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  • 1.
    Medbo, Mårten
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Clay-based experience & languageness2022Book (Other academic)
    Download full text (pdf)
    Clay-based experience & languageness
  • 2.
    Medbo, Mårten
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Hantverk, mening och material = Craft, meaning and material2018In: Nordic hands / [ed] HINT project (Mariko Wada and Sanne Ransby), Sasha Rose Richter, Danmark: HINT project , 2018, p. 58-75Chapter in book (Other academic)
  • 3.
    Medbo, Mårten
    Göteborgs universitet.
    Lerbaserad erfarenhet och språklighet2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    During the course of the twentieth century, a doubt emerged – first within visual arts, and later also within crafts – where the relevance of the traditional way of making art was addressed, as were thoughts on what was termed ‘empty shape’. The notion that shape in itself was no longer artistically valid is closely linked to notions of materiality as hindrance, and immateriality as freedom – all of which have had a major influence on contemporary visual arts and crafts, in general, and, more specifically, on what I term ‘theory-practice’ within the field of crafts. During the past few decades, increasing proof of this influence on the field of crafts as a whole has also been experienced.  As a ceramist expressing myself through clay, form has never been empty, and clay never a hindrance, and my dissertation is an attempt to put materiality as hindrance, and immateriality as freedom, in context, as well as to reflect upon questions related to their emergence and what impact they have within the field of crafts. My point of departure here is my own experience as an artist and ceramist, where inquiring and exploring takes places through practical knowledge.  I argue that there is no such thing as immateriality in art and that all artistic expression requires bodily-situated craft skill of some kind in order to be materialised and communicated, as well as to take place in the world. I also argue that art should be seen as what I term ‘language-practice’. Through this practice I craft the concept of ‘clay-based language-ness’ and ‘language-like-ness’ in order to come as close as possible to describing, in words, the kind of communication I wish to create as a ceramist, as well as what art-making (‘art-crafting’) constitutes when conceptual artists create their art. Regarding crafts as a language-practice, however, conflicts with the theory that is setting the tone as well as leading the field of crafts today. I therefore wish, and propose, to find a way out of this conflict-ridden situation. As part of this endeavour, I present the text-based part of the dissertation and the clay-based part of the dissertation – side by side.

  • 4.
    Medbo, Mårten
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    On Wheel-Throwing and Meaning2022In: Craft sciences / [ed] Westerlund, Tina; Groth, Camilla; Almevik, Gunnar, Göteborg: Acta Universitatis Gothoburgensis, 2022, p. 316-329Chapter in book (Refereed)
    Abstract [en]

    In the chapter craft and meaning are explored, with whell-throwing as an example, both from a personal inward perspective and a communicative outward perspective. Both of these perspectives on meaning may explain why many makers stubbornly stand by their craft practices and materials, and why art and crafts continues to affect and concern us over time. 

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