Neil Brownsword is definitely an artist, senior lecturer and investigator at Buckinghamshire New College. His PhD thesis (carried out 2006) combined historic and archaeological research on ceramic production in North Staffordshire in the 18th century to the current the video archiving of craft skills in the market today and the development of an appearance of artwork as a result of these studies. The resultant ‘narrative’ sheds light upon Britain’s contemporary “post-industrial” experience along with its industrial past.
Since graduating in the Royal College of Art in 1995, Brownsword’s work has acquired both national and worldwide acclaim, and it is positioned the main thing on experimental ceramic practice in the uk. It resides in eminent private and public collections worldwide, like the Victoria Albert Museum and Crafts Council, London and Fu Le Worldwide Ceramic Art Museum, China. He continues to take part in esteemed research residencies which include the ecu Ceramic Work Center, Holland Worldwide Ceramic Research Center, Denmark and lately Fu Le Worldwide Ceramic Art Museum in Shaanxi, China.
For pretty much ten years, Neil Brownsword’s work is a sustained mediation decreasing of British ceramic manufacture in the hometown of Stoke-on-Trent – an initial hands understanding which has accrued since he was apprenticed at age 16, in the Josiah Wedgwood factory. Presuming the function of artist/archaeologist, Brownsword unearths/ salvages by-products in the histories ceramic production and regenerates these symbolically billed vestiges of work into poetic abstract amalgams. Through its metaphoric search for absence, fragmentation and also the discarded, his work signifies the inevitable results of global capitalism which still disrupt indigenous skills along with a heritage economy rooted in North Staffordshire for pretty much three centuries.
In ’09 he won the main one Off category in the British Ceramic Biennial, and is constantly on the exhibit both across the country and worldwide.
Why is your objects speak?
In the text, David Whiting frames just what makes my objects speak:
In Neil Brownsword’s work there’s a clearly subversive negation of traditional craft and technical skill – a subtle response up to the more difficult facets of lengthy work within the Stoke potteries from a painter who also, paradoxically, has great popularity of individuals skills. His delicate and poetic amalgams, further fused, warped and mutated by their resubmissions towards the kiln, possess a strong feeling of regeneration… Rarely has got the oozing, coagulating, brittle detritus of clay, re-created and re-fired into another condition of permanence, been so intelligently and eloquently expressed. Nor has got the good reputation for ceramic manufacture in one location been so elegiacally and poignantly recorded.’1
1. David Whiting, Poet of Residue (2008) Exhibition text