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Ceramics & Glass (MA)

Katalina Caliendo

Born on an island in the pacific northwest of the United States I've lived in the United Kingdom for the past 5 years.

I undertook a BA (Hons) in Ceramics at the University of Hertfordshire graduating with a first class honours in 2019.

I am fascinated by how landscapes, environments, and the things that animate them are continuously shaped by the symbiotic interactions and collaborative tensions between both life and non-life, the tangible and the intangible.

My work asks questions about preservation ontologies with broader philosophical notions regarding duration and completion, attention, folds and fragments. The physical object —or, that which remains as sculpture —is imprinted with process, marked by my hands, arms, and legs.  These are more than just the trace of the maker, but also an exploration into the reflexive synergy between these traces and their becomings and continuums. My work considers the specific lens and power/power struggles of the female body—and, more specifically, my own female body— within artistic practice.

By opening my ceramic practice to broader investigations into the gestural, haptic creation of form —performance, film, photography, sound, and colour—I have embarked on researching the creative, intuitive, and collaborative.  It has challenged my understanding of the emotive, gestural and physical capacities that exist between clay and the body - as integrated materials with connotations between nature and human, ruin and preservation.

Photography Robert Chadwick

Continous Bodies (still), 2021 — This still image is from a process-based performance that was both recorded and performed live during the zoom performance night for Arcmagazine's issue, Proxyerotics. Seated on a clay slab, footage I took of the reflection of a pond in the Lost Gardens of Heligan in Cornwall merges with my body and the plant artefacts I collected during the past year as I pour clay slip onto my back, neck, and arm. Directly after the zoom perfomance the remains were arranged into sculptural forms.
Soft-Capping (still), 2021 — Footage I filmed on location at a re-wilding site in Devon is here projected while I am ‘soft-capping’ my legs and feet with porcelain. During this process-based performance, the limbs of the tree and my body become intertwined, their boundaries bend through the manifestation of the clay form. Following the performance, the porcelain clay remains were then taken into the studio and fired in the kiln. The fragments are both sculptural artefacts of this process and objects for new sculptural interpretations.
Attention Piece (still), 2020 — This 1hr durational process-based performance was set to a piece of music by Matthew J. Rogers and was filmed by Marat Gksn. During this performance the stoneware clay and the music surrounding me is guiding my movements as I intuitively explore the manifestation of a form. After the performance the sculptural piece was then taken into the ceramic studio where I added to it with gestural mark-making in cobalt oxide and fired in the kiln. The result another start to explore the gestural, haptic, and emotive.
Intervals, 2021 — A collaboration with ceramic artist Natasha Fontenelle and sound artist Daniel Tomlinson, combining sound and clay in an installation and performance project that was documented by film and photography. Exploring silence and breaks, production and manifestation the project results in an exhibition in the gallery space it was created in. Opening on June 24th 2021 401 Gallery, 403 Wandsworth rd London SW8 2JP Book to attend via:

The haptic and gestural process of making, the relationships between subjects and objects, and performance and the performative aspects of both maker and material are some of the key themes I pushed forward in my MA at RCA.

Holland Park (detail), 2021 — terracotta, 20cm X 15cm, photography Sylvain Deleu
Holland Park, 2021 — terracotta, 15h x 20w cm, photography Sylvain Deleu
The Fluorescence of Imbricating, 2021 — black & red stoneware, 36h x 18w cm, photography Sylvain Deleu
The Fluorescence of Imbricating (detail), 2021 — black & red stoneware, 36h x 18w cm, photography Sylvain Deleu
Imbricating with Blue, 2021 — porcelain painted with cobalt, stains and glaze, 28h, x 20w cm, photography Sylvain Deleu
Imbricating with Blue (detail), 2021 — porcelain painted with cobalt, stains and glaze, 28h, x 20w cm, photography Sylvain Deleu
Imbricating with Terracotta, 2020 — terracotta, 37h x 34w cm, photography Sylvain Deleu
Imbricating with Red — porcelain painted with red clay, 26h, x 29w cm, photography Sylvain Deleu
Holland Park 2 — terracotta & cobalt, 20h x 15w cm, photography Sylvain Deleu

Influenced by the performative aspects in nature and landscapes I re-animate these gestures, these bends and curves with my hands.


Link to details of the Queen Elizabeth Scholarship Trust scholarship I was awarded in 2019