and to execute pieces with the knowledge that connect us to the prehistory using native materials of the Anazasi people and the technology of the Stone Age.
General objective:
To deepen in the development of the production of turned pieces starting from a cylinder, such as: cups, jugs, containers with lids, mugs, oil cruets, coffee pots and teapots that will be personalized by means of alterations or additions that will allow them to give life to their own creative ideas.
Especific objective:
- Analyze ceramic building materials and techniques of the Anasazi Indians.
- Learn the application techniques of engobe and burnishing.
- Sketch and develop a personal proposal with the acquired knowledge.
- Learn how to make brushes and incorporate them into painting practice.
- Understand and execute the making of a trench kiln.
Requirements:
- Basic ceramic knowledge.
- Good command of drawing and training artistic.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
August 22 to September 5, 2021
Not including:
Transportation and personal tools
Workshop 25
Workshop 25 SOON
Transforming shapes on the potter's wheel, adapting lids, spouts and handles
General objective:
To deepen understanding of the creative process, develop better throwing skills and create pieces that stem from a basic cylinder such as: cups, jugs, lidded jars, mugs, oil cruets, coffee pots and teapots. Students will be encouraged to personalize their forms by making alterations or additions that gives life to their own creative ideas.
Especific objective:
- To experiment with the ideas provided during the workshop.
- To create handles, lids, spouts and spouts as personalizing elements.
- To develop an individual project, focusing on two chosen forms and crafting two interpretations for each shape.
- To investigate subtle details for each idea chosen.
- To create a visual dialogue in the process.
Requirements:
- Knowledge of ceramics.
- Intermediate command of the potter's wheel. Before the course begins, students are encouraged to practice throwing 25 - 30 cm cylinders using 1.5 kg. of clay.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
June 13 to 27, 2021
Not including:
Transportation and personal tools
Workshop 24
Workshop 24 SOON
Metepec, symbol of the mexican folk art. Trees of life, a way to narrate the Mexican traditions.
General objective:
Through working with clay, the students will discover their manual skills and will develop the necessary expertise for the construction of trees of life, these being the most human expression of man: creation as the beginning of life. The final work of each student will be based on the development of a personal concept in the construction and expression of this beautiful Mexican tradition.
Especific objective:
- To get the students closer to the mexican traditions through the history of the tree of life in Metepec.
- To understand the assembly and the base´s structure of the trees of life.
- To develop design ideas and sketch personal concepts to work on your trees.
- To develop the traditional Metepec decorating techniques: pigmented clay, anilines, and ocher acrylics.
- To understand the different firing processes for each of the finishes.
Teacher:
Rodolfo Sánchez Fierro. From Metepec, Estado de México.
Requirements:
- The teacher will provide the special tools for this technique to each student.
- It is essential to bring your personal tools. The school will provide 10 kg of clay per student and the firings, previously agreed with the teachers.
- It is important to keep in mind that, in Tapalpa, there’s no access to delivery services and it is impossible to get bubble wrap; the packing, transfer or shipment of pieces made during the workshop is the author`s responsibility.
- It is necessary to arrive at the facilities of the Hotel El Mesón del Ticuz on Sunday, October 11th at 6:00 pm. The check out and return will be on the morning of Sunday, October 24th after breakfast (10:30 am approximately).
- During the 2 weeks the students will work from Monday to Saturday at the following times: morning from 9:00 am to 2:00 pm and afternoon from 3:30 pm to 6:30 pm.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
From October the 11th to the 24th, 2020
Not including:
Transportation and personal tools
Rodolfo Sánchez Fierro. From Metepec, Estado de México.
Workshop 23
Workshop 23 SOON
Clay as a sculptural expression for the Mayans.
General objective:
To learn the technique that the Master Juana Gomez use to build sculptural pieces based on the artisanal process of the jaguars construction that she has been doing since she was 12 years old.
The purpose of this workshop is to understand the different ways that her craft entails, to develop personal works through experimentation, always with the advice and guidance of Juana Gómez. Learn that her knowledge has been widely developed within the study of the jaguars.
Especific objective:
- To get the students closer to the technique of sculptural construction used by one of the most recognized artisans in Chiapas.
- To develop the process one step at a time in order to construct the sculpture the right way.
- To understand the assembly of the pieces in small and medium format.
- To work in detail the finishing and the smoothing of the pieces.
- To practice the application of natural colored slips.
- To understand and practice the traditional burnish technique on the pieces.
- To thoroughly analyze the drying process, studying the effect that the size and proportions of each piece has over the proper development of a successful firing.
Teacher:
Juana Gómez. From Amatenango del Valle, Chiapas.
Requirements:
- The teacher will provide the special tools for this technique to each student .
- It is essential to bring your personal tools. The school will provide 10 kg of clay per student and the firings previously agreed with teachers.
- It is important to keep in mind that, in Tapalpa, there’s no access to delivery services and it is impossible to get bubble wrap; the packing, transfer or shipment of pieces made during the workshop is the author`s responsibility.
- It is necessary to arrive at the facilities of the Hotel El Mesón del Ticuz on Sunday, August 23rd at 6:00 pm. The check out and return will be on the morning of Sunday, September 6tth after breakfast (10:30 am approximately).
- For 2 weeks the students will work from Monday to Saturday at the following times: morning from 9:00 am to 2:00 pm and afternoon from 3:30 pm to 6:30 pm.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
From August the 23rd to September the 6th, 2020
Not including:
Transportation and personal tools
Juana Gómez. From Amatenango del Valle, Chiapas.
Workshop 22
Workshop 22 SOON
What the pottery of San Agustín Oapan tells, a living oral tradition.
General objective:
Learning in-depth one of the less widespread pottery techniques, which has important contributions from the oral tradition of the State of “Guerrero”: stories and narrative reflected in detail in the decoration of their pieces. From learning about the construction of the pieces to painting the popular narrative on each piece.
Especific objective:
- To understand the traditional construction and decoration technique of San Agustín Oapan.
- To work on small and medium format pieces based on traditional techniques.
- To know the elaboration process of traditional colored slips to apply them on the pieces as decoration.
- To develop a personal narrative in order to design and apply the decoration on the ceramic pieces.
Teacher:
Rodrigo de la Cruz. From San Agustin Oapan, Guerrero.
Requirements:
- The teacher will provide the special tools for this technique to each student who will have to cover the expenses for this material.
