My aim is to find new ways of making by crossing boundaries of the crafted, designed and printed ceramic object. By employing slicing, both as a tool in Rhino and an archaeological metaphor within my own practice and processes, I will try to align a symbiotic conversation, allowing new hand built and printed ceramic forms to be constructed. My research will aim to synthesise models of successful artist's, artisans and designer's studios, with a focus on how they cope with production in a meaningful way, in order to highlight avenues of potential, both commercially and creatively, in the development of technical ceramic processes. The research will manifest as documented practical studies. The out comes will be physical objects, machines and/or making situations that will clearly demonstrate a transformation of ideas and my findings. The research will be imbedded into the ceramic process of my own object making and may also find its way into the more contextual side of my own practice. I will continue to have exhibitions and enter these findings into these kinds of arenas that traverse the disciplines of Fine Art, Design, Engineering and Ceramics, so that the potential integration of this research is maximised. I hope that by bringing the inside and outside spaces of the pot together, the research will bring new ways of working and push sculptural feeling and form, within the expanding field of ceramic printing.

Full title: Clay Works? How can we create a 'pedagogy of clay', which utilises clays 'power' to engage and activate individuals in their community, to have a specific value within a substance misuse recovery process? This proposed research will utilise pedagogical curation techniques to effectively collate a number of makers techniques, which are adopted to understand place or facilitate community shifts, and appropriate them into an existing recovery programme. The affect that this process has on the recovery process will be measured appropriately, utilising qualitative and quantitative methods. This exercise will produce a piece of research/new knowledge, demonstrating the affected changes in recovery trajectories for clients who have manipulated clay via the methods of a socially 'successful' artist. The results will then sit alongside other outcomes from my research (for example, documentations of my methods and project partners) to form a 'toolkit'. The toolkit, titled 'Pedagogy of Clay' will enable other teachers/practitioners to curate and deliver clay engagements in health and recovery settings by utilising similar processes and methods.

have first-hand knowledge of both social and practical barriers present in accessing heritage and cultural spaces, and have been actively changing these for the better. This opportunity aligns perfectly with my own priorities of integrating contemporary art, environmentalism, and community engagement, and I would love the chance to effect positive change to the future of our local environment. I have always been drawn to presenting art in alternative spaces, away from the 'white cube', and have long aspired to work with the National Trust. I think there is vast potential to create work that provokes remarkable and captivating site-specific experiences. I am particularly driven to study at the University of Sunderland because of the interdisciplinary focus of this opportunity. Attending NEPN events, sharing knowledge with others in the faculty and Co/Lab Sunderland, and taking part in the National Trusts' networks would expand my ideas of wider practice, particularly in conservation and social practice, allowing my work to reach more informed, inventive directions. Utilising the university's wide-ranging facilities (particularly Fab Lab) presents an invaluable opportunity for me to create ambitious work across many mediums, learning new techniques and developing the practical skills I already have, particularly in electronics building.

