National Treasure (2014 -2019)

Ongoing iterations of National Treasure remediate actions and traces from earlier fieldwork, and a series of site-specific performative interventions during the exhibition ‘Vociferous Void’ (British Ceramics Biennial 27/09 – 10/11/ 2013) into a film and object-based installation. It explores critical insights into aspects of skill displacement following several decades of industrial change in North Staffordshire’s ceramic sector. Its title ironically draws upon East Asian cultural value systems assigned to individuals who have attained high levels of artistry to ensure the preservation and continuation of their traditions. Research underpinning National Treasure has been disseminated via conferences including the International Academy of Ceramics 46th General Assembly, Dublin; explored by international critics/writers including Vieteberg, Dahn and Wiggers discussing new directions in ceramic practice. As one of 2629 entries by 1470 applicants from 74 countries, a panel of eminent judges ‘unanimously’ awarded National Treasure the Grand Prize at the Gyeonggi International Ceramic Biennale (GICB) a prestigious accolade in contemporary ceramics, in recognition for Brownsword’s ‘creativity and contribution to the field’. Looped projection (15 mins 49 secs – filmed 23 June 2014), workstation, residues of china painting, repainted platters salvaged from the Spode factory, live performance