- It is essential to carry personal tools. The school will provide 10 kg of clay per student and the firings, previously agreed with teachers, are included.
- It is important to keep in mind that, in Tapalpa, there’s no access to delivery services and it is impossible to get bubble wrap; the packing, transfer or shipment of pieces made during the workshop is the author`s responsibility.
- It is necessary to arrive at the facilities of the Hotel El Mesón del Ticuz on Sunday, June 28th at 6:00 pm. The check out and return will be on the morning of Sunday, July 12th after breakfast (10:30 am approximately).
- The students will work from Monday to Saturday during the 2 weeks at the following times: morning from 9:00 am to 2:00 pm and afternoon from 3:30 pm to 6:30 pm.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
From March the 14th to 28th, 2021
Not including:
Transportation and personal tools
Rodrigo de la Cruz. From San Agustin Oapan, Guerrero.
Workshop 21
Workshop 21 SOON
Tonalá, the syncretic burnishing of a Mexican clay.
General objective:
Understand the technical and artistic mastery, as well as the syncretism and how, together, these form part of the metaphorical creativity of the Tonalteca pottery, starting from the construction and termination of the pieces to the delicate and precise decoration of this important ceramic from western Mexico, with deep pre-Hispanic roots.
Especific objective:
- Get to know the technical process of Tonalá´s clay.
- To understand the construction process of the pieces.
- To master the process of smoothing and finishing.
- To study and practice the process of elaboration and use of colored slips and hues proper of the tonalteca pottery.
- To analyze traditional decoration to understand the use and mastery of the Tonalá brush, in order to develop the appropriate skill.
- Sketch the decorations on paper for their correct application on the ceramic pieces.
- To learn what is the exact stage of humidity of the piece in order to burnish the right way.
- To analyze the traditional firings of Tonalá in order to obtain the best results.
Teacher:
Antonio Mateos. From Tonalá, Jalisco
Requirements:
- The teacher will provide the special tools for this technique to each student who will have to cover the expenses for this material to the professor.
- It is essential to carry personal tools. The school will provide 10 kg of clay per student and the firings, previously agreed with teachers, are included.
- It is important to keep in mind that, in Tapalpa, there’s no access to delivery services and it is impossible to get bubble wrap; the packing, transfer or shipment of pieces made during the workshop is the author`s responsibility.
- It is necessary to arrive at the facilities of the Hotel El Mesón del Ticuz on Sunday, April 5th at 6:00 pm. The check out and return will be on the morning of Sunday, April 18th after breakfast (10:30 am approximately).
- The students will work from Monday to Saturday during the 2 weeks at the following times: morning from 9:00 am to 2:00 pm and afternoon from 3:30 pm to 6:30 pm.
Place:
El Mesón del Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
November the 15th to the 29th, 2020
Price:
Transportation and personal tools
Antonio Mateos. From Tonalá, Jalisco
Workshop 20
Workshop 20 COMPLETED
Tierra Caliente Ceramics: Mixe´s traditional pottery as a sculptural element.
General objective:
To get a glimpse of the transformation of the traditional Mixe pitcher in order to make a reinterpretation of this expression, using the traditional technique and tools of the region to build structures of great difficulty, culminating the work with an open firing at ground level in order to get the characteristic fire marks of this pottery. A workshop with two great exponents of the Mixe Nation of Oaxaca.
Especific objective:
To understand the evolution of the traditional
pitcher and its transformation.
- To analyze and practice Tamazulapam’s own construction technique.
- Develop and sketch a personal expression based on what the Masters taught.
- Develop the necessary skills to use the traditional tools with the help and advice of the Masters, in order to obtain the best possible finishes results.
Teacher:
Soila Rodríguez and Rufino Cruz
Requirements:
- The tools from the Sierra Mixe will be: a corncob, a corncob with rope, a base made of clay to help the construction of the pieces, a plastic cap, a river stone, two leaves and a hack saw blade.
- It is essential to carry personal tools. The school will provide each student with 10 kg of natural clay, the firings, previously agreed with the teachers, are included.
- It is important to keep in mind that, in Tapalpa, there’s no access to delivery services and it is impossible to get bubble wrap; the packing, transfer or shipment of pieces made during the workshop is the author`s responsibility.
- It is necessary to arrive at the facilities of the Hotel El Mesón del Ticuz on Sunday, February 16th at 6:00 pm. The check out and return will be on the morning of Sunday, March 1rst after breakfast (10:30 am approximately).
- The students will work from Monday to Saturday during the 2 weeks at the following times: morning from 9:00 am to 2:00 pm and afternoon from 3:30 pm to 6:30 pm.
Place:
El Mesón del Ticuz. Pedro Loza No. 555 Tapalpa, Jalisco. ENC temporary headquarters.
Date:
From February 16th to March 1st, 2020
Price:
From Tamazulapam del Espíritu Santo, Oaxaca
Not including:
Transportation and personal tools
Soila Rodríguez and Rufino Cruz
Workshop 19
Workshop 19 SOON
Ceramic properties and the technology of porcelain carving
General objective:
To explore one of the traditional Chinese decorative techniques known as porcelain carving.
To develop personal artistic pieces based on the different engraving techniques.
To experiment with porcelain coloring.
Especific objective:
To share with the students the origins of the artist, his techniques and his mastery in the manipulation of tools for porcelain engraving.
To experiment with the different techniques of porcelain carving and the proper use of the specific tools for that purpose.
To make a set of personal porcelain plates based on the techniques learned.
To introduce the students to the glazed painting technique on the plates.
The porcelain carving technique involves different steps that go from drawing, through engraving lines and pointillism; the tools that will be used are specific for this technique, most of them require to be very sharp, so their use is delicate.
The technique of engraving lines is made with knives of different sizes and thicknesses that allows you to play with straight lines and curves that can be deep or subtle, resulting in natural shadows as well as illumination.
For engraving with dots, a chisel is used to make different dot sizes of variable density. This allows you to give a perspective of light and darkness, as well as near and far.
For 2 weeks students will have the opportunity to approach the teaching and working process of artist Sun Yafei, who will seek to introduce them to the artistic world of porcelain engraving and its different steps. This will encourage experimentation to obtain pieces with their own language.
Requirements:
Chinese tools: flat diamond chisel, diamond ballpoint pen and a small hammer, among others.
Tools from China will have an additional cost.
It is essential to carry personal tools, the school will provide 10 kg of porcelain per student and firings previously agreed with the teachers.
