Member of RCA

About Me

MPhil Student

Education History (Details)

Qualification Attachments
Ceramics, with Distinction (MA) at Royal College of Art
2007 - 2009
Ceramics, First Class (BA Hons) at University of Westminster
2005 - 2006
Fine and Applied Arts, Distinction (Dip HE) at London Metropolitan University
2003 - 2005
Translation and Linguistics (MA) at University of Westminster
1997 - 1999
Modern Iberian and Latin American Studies (BA Hons) at University College London
1985 - 1989

Awards (Details)

2008  First prize, Ceramics & Glass, Charlotte Fraser Prize

Selected Exhibitions (Details)

2012 - Tradition and Innovation, Contemporary Applied Arts, London

2011 - The Emblem of My Work, Laurence Sterne Trust, Shandy Hall, Yorkshire

2010 - New Knowledge, Royal College of Art.

2009 - A Place at the table, Wallspace, London.

2009 - Milestone, Stephen Lawrence Gallery, London

2009 RCA Show, Royal College of Art, London.

2009 - Off the Wall, London.

2009 - Why? Hockney Gallery, Royal College of Art.

2009 - Diverse Practices, Barrett Marsden Gallery, London

2008 - Reflection, Sir John Soane Museum, London

2007 - Dispense, Kingsgate Gallery, London

2006 - New Designers Selection, The Old Trumans Brewery, London

2005 - DKNY, New Designers Selction, DKNY, London

Selection of Writing and Publications (Details)

Alison Britton Essay


301.9KB | Monday, 09 July 2012 | Details

Translating Practices

2Translating Practices.docx

165.2KB | Monday, 09 July 2012 | Details

Einfall Essay


5MB | Thursday, 15 October 2009 | Details

Diverse Practices - Exhibition Catalogue


761.4KB | Thursday, 15 October 2009 | Details

Dispense - Exhibtition Catalogue

B Connolly A5 (CMYK).web.pdf

724.8KB | Friday, 11 February 2011 | Details

New Designers Selection

nd selection pull out-1.pdf

531KB | Thursday, 15 October 2009 | Details

A Place at the Table (installation shot) (Details)

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Give and Take (detail) (Details)

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Give and Take (Details)

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The Route (Details)

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Spectrum (Details)

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Elizabeth Soane - Haunting (Details)

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Sustain (Details)

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Spoons (Details)

Talks and Workshops (Details)

2012 Translating: Pairing Practices -  Centre for Creative Collaboration, 23rd June.

A day of Workshops and Discussions on the relationship of studio practice to writing at research level.

Convened by Brigit Connollyt & Harriet Edwards and Held at the Centre for Creative Collaboration, London. 

Link to Blog:

2012 Poiesis, Praxis & Techne -  Royal College of Art, 9, 14 & 29th May.

A series of seminars discussing the evolution of these concepts and their relevance to artistic practice.

Convened by Brigit Connolly & Dionea Rocha Watt at the Royal College of Art:

Link to Blog:

2012 Ceramics on Screen -  Contemporary Applied Arts, 28 May

A screening of 3 short films followed by a discussion with the artists chaired by the show's curator Tessa Peters.

Brigit Connolly's 'Host', Sylvain Thirouin's 'Sound in Clay' & Philip Lee's 'Body Body Clay Pane'.

2011 Dialogues in Design: Copy-Repeat

A discussion of Borges ideas on translation in relation to the copy.

Link to Blog:

2011 The Onion Discussions (Translation)

Sculpture Dept, Royal College of Art, London

Link to Blog:

2010 (RE)SEARCH - Creative Conversations

A series of workshops and discussions running alongside the ‘Research RCA: New Knowledge’ exhibition.

Convened by Brigit Connolly, Andrew Vallance, Eszter Steirhoffer & Jack Tan

Area of Research (Details)

Translating Practices - Abstract

Translatability and translation, the possibility and act of conveying some thing between people, objects, languages, cultures, times, spaces and media, have become increasingly important elements of creative practice and works of art. My research explores this proposition. To contextualise this concept of translation as an artistic and critical method mediating the relationship of the seeable to the sayable I retrace the under-mined vein of translation that grew from the Enlightenment, the Early (Jena) Romantic response to it and its subsequent development by modern theorists. I suggest that this tradition of translation has developed into a creative method that assumes a pre-existent given from which it evolves in order to destabilise, re-appropriate and make-new.

The thesis argues that art needs to function within the space of translation proposing that the prevailing interpretative mode is ultimately antithetical to a form of thought engaged with in the creative process. This relies on the understanding of a qualitative distinction between acts of translation as presentational and of interpretation as representational. The distinction is not clear-cut since these two forms of mediation operate on a continuum. The probable root of “interpret” in English is “between prices” and derives from trade wherein goods are exchanged. This etymology stresses the transactional, hermeneutic role of the interpreter as a responsive agent that negotiates between distinct value systems to ensure equivalence during the process of exchange. While Interpretation operates primarily within the symbolic aspect of language translation retains a relationship to metaphor, which acknowledges that during transfer something becomes something that it literally is not. It must therefore account for Aporia, or what fails to cross over and for a-signifying, singular aspects that affect or alter the symbolic during this process.In contrast to interpretation, translation’s resistance to schematisation and reduction to the accurate, objective and rational transfer of information provides a prophylaxis of doubt and generates heterogeneity.

The thesis triangulates my three practices: artistic, translation and criticism using translation to destabilise and re-calibrate the relationship of theory to practice. In relation to theory, rather than use this to explain, interpret, or categorize art, it advocates the translational practice of placing in parallel so that lines of thought may be drawn from one to the other, responding to and setting up points of intersection, divergence and congruence to encourage a non-hierarchical associative-dissociative dismantling. Translation informs the research method and structure of the thesis, which occupies an inter-theoretical, inter-disciplinary or matrixial space. As such, it is edified through a process that derives from and displays the translational method and diverse sources that constitute it. Four case studies bring together practices employing a translational method from different periods, cultures, creative practices and theoretical sources: Bernard Leach and Ezra Pound’s modernist projects; Jorge Luis Borges’ theory of translation and Briony Fer’s re-presentation of Eva Hesse’s studio work; the Brazilian poets Haroldo and Agosto De Campos’ theory of Cannibalistic translation and painter Adriana Varejao’s work with tiles; and ceramicist Alison Britton’s oeuvre in light of Donald Winnicott’s concept of transitional spaces.

Host 2009 (Details)

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Host (Details)

Utter (Details)

Utter (detail) (Details)

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The Route (Details)

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Reduced Spectrum (Details)

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Spectrum (detail) (Details)

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Elizabeth Soane - Haunting (Details)

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Trace Elements (Details)

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