The proposal is following on from my BA Ceramics in 1990 in which I investigated eating disorders and body image: Dissertation titled 'Images of weight' and my MA research into the relationship to self, body, environment: Title 'Humanity is experiencing a breakdown and loss of self: Does the creative process and especially clay, play an integral part in the reintegration and reparation of the self, other, world? This was born from my own lived experience and over 20 years working in the art and ceramics department of a Specialist college for young people with complex needs and an interest in phenomenology. This research aims to fill to a gap in the field with regards to arts practice and neurodiversity in women. In my research I would use my own lived experience and also engage case studies with neurodivergent women artists (in person or zoom) through the medium of clay to explore their association and relationship with their own body and agency, to identify whether the haptic creative process with clay can alleviate this unease and develop a more embodied experience. Ultimately I would develop a body of artwork based on the outcomes from this research, with the hope of answering why neurodivergent women fall under the radar of diagnosis? What leads them to experience distorted self/body awareness, disordered eating and hoarding? As part of the contextual review I would investigate relevant Museum collections and archives including The Wellcome Collection to establish if theses issue have been documented by artists in the past. I believe that early Upper Paleolithic figurative artefacts were created by women looking down at their own bodies in self realisation and exploring the idea of self and other; as embodiments of experience as described by Women of the world at the British museum women of the world blog https://blog.britishmuseum.org/women-of-the-world/ Often the work of female artists relates to unease, where the body is used as a metaphor and this can be seen in the work of Modern artists Lousie Bourgeois, who described her artistic process as 'Technologies of the self' Micheson. K. (2015) where she was re-creating her-self in tangible form, through domestic materials. Today, many female artists including Sarah Lucas, Jenny Saville and Rebecca Warren and glass artist Emma Woffenden create ambiguous figurative work, where hyper focus on body parts rather than wholes are used to emphasize sensation. The "Modernist period and even beyond, the visceral and vulnerable body is now a potent signifier of lived experience as well as a medium of formal aesthetic enquiry"(O'Reilly, 2009; 8] The Body is expressed as an object with agency and as a lived experience. Where there is fragmentation or the Western idea of Cartesian mind and body split there is an obsessive need for objects or feeding to define the self. Freud (1930) described this as 'The prosthetic god'. More recent research into Disordered eating. Springer (2017) Current psychology reports that "there is growing interest in the relationship between anorexia nervosa and autism spectrum disorder" and Political theorist Jane Bennett in Vibrant matter (2010) describes thingness, the agency of things or non human bodies and the special relationship that people with ADHD have with objects that they may have a deeper sensory awareness of the pull of the object or an affinity with the speed or slowness of things (2012) which could be one explanation for hoarding and eating disorders. She describes the agency of things, objects or food calling to the individual. "She understands the hoarder as uniquely able to heed the "call of things" thus eroding the boundaries between him/herself and challenging the entrenched duality between subject and object." Falkoff (2021) In a culture of dualities, us and them and same and difference of hierarchy of objects,discrimination and fear of other, more people are being diagnosed as Neurodiverse although fewer women with ASD

Prof. Alex Moschovi (DoS) has explored historical and contemporary representations of work and has written on visual typologies of labour in collaboration with museums (Stedelijk Museum de Lakenhal/NL/2007, National Gallery of Malaysia/2007, Benaki Museum/GR/2009, Thessaloniki Museum of Photography/GR/2018). Moschovi also co-curated a large-scale photography exhibition on Greece's post-war reconstruction using Benaki Museum's archival materials (2017). This expertise will offer valuable context to this project. Prof. Arabella Plouviez (Co-supervisor) is a photographic practitioner whose research is both practice-based, disseminated through exhibition and publication, and theory-based, disseminated through conferences and publications. This long-standing experience as a photography practitioner will be instrumental in guiding the practical element of the project. Shauna Gregg (External Advisor) is an Exhibitions, Collections and Archives Officer at the Sunderland Museum and Winter Gardens who has worked in the museum sector for over 25 years. She has expert knowledge of industrial heritage, as evidenced in the current exhibition of Pyrex's history that prominently features women at work and has supervised several university students in placement working on the Museum's collection. The project will require access to photographic and recording equipment, high-performance computers, printing facilities, and specialist image editing software and the Adobe suite, all of which are available to FACI students in the specialist facilities of the Northern Centre of Photography and the David Puttnam Media Centre where students are offered dedicated technical support. All FACI researchers have a dedicated workstation with a connected computer and access to printing facilities in the Faculty Research Hub. For the documentation of oral histories, specialist equipment and training will be provided at the David Puttnam Media Centre where Professor of Radio and Participation, Caroline Mitchell, will advise on participatory/action methods for community settings. The University's award-winning Spark community radio station may also be used as a platform for communicating open calls for project participants and workshops and dissemination. The researcher will benefit from the University's extensive doctoral development programme with rich VLE content, online/in-person sessions, and one-to-one surgeries as well as specialist training in Art and Design practice-based research delivered in the School of Art and Design by Moschovi and colleagues. They will further benefit from extended access and introduction to the Museum's collections, databases, and displays by museum and archive staff.