It is important to keep in mind that in Tapalpa, the place where the facilities of the school are, the access to a shipping service and packing materials like bubble wrap, are null. The packing or shipment of the resulting pieces of the workshop is the author’s responsibility.
Classes will be taught in Spanish and a Chinese - Spanish translator will support the workshop, in case English translation is necessary, part of the ENC team will provide support.
Work will be carried out daily during the 2 weeks at the following times, mornings from 9:00 a.m. to 2:00 p.m. and afternoons from 3:30 p.m. to 6:30 p.m.
Place:
Hotel El Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. Temporary headquarters of the Escuela Nacional de Ceramica.
Date:
From November the 11st to 23th l 2019
Not including:
Transportation and personal tools
Workshop 18
Workshop 18 COMPLETED
The east again, adventures in white and blue
General objective:
To approach and explore the blue and white porcelain technique through studying the history of the evolution in the different Chinese dynasties.
To develop a personal body of work based on the techniques presented by the featured artist.
To understand how to use the materials, techniques, and the process to successfully achieve the desired outcome.
Especific objective:
The artist will present and analyze the history of the techniques used during the Tang, Song, Yuan, Ming and Qing dynasties.
To practice a variety of exercises with Chinese ink on rice paper. The rice paper has a character similar to the white of the ceramic clay body. These techniques will later be directly on the porcelain pieces.
To work the 4 painting techniques: white and blue water, blue and white hook line, painting with different decantation of cobalt, white and blue in the contemporary way.
To learn to use different tools and traditional Chinese materials such as rice paper, and different types of pens such as the hook and water ones, among others.
The academician will make a small demonstration of a printing technique with a copper plate.
During 13 days the participants will have an approach to the traditional Chinese decoration techniques used by Liu Xi. She has made the blue and white technique a personal search in her creative process. Students will delve into the language of Chinese decoration, while observing and analyzing the old, traditional and contemporary pieces. These different decorations and finishes will show the infinite possibilities of this technique, and its tones and variants. Students will have a first approach to the traditional Chinese drawing on rice paper, where they will learn to use the specific tools for this technique, to apply those techniques later on on their own porcelain pieces.
Requirements:
Different Chinese tools are required to practice the drawing techniques on different supports.
Tools from China will have an additional cost.
It is essential to bring your personal tools. The school will provide 10 kg of porcelain per student, the firings previously agreed with the teacher are also included.
Pieces larger than 35 cm in any of its dimensions are not allowed.
Classes will be taught in English, some school staff will be helping with the translation for Spanish speakers if necessary.
It is necessary to arrive at the facilities of the Hotel Posada del Ticuz on Sunday, August the 18th from 18 hrs. The return is expected to be on the morning of Sunday, September the 1st.
Students will work daily during the 2 weeks of the workshop as the following schedule: Mornings from 9 am to 2 pm, Afternoons from 3:30 pm to 6:30 pm.
Place:
Hotel El Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. Temporary headquarters of the Escuela Nacional de Ceramica.
Date:
From August 19 to 31 l 2019
Not including:
Transportation and personal tools
Workshop 17
Workshop 17 COMPLETED
General objective:
Aprender de la mano de dos expertos escultores, las diferentes técnicas de modelado y construcción de piezas en porcelana.
Desarrollo y creación de piezas escultóricas personales.
Acercamiento al trabajo escultórico actual en China a través de los maestros Yang Qing y Wenwei Jin.
Especific objective:
Demostración de las técnicas que trabajan los dos maestros en su obra personal.
Práctica del modelado en porcelana para la realización de diferentes objetos a la manera de la maestra Yang Qing.
Realización de un autorretrato escultórico al estilo del maestro Wenwei Jin.
Asesoría en el proceso creativo de cada alumno durante el taller.
Elaboración de herramientas personales de bambú
Durante los 13 días del taller los alumnos podrán tener una gran experiencia de aprendizaje al lado de dos grandes exponentes de la cerámica escultórica en China:
Yang Qing y Wenwei Jin. Ambos ganadores de varios premios en su rubro por la maestría con la que trabajan la escultura en cerámica. Cada uno con un lenguaje propio que los identifica, aportarán mucho en la formación de los estudiantes durante las dos semanas de capacitación.
Wenwei Jin, un escultor enfocado en la escultura abstracta y expresionista; Yang Qing, autora de una línea de esculturas de estilo clasicista con un marcado dominio del modelado y el dibujo en sus piezas, ambos portadores de una maestría en las diferentes técnicas de construcción manual.
Desde temprana edad, ambos desarrollaron un profundo interés por la cerámica y la escultura, su amplia trayectoria como docentes les ha dado la posibilidad de acceder a grandes oportunidades.
Sin duda alguna, este taller será una gran ocasión para convivir con dos grandes artistas durante dos semanas intensivas.
Tao Xinyu, es el significado de “Encontrar un equilibrio entre el arte hecho por el hombre y el arte natural”; para Wenwei es fundamental lograr llevarlo a cabo.
Teacher:
Yang Qing y Jin Wenwei
Requirements:
Es indispensable llevar herramientas personales, la escuela proporcionará 10 kg de porcelana por alumno y están incluidas las quemas acordadas previamente con los maestros.
No se pueden hacer piezas más grandes de 35 cm en ninguna de sus dimensiones.
Las clases se impartirán en inglés, parte del equipo de la ENC apoyará en la traducción en caso de que sea necesario.
Es necesario llegar a las instalaciones del Hotel Posada del Ticuz el domingo 5 de mayo. El regreso será en la mañana del domingo 19 de mayo.
Se trabajará diariamente durante las 2 semanas en los siguientes horarios, matutino de 9:00 am a 14:00 pm y el vespertino de 15:30 pm a 18:30 pm.
Place:
Hotel El Ticuz
Pedro Loza No. 555 Tapalpa, Jalisco. Sede Temporal de la ENC.
Date:
Del 6 al 18 de mayo de 2019
Not including:
Transporte ni herramientas personales
Workshop 16
Workshop 16 COMPLETED
"CONTAINERS: THE FORM OF THE SCULPTURE IN A PERSONAL WAY. (SALT GLAZING)"
General objective:
During two weeks the students will be involved in the process of teaching, experimentation and work of the artist Martin Goerg, who will immerse the students into the observation and experimentation of this technique so rich in its burning process, as well as the results so diverse that are obtained . Without a doubt, the surprise effect, teamwork and experimentation are a fundamental part of this technique. The finishing of its pieces, are the result of impregnated salt vapors, which give a certain personality to each piece. It is the fire, the vapors and the air that dictate the final result to each piece.
