Redefining the Allegory, Playfulness and Aura of Ceramic Art in the Era of 3D Printing
William Morris said “true happiness in modern society is only possible if you are an artist or a thief.” Minor and repetitive work, or the kind of work that requires years of training and experience never fails to lack the element of enjoyment. An excerpt from his article titled, The Aims of Art published in his book Signs of Change reveals a softening in the perspective of Morris regarding work and machines:
“Why does a reasonable man use a machine? Surely to save his labor. There are some things which a machine can do as well as a man's hand, PLUS a tool, can do them… That, so far, is unmixed gain in the use of a machine − always, mind you, supposing equality of condition among men; no art is lost, leisure or time for more pleasurable work is gained”.1
Applying Morris’s logic to the use of 3D printers, they dramatically reduce the amount of time and effort necessary for ceramists to master techniques such as wheel throwing or hand-building. Instead, ceramists can put distance between labor and man, and it is here where ‘room-for-play’ (Spielraum) is found. We need to be clear in the definition of ‘play’ (spiel). Spiel is a word that was coined by Walter Benjamin in his essay, The Work of Art in the Age of Mechanical Reproduction. However, Miriam B Hansen, a US movie critic, analyzed the meaning of the German word ‘spiel’ in three layers:
“The first layer is the play of children that is of a repetitive nature. The second is the play acting of actors as a creative mimesis. The third layer is the gaming as a chance-based gamble, that is, the reflective reactive patterns needed by the workers in the assembly line.” 2
In this study, ‘play’ refers to a combination of all three layers. That is, the ‘room-for-play’ contains creativity, improvisation, and repetition different from the monotony of mechanical reproduction. The creation of ‘room-for-play’ using 3D printers can be illustrated by the methods of Jade Crompton from Liverpool, England. Crompton joins ceramics and digital technology, combining the traditional processes of mold-making and slip-casting techniques with novel digital technologies, including 3D modelling, 3D printing, and laser cutting. It is worth noting that digital technology means that multiple plaster molds can be obtained from a single mold, as opposed
