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Artist In Residence at UCD College of Science 2018 -2020



Image Details


1. Untitled, no.1, no.3, Uncertain Objects, Ceramic, 40 x 40cm, 30 x 40cm, unique, 2018

Handbuilt stoneware, native clay and natural material inclusions fired multiple times.


2. Untitled, Ceramic, 19cm + detail, unique, 2015

Series of wire-cut, carved and altered forms in porcelain. They were made by ‘blind-cutting’ wire through

solid clay to reveal textural outcomes, then creating aesthetic objects from the resulting sections,

seeking to achieve a balance between a made object and by product of a process.


3. Timepiece, installation, unfired stoneware, unique, 2015

Installation of wire-cut, carved and altered forms in unfired stoneware. Over

successive days, for the duration of the exhibition, a new pillar was made and added

to the installation as the previous ones dried and changed colour by increments. The

works were then recycled.


4. Untitled, no.4, Indistinctions, unfired stoneware, polyethylene, Giclée Print, 10x10in, 2015

These works are from an ongoing series using unfired clay vessels, where photographic processes are used as an alternative to firing in the ceramic process. Each vessel is then recycled to make the next in the series.


5. Untitled, no.3, no.16, Vestiges, unfired porcelain, glass, water, Silver Gelatin Print Photograms,

various sizes, unique, 2016

From series of photograms of unfired vessels on the point of disintegration before

being recycled to be remade. These are camera-less contact-prints, where the objects

or material are placed in close contact with light-sensitive photographic paper, which

is then exposed for a period of time before being developed in the traditional B/W

process. erRather than capturing a picture of the object, it creates unique image-object from the

material interaction of ceramic and photographic processes.


6. Each hour, unmapped, ongoing series, unfired clay, polyethylene, oxides, natural material inclusions,

dimensions variable, unique, 2017

Series exploring ideas of embodied landscape and imagined space through material

exploration. Ceramic landscapes were created in unfired clay and then photography

was used as a means of exploring and creating new thought spaces to inhabit.


7. Hill of Sea, Ceramic, 40cm, unique, 2012

Series of works developed over a year in coastal Wexford in response to the local

landscape and palette of the area. They are wheel-thrown, then burnished and

saggar-fired a number of times with raw minerals and local found materials in a gas



8. materials research, 2018







El Harrington is an Irish ceramic artist .

Her practice is centred on the exploration of time and materials, capturing events and processes of transformation, to explore human action, material legacy and ideas of place. She develops series of works focused on experiential making, rooted in a particular place, time or event, and current work explores ideas of material documents, embodied landscape, and how we create and describe imagined space through form.


Recent projects have moved to consider work in a larger ecological sense, through our impact on the landscape and environment, or on a micro-level, through individual acts of making and how they might carry through to the larger community, exploring site-specific, event-based and participatory/collaborative works.


During the residency, she will be working with staff and researchers in the College of Science, in particular in the School of Earth Sciences, to find common ground in research themes and develop a body of work in response, where the emphasis is not on pre-determined outcomes or particular aesthetic results, but instead is about artistic process as exploration, responding creatively to research findings, and encapsulating the experience of place in material form.


The works created will function as material documents of the residency, evolving from process experiments over the course of the year or as site-specific pieces developed as collaborative/participatory works in response to exploration of the university, its grounds and community of people. Both strands will draw on research findings from the residency, exploring ideas of geologic time and the anthropocene, climate change and human impacts, landscape forensics, trace fossils, made ground and deep mapping.


She will further be developing ongoing material and technological research into processing and utilising local materials, minerals/rocks and native clay deposits, in creating glaze and surface effects, and engaging with researchers in geochemistry to explore how a multi-disciplinary, collaborative approach to material investigation might inform ceramics technical processes and lead to the development of new works.


Part of this process will explore ways of interpreting and responding creatively to research data from analysis and modelling systems across a breadth of research groups, to illuminate the forces, both natural and anthropogenic, that have formed and continue to shape our environment, and affect our understanding of it.


Throughout, she interested in how we connect to our environment, and our complex and changing relationship to place, seeking to explore how we make sense of the world around us and our place in it, and to create works that open a space to read the world around us and within us.




During the residency, El is exploring our connection to landscape through the journey of making, from source material to object.




2018-20 THE MATERIAL LANDSCAPE - Geoscience & material transformation in ceramics


2018-20 OBJECT LESSONS - Materiality and the journey of making from source to object


2019-20 DLR CREATIVE IRELAND BURSARY - Archaeological & contemporary ceramics skills-exchange project




2019-20 GEOSCIENCE STEAM LEARNING - Geoscience engagement through art initiative