The firing will take place in the ENC high temperature smoke-free wood kiln.
About the techniques to work:
Development of sculptural pieces
It will work with a refractory paste prepared especially for the salt technique, the theme will be the container for all students and each person will make their pieces with different manual techniques that will allow them to experiment with this concept from an individual language. They will use different slips, grogs and sands in their pieces that will contribute to the finishes that can be obtained with the burning.
(Saltglazing)
It will burn at temperatures that will go from 1240 to 1260 degrees Celsius in the wood kilkn for high temperature. During the firing, a series of shots of salts will be carried out until the surfaces of the pieces are vitrified with the vapors of the salt.
Date:
From november the 5th to november the 17th, 2018
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Martin Goerg (Montabaur, 1962).
Realizó estudios en Pottery Balzar-Kopp y en la escuela de cerámica y Diseño Hör-Grenzhausen, uno de los más importantes centros cerámicos en Alemania. Ha trabajado en diferentes espacios cerámicos y desde 1990 cuenta con su propio taller, es socio del grupo Keramikgruppe. Ha sido distinguido con numerosos premios y reconocimientos entre los que destacan: 1er lugar en Saltfired Ceramics, en Alemania (1996), Premio al mérito, Sidney Myer Fund Ceramics Award, en Australia (1997) Premio y Mención Honorífica en el European Ceramics Contest, Westerwaldpreis, Hör- Grenzhhausen (1999, 2004) y participó en la FuLe International Ceramics Art Museum Project, en Fuping, China (2007), entre otros.
Para Martin, el recipiente visto de manera metafórica es la base de su trabajo, el contenedor en lo escultórico. Se ha especializado en la quema de sal para generar esmaltes a partir de los vapores de este elemento químico. Otorgando a sus piezas acabados dirigidos por la alquimia de la cerámica. En su región la técnica de saltglazing es una tradición que data de hace muchos años, Martin ha hecho una adaptación contemporánea a esta tradición. Sus formas y texturas lo han llevado a ser, sin duda, uno de los más reconocidos ceramistas en Alemania.
Workshop 15
Workshop 15 COMPLETED
"THE ART OF THE UNUSUAL SURFACE"
General objective:
During two weeks the students will be immersed in the process of teaching, experimentation and work of the artist Iris Schabert, who will immerse the students into the observation of the organic forms of nature that surround them, with the purpose of finding, textures and forms that can enrich the personal work of each one.
About the techniques to work:
Paper-clay
A mixture of liquid clay and paper fiber, which they will make during the course, will allow creating structures similar to corals that can be applied to the basic form that each one has obtained from the previously made mold. The objective will be to create a series with different structures that start from that basic form. Work will be done with different straw materials for the creation of the structures on the surfaces, which will be bathed in this paper-clay mixture.
Galvanization
Some part of the clay object will be prepared for electrical conductivity, later it will be covered with copper. This galvanization process takes a long time since the copper has to "grow" gradually over the object, which is why there will be a demonstration during the course and will explain in detail how the installation of the galvanization equipment is done, and with the support of the binnacle, the participants will be able to build this method with simple and inexpensive materials and thus continue experimenting in their own workshops.
Pâte de Verre (glass paste)
This finishing process will be worked inside the pieces already cooked. The pulverized glass will be fired on the ceramic object, producing an opaque, deep and granular surface.
Date:
From august the 30th to september the 13th, 2018
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Iris Schabert (Ulm, 1972).
She studied at the University of Augsburg, Escola Massana and the Fachhochschule für Design in Pforzheim among other institutes. She has a deep interest in the organic forms of nature, and it is from these that she develops hes projects.
In her pieces, Iris Schabert employs little-used experimentation methods with very interesting results such as galvanizing and "pâte de verre", the latter being a glass technique. The paper-clay is another technique that she frequently uses to make hes pieces, since it helps to record each one of the details of the object that you are going to reproduce in this liquid paper-clay.
Workshop 14
Workshop 14 COMPLETED
"CERAMICS: FROM THE FUNCTIONAL DESIGN TO THE UNNECESSARY ART AND EVERYTHING ELSE"
General objective:
During 15 days the students will be immersed in the process of teaching, experimentation and work of the artist Katrin König. With more than 25 years of experience as a teacher, Katrin has managed to inject interest and passion for ceramics and its processes from the youngest to the most experienced students, her particular way of teaching has made her students see in the clay a material with which you can talk, that has infinite possibilities, and that is available to everyone. The participants will approach the work of the artist and know her different work processes; they will develop utilitarian and sculptural pieces from a personal language and will make ceramic pieces from their own language through interaction with everyday objects.
They will work the paper-clay technique from different natural fibers and experiment with different pastes, oxides and slips for the development of terra sigillata to burn at temperatures ranging from 1000 to 1200 degrees.
We will work with previously prepared slips in the school, in turn, we will experiment with the samples that the students will bring with them so that the learning of the terra sigillata can be implemented later in the workshops of the participants. Students will acquire knowledge about the development of pieces from the register of everyday objects and their textures. By means of cast molds, different impressions of objects and elements of easy access and acquisition during the workshop will be worked on.
Date:
From the 4th of june to the 16th of june, 2018.
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Katrin König (Crimmitschau, 1967).
For Katrin, growing up in the former German Democratic Republic influenced her life in many ways. "I am like my father, who has a bit of rebellious blood and that has marked a lot in my way of living life, for me, pottery is something that makes me think of my past."
Katrin König has a solid track record both in her artistic work and in teaching. She is currently part of the team of advisors for artists and designers at the European Ceramic Workcentre (EKWC), in Amsterdam, one of the most important ceramic centers in the world.
For the artist, clay is a way of life. "Working in ceramics changed my vision of life: clay has its own rules, its possibilities and limitations. However, it never occurred to me to see it as a limiting material, which became my attitude in general: move with the flow, concentrate on what you can achieve within the given circumstances."
For Katrin, her main interest is to share the passion for the material through experimentation. The deconstruction, break with the schemes, what has already been given. For her it has been fundamental the observation, the use of elements and everyday objects in her way of working and being a teacher, to take what each one brings inside, and to develop pieces with personality.
