{"id":{"repo_id":"eit-nz","oai_identifier":"oai:null:10652/6199"},"canonical_url":"https://search.dev.ndltd.org/etd/eit-nz/oai:null:10652/6199","repository":{"repo_id":"eit-nz","name":"Eastern Institute of Technology","base_url":"https://www.researchbank.ac.nz/server/oai/request"},"display":{"title":"An investigation into the use of discovered objects to inspire artworks in clay","abstract":"The project was an investigation into the use of natural and manufactured discovered objects, which exhibit decay, accretions, deterioration and abandonment, to inspire ceramic or ceramic and mixed media artworks. In what way could these objects, or their characteristics of decay, be represented, referenced or included in the process of working with clay? What was the relationship between the discovered and the created objects, such that a conversation might be enabled between them? I aimed to explore the parallels between the transformation of the objects through the processes wrought by time and external forces, the transformation of clay through manipulation, adulteration and firing, and the transformation of the artist during the creative dialogue with the materials. The aesthetic of the imperfect was highlighted as a metaphor for life’s uncertainties, messiness and tensions, as well as its connectedness, inventiveness and beauty – its imperfect perfection.","abstract_html":"The project was an investigation into the use of natural and manufactured discovered objects, which exhibit decay, accretions, deterioration and abandonment, to inspire ceramic or ceramic and mixed media artworks. In what way could these objects, or their characteristics of decay, be represented, referenced or included in the process of working with clay? What was the relationship between the discovered and the created objects, such that a conversation might be enabled between them? I aimed to explore the parallels between the transformation of the objects through the processes wrought by time and external forces, the transformation of clay through manipulation, adulteration and firing, and the transformation of the artist during the creative dialogue with the materials. The aesthetic of the imperfect was highlighted as a metaphor for life’s uncertainties, messiness and tensions, as well as its connectedness, inventiveness and beauty – its imperfect perfection.","abstract_has_math":false,"creators":["Dickey, Julienne"],"institution":"Eastern Institute of Technology","degree_name":"Master of Professional Creative Practice/Te Hono ki Toi (Poutiritāeo)","degree_level":"Masters","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022","date_published":"2022","updated_at":"2026-07-24T02:14:55Z","subjects":["New Zealand","ceramics","clay","decay"],"languages":["en"],"rights":["All rights reserved"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/10652/6199","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Dickey, Julienne"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2024-03-12T21:37:27Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2024-03-12T21:37:27Z"]},{"key":"dc:date.issued","label":"Date","values":["2022"]},{"key":"dc:type","label":"Dc Type","values":["Masters Thesis","Exegesis"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Professional Creative Practice/Te Hono ki Toi (Poutiritāeo)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Eastern Institute of Technology"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["New Zealand","ceramics","clay","decay"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["All rights reserved"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/10652/6199"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The project was an investigation into the use of natural and manufactured discovered objects, which exhibit decay, accretions, deterioration and abandonment, to inspire ceramic or ceramic and mixed media artworks. In what way could these objects, or their characteristics of decay, be represented, referenced or included in the process of working with clay? What was the relationship between the discovered and the created objects, such that a conversation might be enabled between them? I aimed to explore the parallels between the transformation of the objects through the processes wrought by time and external forces, the transformation of clay through manipulation, adulteration and firing, and the transformation of the artist during the creative dialogue with the materials. The aesthetic of the imperfect was highlighted as a metaphor for life’s uncertainties, messiness and tensions, as well as its connectedness, inventiveness and beauty – its imperfect perfection."]},{"key":"dc:title","label":"Title","values":["An investigation into the use of discovered objects to inspire artworks in clay"]}]}],"canonical_facts":{"dc:creator":["Dickey, Julienne"],"dc:date.accessioned":["2024-03-12T21:37:27Z"],"dc:date.available":["2024-03-12T21:37:27Z"],"dc:date.issued":["2022"],"dc:description.abstract":["The project was an investigation into the use of natural and manufactured discovered objects, which exhibit decay, accretions, deterioration and abandonment, to inspire ceramic or ceramic and mixed media artworks. In what way could these objects, or their characteristics of decay, be represented, referenced or included in the process of working with clay? What was the relationship between the discovered and the created objects, such that a conversation might be enabled between them? I aimed to explore the parallels between the transformation of the objects through the processes wrought by time and external forces, the transformation of clay through manipulation, adulteration and firing, and the transformation of the artist during the creative dialogue with the materials. The aesthetic of the imperfect was highlighted as a metaphor for life’s uncertainties, messiness and tensions, as well as its connectedness, inventiveness and beauty – its imperfect perfection."],"dc:identifier.uri":["https://hdl.handle.net/10652/6199"],"dc:language.iso":["en"],"dc:rights":["All rights reserved"],"dc:subject":["New Zealand","ceramics","clay","decay"],"dc:title":["An investigation into the use of discovered objects to inspire artworks in clay"],"dc:type":["Masters Thesis","Exegesis"],"thesis:degree_level":["Masters"],"thesis:degree_name":["Master of Professional Creative Practice/Te Hono ki Toi (Poutiritāeo)"],"thesis:institution_name":["Eastern Institute of Technology"]},"updated_at":"2026-07-24T02:14:55Z"}