As craft practitioners, we interact closely and intimately with materials and tools. As we learn to listen to the voice of a material, to the possibilities and limitations it presents, we adjust our intentions to what is feasible in this human-material interaction. In this way, we learn to work with the material rather than forcing our will upon it. Through the years, a solid and deep experiential knowledge grows forth that becomes embodied in our souls, becomes part of who we are. When working with a natural material, such as clay, the source of the material may be present in the work presented, but also as an idea about connecting with the environment on a larger scale through the interactions with the material. Through craft practice, we...
An inquiry into the vernacular crafts with a view into exploring it as a medium where the concern fo...
The inspiration for my work is derived, in part, from my appreciation of repetitive processes. Kines...
Creative production is fed upon reflections of the maker from various phases in making. This paper p...
As craft practitioners, we interact closely and intimately with materials and tools. As we learn to ...
Crafting facilitates direct contact between humans, materials, and the material’s environment. Embra...
This paper is about my relationship to the material clay, and how it has affected my creative proces...
Material interactions are fundamental to design and craft education; however, they might also provid...
A diverse and profoundly transformable material, clay offers new designers and artists the possibili...
Our own art expresses how we perceive and interpret the world and what choices we have made but what...
Taking a psychological and philosophical outlook, we approach making as an embodied and embedded ski...
Funding Information: This work was supported by the Academy of Finland (grant numbers 266125 and 331...
The Attentive Maker investigates the ways in which a designer may approach the making of things in c...
This article examines the interaction between maker and material in craft making in the case of felt...
Through the action of separating natural and man-made elements from their environment, and creating ...
This study examined a creative practice, namely felting, to explore the daily practices and encounte...
An inquiry into the vernacular crafts with a view into exploring it as a medium where the concern fo...
The inspiration for my work is derived, in part, from my appreciation of repetitive processes. Kines...
Creative production is fed upon reflections of the maker from various phases in making. This paper p...
As craft practitioners, we interact closely and intimately with materials and tools. As we learn to ...
Crafting facilitates direct contact between humans, materials, and the material’s environment. Embra...
This paper is about my relationship to the material clay, and how it has affected my creative proces...
Material interactions are fundamental to design and craft education; however, they might also provid...
A diverse and profoundly transformable material, clay offers new designers and artists the possibili...
Our own art expresses how we perceive and interpret the world and what choices we have made but what...
Taking a psychological and philosophical outlook, we approach making as an embodied and embedded ski...
Funding Information: This work was supported by the Academy of Finland (grant numbers 266125 and 331...
The Attentive Maker investigates the ways in which a designer may approach the making of things in c...
This article examines the interaction between maker and material in craft making in the case of felt...
Through the action of separating natural and man-made elements from their environment, and creating ...
This study examined a creative practice, namely felting, to explore the daily practices and encounte...
An inquiry into the vernacular crafts with a view into exploring it as a medium where the concern fo...
The inspiration for my work is derived, in part, from my appreciation of repetitive processes. Kines...
Creative production is fed upon reflections of the maker from various phases in making. This paper p...