Workshop 13
Workshop 13 COMPLETED
"TALLER DE ELABORACIÓN DE PASTAS ROJAS Y STONEWARE A PARTIR DE ARCILLAS LOCALES Y DESARROLLO DE ESMALTE DE CENIZAS PARA ALTA TEMPERATURA."
General objective:
Los participantes aprenderán a formular sus propias pastas de alta temperatura y stoneware a partir de arcillas provenientes del municipio de Tapalpa, mismas que se mezclarán en diferentes proporciones con materiales cerámicos como el Ball Clay (OM4), feldespato y sílice con el propósito de elevar su temperatura de maduración, con lo cual se logrará obtener pastas que lleguen a una temperatura de cocción para cono 5 (1186 oC ) y cono 9 ( 1260 oC), con diferentes tonos y texturas. Los asistentes conocerán y aprenderán a aplicar los métodos de investigación de un cuerpo cerámico, la investigación realizada en este taller se hará bajo los parámetros de refractariedad, plasticidad, encogimiento al secado y en la quema; así como la porosidad de cada una de las pastas que se desarrollen. A la par el maestro Suzuki instruirá en el desarrollo de vidriados cerámicos a partir de cenizas naturales y sintéticas. Para el proceso de elaboración se utilizarán diversos materiales como tezontle, arena de la playa de Huatulco, ceniza de madera auténtica y sintética, la temperatura de cocción de estos será cono 5 (1186oC) y cono 9 (1260oC).
Adentrarse en el mundo de los esmaltes con un experto en el tema como lo es el Ing. Yusuke Suzuki, le proporcionará al participante las herramientas necesarias para poder elaborar sus propias pastas y esmaltes en su taller, y generar cierta independencia además de romper la monotonía del consumo de pastas y esmaltes comerciales; algo sustancial en la formación de cada ceramista.
Date:
Del 8 de octubre al 22 de octubre 2017.
Including:
Incluye hospedaje, 15 días, 14 noches, 3 alimentos, materiales.
Not including:
Transporte ni herramientas personales.
Ing. Yusuke Suzuki (Fukushima, Japón, 1945).
Estudió Ingeniería química en la Universidad de Tohoku, y en 1972 concluye sus estudios de fabricación de cerámica y porcelana en la escuela de cerámica de la prefectura de Aichi. Hasta 1981, trabaja como ingeniero químico en la Industria Cerámica Kato. De 1981 hasta la fecha labora como profesor de la escuela de cerámica y porcelana de Toluca (MOA), impartiendo las clases de teoría, fabricación de piezas y preparación de las materias primas. En 1992 crea la Fábrica – Taller de cerámica “Porcelana Suzuki”, en Toluca, Estado de México. En 1999 fundó en sociedad, el Taller “Pacemor” para la fabricación y suministro público de pastas cerámicas, en la ciudad de Cuernavaca, Morelos. Es académico de la ENC desde 2016.
Workshop 12
Workshop 12 COMPLETED
"TALLER DE MOLDES EN YESO DE ALTA PRECISIÓN."
General objective:
Los participantes adquirirán conocimientos para la elaboración de moldes de yeso de alta precisión. Este taller se propone dotar a los asistentes de los saberes necesarios para la realización de este tipo de moldes. Con la ayuda de herramientas japonesas que permitirán lograr superficies y uniones perfectas, a partir de vidrios, imanes y diversa maquinaria e instrumentos como la toscan japonesa, entre otros; igualmente se tendrá la oportunidad de incursionar a la técnica del torno de yeso.
Date:
Del 8 de octubre al 22 de octubre 2017.
Including:
Incluye hospedaje, 15 días, 14 noches, 3 alimentos, materiales.
Not including:
Transporte ni herramientas personales.
Norichika Yamaguchi (Arita, Japón, 1962)
Nace en Arita prefectura de Saga, la ciudad por excelencia de la porcelana en Japón. Realizó sus estudios en la Escuela Técnica Nacional de Arita en el departamento de Diseño (1978-1981) Trabajó en el Centro de Investigación y Tecnológico en Cerámica de Saga durante el periodo de 1982 – 1992. Para 1993 abre su propio taller especializado en moldes de yeso.
El ingeniero Yamaguchi se ha caracterizado en el mundo de la industria cerámica en Japón por su maestría, perfección y trayectoria en la elaboración de este tipo de moldes de alta precisión.
Workshop 11
Workshop 11 COMPLETED
General objective:
The aim of these workshops is provide to artisans with the necessary knowledge to be able to build their own smokeless kiln, with a better combustion and less wood. This will directly benefit them in health, in the care of environment and in reducing the decrease in their production.
Place:
Chiapas, Amatenango.
Date:
August 14th to September 4th 2017.
Including:
materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Yusuke Suzuki
Nace en la prefectura de Fukushima, Japón, en 1945. Estudió Ingeniería química en la universidad de Tohoku, y en 1972 concluye sus estudios de fabricación de cerámica y porcelana en la escuela de cerámica de la prefectura de Aichi. Hasta 1981, trabaja como ingeniero químico en la Industria Cerámica Kato. De 1981 hasta la fecha labora como profesor de la escuela de cerámica y porcelana de Toluca, impartiendo las clases de teoría, fabricación de piezas y preparación de las materias primas. En 1992 crea la Fábrica – Taller de cerámica “Porcelana Suzuki”, en Toluca, Estado de México. En 1999 fundó en sociedad, el Taller “Pacemor” para la fabricación y suministro público de pastas cerámicas, en la ciudad de Cuernavaca, Morelos.
Workshop 10
Workshop 10 COMPLETED
General objective:
The aim of these workshops is provide to artisans with the necessary knowledge to be able to build their own smokeless kiln, with a better combustion and less wood. This will directly benefit them in health, in the care of environment and in reducing the decrease in their production.
Place:
Mexico’s State, Metepec.
Date:
June 19th to July 9th 2017.
Including:
materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Yusuke Suzuki
Nace en la prefectura de Fukushima, Japón, en 1945. Estudió Ingeniería química en la universidad de Tohoku, y en 1972 concluye sus estudios de fabricación de cerámica y porcelana en la escuela de cerámica de la prefectura de Aichi. Hasta 1981, trabaja como ingeniero químico en la Industria Cerámica Kato. De 1981 hasta la fecha labora como profesor de la escuela de cerámica y porcelana de Toluca, impartiendo las clases de teoría, fabricación de piezas y preparación de las materias primas. En 1992 crea la Fábrica – Taller de cerámica “Porcelana Suzuki”, en Toluca, Estado de México. En 1999 fundó en sociedad, el Taller “Pacemor” para la fabricación y suministro público de pastas cerámicas, en la ciudad de Cuernavaca, Morelos.
