Workspace at CERCCO | Priscille Jotzu, Etruria, porcelaine, 2020
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Facsimilé, work in progress
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Facsimilé, work in progress
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Facsimilé, work in progress
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Facsimilé, work in progress
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Facsimilé, work in progress
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Facsimilé, work in progress, recherche de porcelane teintée
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Facsimilé, work in progress
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Etruria, porcelaine bone china
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Etruria, porcelaine bone china, modèles en plâtre
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Etruria, porcelaine bone china
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Etruria, porcelaine bone china
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Etruria, porcelaine bone china
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Etruria, porcelaine bone china
© HEAD – Genève, Raphaëlle Mueller
Priscille Jotzu | Etruria, porcelaine bone china
© HEAD – Genève, Raphaëlle Mueller

Workspace at CERCCO | Priscille Jotzu | 2021

June 2021
Each year CERCCO proposes two residences Workspace at CERCCO, of three months to artists, designers, architects and ceramists wishing to develop a personal ceramic project.
The French designer Priscille Jotzu  worked at CERCCO's Workspace during the academic year 2020-2021. 
 
‘Facsimilé’ is the name of a material field research that I want to undertake on reliefs, surfacing and engraving technics.
It is based on the heritage behind the Portland vase. It focuses on glass and ceramic, notably due to their striking visual resemblance at work in the Portland vase(s), to uncover specific know-how, technics and production processes. The aim is to explore the contemporaneity of the formely used technics to create historical pieces, by revisiting and playing with ancient aesthetic and manual methods
 
I explored the similarities between mat glass with glaze biscuit applications, the cameo glass
technic and the Wedgwood ceramic made
of earthenware and matt sandstone biscuit, and even more specifically the Jasperware technic. From an outer look, the resemblance is shrinking.

Research file

 

The project Etruria focused on Jasperware being the initial chapter of it. Prior to the residency, I was only prospecting and researching in books or online and it was a decisive task to finally get hands-on, put on an apron and being confronted with the materiality of the clay. The result sought and expected was an experimental exploration, highlighting the technicality involved in making the pieces.
 

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