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  1. The business of art pottery

    Good point, same issue in furniture and object design. Solution: one should network and get to know these decorators and advisers - to get shortlisted and recommended.
  2. The New Factory

    I'm a run-of-the-mill industrial designer with 19 years work experience who, barely a year ago, became enticed into ceramics in general - slip-cast porcelain in particular - and is living under its spell ever since. I would say, the new factory is actually the manufactory of old, enabled with digital means of creation, visualisation and production. Filippo Brunelleschi, Leon Battista Alberti or Albrecht Dürer developed tools to draw and paint in perspective, they appropriated tools to produce engravings more effectively, they used tools for volume printing to spread their works and sell more. Marcel Duchamp, Joseph Beuys or Allan McCollum made several of their artworks available as semi-industrially or outright mass-produced editions for art lovers of lesser wealth. Should these people be stripped of their artist's status for their intelligent use of reproduction technologies? William Morris, from 1861 onwards, grew his business to a 7 acre establishment at Merton Abbey in order to fabricate textiles, carpets, windows and tapestries in large quantities. Should he be stripped of his craftsman's status for expanding the arts and crafts business to serve a larger clientele? Creative adoption of production and reproduction technologies - for artistic experimentation, subversion and creation - have been common in the arts or music since centuries without anyone seriously questioning such approaches to creative cross-fertilisation. Like Chris in an earlier good post, we should rather see the new means of creation and production as fascinating new inroads to the development of our body of work, challenge our assumptions and learn - the public, if interested at all in the creative process, will either buy our objects - or not. When I began experimenting with natural-mathematical form this year, I lightheartedly - from the designer's point of view - took to rapid prototyping and CNC-milling technologies to fabricate the initial forms from which the plaster moulds must be taken for slip-casting the final object. Doing it manually, I would not yet have produced a single object. Greetings from Sweden