Workshop 9
Workshop 9 COMPLETED
General objective:
The aim of these workshops is provide to artisans with the necessary knowledge to be able to build their own smokeless kiln, with a better combustion and less wood. This will directly benefit them in health, in the care of environment and in reducing the decrease in their production.
Date:
May 8th to 29 th 2017.
Including:
materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Yusuke Suzuki
Nace en la prefectura de Fukushima, Japón, en 1945. Estudió Ingeniería química en la universidad de Tohoku, y en 1972 concluye sus estudios de fabricación de cerámica y porcelana en la escuela de cerámica de la prefectura de Aichi. Hasta 1981, trabaja como ingeniero químico en la Industria Cerámica Kato. De 1981 hasta la fecha labora como profesor de la escuela de cerámica y porcelana de Toluca, impartiendo las clases de teoría, fabricación de piezas y preparación de las materias primas. En 1992 crea la Fábrica – Taller de cerámica “Porcelana Suzuki”, en Toluca, Estado de México. En 1999 fundó en sociedad, el Taller “Pacemor” para la fabricación y suministro público de pastas cerámicas, en la ciudad de Cuernavaca, Morelos.
Workshop 8
Workshop 8 COMPLETED
General objective:
Get to know the theoretical and practical details of the elements involved in the construction of a smokeless wood kiln under the guidance of Master Masakazu Kusakabe, and learn about the importance of a smokeless kiln as a tool to improve ceramic production and the optimization of burnings, as well as health benefits and sustainabilty.
Requirements:
Basic ceramic knowledge is required.
Date:
Monday, January 30th to Friday, February 24th 2017
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Nacido en Miharu, Japón en 1946
Masakazu Kusakabe es reconocido internacionalmente por su maestría en la cerámica japonesa tradicional, además por sus diseños de hornos de leña sin humo y por la publicación de un libro que ya es clásico en la divulgación de la cerámica: “Japanese Wood- Fired Ceramics”.
Trabajó desde el principio con la cerámica rakú, ya que siempre ha estado interesado en lo referente al fuego como las cocciones de leña, la huella de la llama y las cenizas. Desde hace veinte años Masakazu Kusakabe ha recorrido el mundo dando conferencias y seminarios, impartiendo cursos y construyendo sus conocidos “Hornos sin humo” en lugares como: Estados Unidos, Canadá, República Checa, Reino Unido, Turquía, Japón y China.
En 1997 construyó el horno “Baile de fuego de madera” en Miharu, Japón el cual se replicó en distintos lugares como: California, Wisconsin y Eau Claire en Estados Unidos.
Asistió a talleres y conferencias como la Conferencia de la Asociación de Cerámica en California.
En el 2001 construye el primer horno sin en Burnaby, Canadá. Las características principales del horno son la posición y el tamaño de la cámara de combustión, así como la gran altura de la chimenea que permite un excelente tiro para una combustión eficaz y una óptima distribución de ceniza.
Workshop 7
Workshop 7 COMPLETED
"Clay for sculpting." Making and using clays for manually sculpting in different sizes and thickness.
General objective:
Get to know and apply the classic and modern methods for the construction of large contemplative and ornamental pieces.
Requirements:
Basic ceramic knowledge is required.
Date:
Monday, January 30th to Friday, February 24th 2017
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Master en Lingüística Española. Estudió cerámica en España, Estados Unidos y Canadá (1969 /1977). Fundó junto con el maestro Rafael Gabilondo el taller de cerámica Tres Piedras (1977). Miembro de la sociedad mexicana de cerámica, zona norte. Formó parte del comité organizador del Premio Estatal de Cerámica (1991/1996). Fue presidente del comité organizador del Salón de Octubre (1997/2002) y presidente de la división artística, de la sociedad mexicana de cerámica, zona norte (1996/2003). Organizador de los encuentros nacionales de ceramistas I y II (1999/ 2004). Fue presidente del comité organizador de la Bienal de Arte en Cerámica, Escultura (2005/ 2007) y consejero en representación de los ceramistas en el Consejo para la Cultura y las Artes de Nuevo León (2001/2005).
Cuenta con 8 exposiciones individuales, entre las que destacan: Cielo falso en caída libre y las Pelotas regadas por el suelo; Instalación cerámica presentada en Casa de la Cultura de Monterrey (1992); Variaciones rituales en el Centro Cultural Plaza Fátima de Garza García, N. L. (1996) y Retorno en el Museo del Centenario de San Pedro Garza García, N. L. (2003).
Workshop 6
Workshop 6 COMPLETED
"Ceramic projects and spaces."
General objective:
Approach to sculpture from a sensitive, perceptive and signifying point of view through the development of artistic projects with the knowledge of ceramic processes and systems' conformation methods.
Requirements:
Basic ceramic knowledge is required.
Date:
October 10th to 22nd 2016
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Syllabus:
1. Field dimensioning. Tracing models that help us articulate a common language and specific to ceramics within the plastic arts.
2. Fragmentation. The fragment as a conforming element of a determined concept in the ceramic process. The great ceramic surfaces; materials, anchors and structures.
3. Obverse and reverse. Positive and negative: from the varying typology of the object to the sculpture through the ceramic medium's qualities to "photograph" its communicational and structural dimension.
4. The limits of ceramics. The possibilities of the ceramic medium in works, actions or ephemeral installations, as well as its incorporation to proposals or projects made on new artistic foundations.
Su primera exposición individual la realizó en 1979 en la galería Aritza de Bilbao, y desde entonces ha participado en más de una cincuentena de exposiciones en solitario. Entre las más recientes se encuentran la exposición en 2009 en Art Amsterdam de la mano de la galería De Witte Voet o la titulada "Cosas y causas" en la Galería Espacio Pepa Jordana en Madrid en 2010.
Hay que sumar otras tantas exposiciones colectivas a su trayectoria profesional, muchas de ellas en diferentes puntos del planeta. Así su trabajo se ha podido ver en París, Tokio, Italia, Alemania, Portugal, etc.
Su obra ha sido reconocida con múltiples premios. En 1974 obtuvo el primer premio de Escultura Ciudad de Valladolid y el Premio de Dibujo en el certámen de Bellas Artes de la Comunidad Autónoma Vasca. Un año después obtuvo el primer premio de escultura en la Escuela Superior de Bellas Artes de Bilbao. En 1980 ganó el premio de Escultura Bienal Plástica de Vitoria, galardones que se han repetido habitualmente.
Workshop 5
Workshop 5 COMPLETED
"Utilitarian tiles: traditional and innovative shapes." Design and construction of utilitarian objects. Problems and solutions. Ergonomics.
General objective:
Get to know and apply the classic and modern methods for the construction of utilitarian pieces that aim to reach new markets.
Requirements:
Basic ceramic knowledge is required.
Date:
Monday, September 19th to Friday, September 30th 2016
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
De origen chiapaneco, alfarero de profesión, Gordon Ross se ha especializado en el diseño de cerámica utilitaria y en el desarrollo de modelos de organización productiva para alfareros tradicionales. Desde 1988 dirige el Proyecto de Investigación Alfar cuyo principal producto es un Modelo de Calidad para Microempresas Familiares. Diseñó y dirigió el Proyecto Alfarero Tajín –Escuela Mexicana de Cerámica-Tenaris Tamsa 2007-2015- donde se probó la viabilidad del Modelo de Calidad Alfar. Actualmente dirige el Centro de Diseño del Espinazo del Diablo, Valle de Bravo, cuyo objetivo es diseñar productos de Nueva Alfarería para el desarrollo de un Modelo de Comercialización Alfarera. Ha sido jurado de la Bienal de Cerámica Utilitaria del museo Franz Mayer; investigador invitado del Instituto de Investigaciones Metalúrgicas de la Universidad Michoacana, y es fundador y presidente de la Escuela Mexicana de Cerámica. Durante 22 años manejó en Valle de Bravo una galería especializada en cerámica. Ha participado en numerosas exposiciones individuales y colectivas y está en proceso de publicar un Manual de Diseño para Alfareros.
Workshop 4
Workshop 4 COMPLETED
"Enamel improvement." (Making and perfecting ceramic pieces for temperatures between 1000 and 1100 ºC (cones 06 to 03) from local clays: resistance and finishing).
General objective:
Get to know and apply researching methods of ceramic glaze and learn to improve their physicochemical and adjustment characteristics.
Requirements:
Basic ceramic knowledge is required.
Date:
Monday, June 13th to Friday, June 24th 2016
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Yusuke Suzuki, engineer / David Zimbrón, potter
Yusuke Suzuki
Nace en la prefectura de Fukushima, Japón, en 1945. Estudió Ingeniería química en la universidad de Tohoku, y en 1972 concluye sus estudios de fabricación de cerámica y porcelana en la escuela de cerámica de la prefectura de Aichi. Hasta 1981, trabaja como ingeniero químico en la Industria Cerámica Kato. De 1981 hasta la fecha labora como profesor de la escuela de cerámica y porcelana de Toluca, impartiendo las clases de teoría, fabricación de piezas y preparación de las materias primas. En 1992 crea la Fábrica – Taller de cerámica “Porcelana Suzuki”, en Toluca, Estado de México. En 1999 fundó en sociedad, el Taller “Pacemor” para la fabricación y suministro público de pastas cerámicas, en la ciudad de Cuernavaca, Morelos.
Alfarero David Zimbrón
Realizó estudios de pintura en la Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" del I.N.B.A. y en el taller "The Studios" en Fish Creek, Wisconsin, E.U.A. Enseguida, realizó la carrera de pedagogía en el servicio pedagógico de la Embajada de Francia (I.F.A.L). De 1985 a 1987 hizo la carrera de cerámica en el Centro Cultural Mokichi Okada de Toluca (M.O.A) - actual colegio de arte y ciencias de la vida - y participó en seminarios sobre arte y cultura japoneses en la Academia Kado Sanguetsu, también de la asociación M.O.A.
En 1994 hizo especializaciones sobre percepción visual y creatividad, enseñanza de las artes y construcción de objetos en Gijón, Asturias, España, y entre 1997 y 2000, la maestría en metodología cualitativa de la Investigación en las artes y la educación artística. Además, ha participado en diversos cursos especializados en didáctica, elaboración de planes, técnicas especializadas de la cerámica artística como el Raku – Yaki, curso impartido por el profesor Steven Branfmann en octubre de 1998, y la calcomanía a fuego, con el profesor Víctor Enríquez. Durante el año 2001 y 2002 realizó el curso de joyería y gemología con el prof. Samuel Yánez Lozano. Del 2003 al 2004 realizó el diplomado "Un recorrido por el Arte de México" en la unidad de postgrado y educación continua de la escuela de Diseño del I.N.B.A.
Workshop 3
Workshop 3 COMPLETED
"From the potter’s wheel to artistic expression." Ceramic sculpture workshop based on the potter’s wheel.
General objective:
The intention of this course is to show students the wheel’s possibilities as a tool for plastic creation, surpassing the vase concept.
Requirements:
It is required to have the foundations to handle clay and it is desirable to have sculpting and throwing knowledge.
Date:
Monday, April 25th to Friday, May 13th 2016. Afternoon schedule.
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Syllabus:
1. The potter’s wheel as a tool to create volumes.
2. Throwing techniques.
3. Assembly techniques.
4. Drying.
5. Reworking thrown pieces.
6. Exercises based on thrown elements.
Mediante el material, incluye nuevos referentes con los que a través del arte contemporáneo se está abordando la cerámica, desarrollando una visión autónoma en la materialización del volumen, y estableciendo, desde esta disciplina, relaciones propias que también nutren los escenarios artísticos de la posmodernidad. Ortí retoma la alfarería tradicional llevándola a un estadio superior.
Construye a través de su magistral técnica piezas escultóricas - ejecutadas con gres blanco bruñido y porcelana de Limoges- en las que subyacen no solamente elementos tradicionales, sino toda una lectura a la escultura y arquitectura contemporánea del siglo XX.
En este sentido, la concepción arquitectónica -clara influencia de Enric Mestre- se ve tanto definida como circunscrita por un lenguaje compartido, desarrollado con el objetivo de proteger el espacio interno mediante el proceso escultórico.
El proceso artesanal y técnico depurado se infiltra en una gramática conceptual de formas puras, esenciales, donde inscribe una serie de atributos propios del constructivismo, el postminimalismo y
la neogeometría.
Workshop 2
Workshop 2 COMPLETED
"From singularity to elegance." Hand-building pottery workshop.
General objective:
Get to know the teachers’ work and technical and plastic procedures.
Requirements:
It is required to have the foundations to handle clay and it is desirable to have sculpting knowledge.
Date:
Monday, April 25th to Friday, May 13th 2016. Morning schedule.
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Syllabus:
1. Photographic presentation of the teacher’s work, from the first thrown pieces to the great murals and sculptures. A video about the workshop and the surrounding landscapes will also be shown.
2. A quick and elemental exercise to evaluate the reflexes and plastic solving capabilities of each student.
3. Free sculpting exercise of about 10 centimeters to evaluate the formal, geometrical and expressive vision of each student. After a personal assessment, choosing the right size for a larger reproduction.
4. Formal correction and technical guidance of the sculpting problems.
5. Firing, oxidants, reducer and high temperature enamel chart problems. The present possibilities of crafts.
Nace en Alboraya, Valencia en 1936. Realizó el Grado en Artes Aplicadas con especialidad en Cerámica en la Escuela de Artes Aplicadas y la licenciatura en Bellas Artes en la facultad de San Carlos, ambas en Valencia.
Desde 1958, se desempeña como profesor de dibujo de la misma escuela de San Carlos, y desde 1963, como perito cerámico en la escuela Técnica de Cerámica de Manises.
Desde 1964, ha realizado un sinnúmero de exposiciones individuales y colectivas tanto en su país como en el extranjero, principalmente en Europa, Turquía, Japón, China, Corea, Estados Unidos, Canadá y Venezuela, en cuyos museos y colecciones particulares se encuentra la mayoría de su obra plástica monumental tanto escultórica como muralista. Ha sido invitado como instructor, organizador y jurado en eventos organizados por las más destacadas universidades y asociaciones relacionadas con el campo en todo el mundo.
Entre sus publicaciones se encuentran:
- “Reflexiones sobre la Cerámica”. Caja de Ahorros. Vigo,1978.
- “El arte de la Cerámica. Enseñanza privaday oficial”. Sección de Exposiciones y Artistas. Diario de Avisos. 6 agosto 1983.
- “La cerámica, el arte y el hombre”. Academia de San Carlos, Valencia, 1983.
- “Panorámica de la nueva cerámicavalenciana”. Catálogo. Sala Adama, Madrid,1984.
- “El espacio de un ceramista”. Las Provincias, Valencia 8 enero 1986.
- “La ceràmica actual a la Comunitat Valenciana”. Text Catàleg. Museu de Cerámica González Martí. Valencia, 1986.
- “Blat: un ceramista oblidat”. Text Catàleg “I.Blat: 1904-1970”. Centre Cultural de la Caixa d´Estalvis. Valencia, 1986.
- “Enseñanza y Cerámica”. 30 ceramistas, 40 alfareros. Edic. Diputación de Salamanca,1988, pag. 74-77.
- “Esperanza Fontecha”. Texto de Catálogo. Museu de Ceràmica González Martí. Cerámicas, Nº6 Año II, abril. Portugal. 1990.
- “Contestación Discurso Ingreso en la Real Academia de San Carlos de D. Antonio Alegre Cremades”. Valencia, 13 de mayo de 1991.
- “Desaparece una gran industria, Nolla1887”. Programa de fiestas de Meliana.
1992.
- Texto Catálogo exposición itinerante: “Presente de la cerámica Española”.
Workshop 1
Workshop 1 COMPLETED
"Clay improvement." (Making and perfecting ceramic pieces for temperatures between 1000 and 1100 ºC (cones 06 to 03) from local clays: resistance and finishing).
General objective:
Get to know and apply the home methods of ceramic research and learn to improve their physicochemical and thermodynamic characteristics.
Requirements:
Basic ceramic knowledge is required.
Date:
Tuesday, March 1st to Saturday, March 12th 2016
Including:
Lodging, meals (three per day) and materials for the workshop.
Not including:
Transportation, personal tools.
Admission:
Limited entry.
Yusuke Suzuki, engineer / David Zimbrón, potter
Yusuke Suzuki
Nace en la prefectura de Fukushima, Japón, en 1945. Estudió Ingeniería química en la universidad de Tohoku, y en 1972 concluye sus estudios de fabricación de cerámica y porcelana en la escuela de cerámica de la prefectura de Aichi. Hasta 1981, trabaja como ingeniero químico en la Industria Cerámica Kato. De 1981 hasta la fecha labora como profesor de la escuela de cerámica y porcelana de Toluca, impartiendo las clases de teoría, fabricación de piezas y preparación de las materias primas. En 1992 crea la Fábrica – Taller de cerámica “Porcelana Suzuki”, en Toluca, Estado de México. En 1999 fundó en sociedad, el Taller “Pacemor” para la fabricación y suministro público de pastas cerámicas, en la ciudad de Cuernavaca, Morelos.
Alfarero David Zimbrón
Realizó estudios de pintura en la Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" del I.N.B.A. y en el taller "The Studios" en Fish Creek, Wisconsin, E.U.A. Enseguida, realizó la carrera de pedagogía en el servicio pedagógico de la Embajada de Francia (I.F.A.L). De 1985 a 1987 hizo la carrera de cerámica en el Centro Cultural Mokichi Okada de Toluca (M.O.A) - actual colegio de arte y ciencias de la vida - y participó en seminarios sobre arte y cultura japoneses en la Academia Kado Sanguetsu, también de la asociación M.O.A.
En 1994 hizo especializaciones sobre percepción visual y creatividad, enseñanza de las artes y construcción de objetos en Gijón, Asturias, España, y entre 1997 y 2000, la maestría en metodología cualitativa de la Investigación en las artes y la educación artística. Además, ha participado en diversos cursos especializados en didáctica, elaboración de planes, técnicas especializadas de la cerámica artística como el Raku – Yaki, curso impartido por el profesor Steven Branfmann en octubre de 1998, y la calcomanía a fuego, con el profesor Víctor Enríquez. Durante el año 2001 y 2002 realizó el curso de joyería y gemología con el prof. Samuel Yánez Lozano. Del 2003 al 2004 realizó el diplomado "Un recorrido por el Arte de México" en la unidad de postgrado y educación continua de la escuela de Diseño del I.N.B.A.