As part of our Fresh Talent programme, four artists were chosen to undertake a residency from a group of 25 that were part of our Fresh exhibition at the 2023 Biennial. Tim Fluck was selected for a residency at Staffordshire University in Stoke-on-Trent and will present his new work at our 2025 Biennial.
In this interview with Tim, he reflects on his time in Stoke-on-Trent with the university and tells us about his experience during the residency and the impact on his artistic practice.
“I was so inspired and finally felt a connection to the heritage of ceramics. I began to investigate how I could bring a nod to this rich history in my work through transfer printing.”
About Tim Fluck
Tim Fluck is a ceramic artist based in East Sussex. Having recently graduated with an MA in Ceramics from UCA, he has gained recognition for his unique approach; combining resin, acrylic and neon lights, pushing the boundaries of contemporary ceramic art. He appeared on the cover of Ceramic Art London’s catalogue and was selected as ‘one to watch’ by Ceramic Review. His tabletop-sized porcelain sculptures of various component parts are arranged to create playful yet precarious architectural compositions.
Born in Portsmouth, Tim Fluck initially studied Fine Art at Oxford Brookes, specialising in Photography. After several years working as a freelance photographer, he gained his teaching qualification at Goldsmiths University and spent 12 years teaching Art and Photography at inner London schools. Whilst teaching art he discovered a love of ceramics, and eventually left teaching art and began focusing on his own practice and teaching pottery at private studios. In 2023 he completed an MA in Ceramics from UCA and began to make his mark as an emerging contemporary ceramic artist. He continues to explore and experiment, most recently slip casting with bone china and combining motorised components within his sculptures.
Briefly talk about your practice
I create slip-cast porcelain sculptures of various component parts, arranged to create playful yet precarious architectural compositions. Conceptually, I explore the notion of utopia as a process, rather than a solution. The promise of an ideal is never realised but remains in perpetual motion. My work brings together seemingly disparate forms and textures, from minimalist-inspired Brutalism to the maximalism of Memphis design. The contrast of clean and seemingly infinite forms, with playful and colourful imperfect protrusions, aim to represent the precarious harmony of hope and the perpetual reach for the elusive promise of utopia.
In creating art which explores an abstract interpretation of utopian theory, my work invites the viewer to use the art object as a catalyst for imagining different futures. With Utopian thought being an essential part of peering over the horizon and into the future, our imaginations can lead us into the ‘Realm of Hope’.
“Art as a promise, as the promise of another future” -from Theodor Adorno’s ‘Aesthetic Theory’ (1970).
What were your expectations before starting your residency?
Prior to starting my residency, I had only been to Stoke-on-Trent for the Biennial with little time to explore. I was excited at the prospect of being amongst the potteries and in a city so steeped in history. My practice had never really engaged with the heritage of ceramics, focusing more on sculpture and architecture, and staying in Stoke-on-Trent for a while gave me opportunity to explore.
Please tell us about your experience in Stoke-on-Trent and at Staffordshire University and the impact on your practice
For the first part of my residency, I mainly focused on exploring the facilities Staffs Uni had to offer. I really enjoyed being back in an academic setting and to be in the studio with the MA students was inspiring. I had many great discussions and met some very talented ceramicists. The facilities gave me the opportunity to explore new processes. I started to experiment with non-traditional combinations such as acrylic, porcelain and light components.
In the second part of my residency I engaged more with the city. One of my highlights was getting a tour around the Burleigh Factory. I was so inspired and finally felt a connection to the heritage of ceramics. I began to investigate how I could bring a nod to this rich history in my work through transfer printing. This is something I continue to explore in my work.
Was there any significant connection or collaboration with another artist or organisation? Will that continue?
I really enjoyed the lecture and teaching aspects of the residency and felt like I built up a good rapport with the Ceramics department. I would be very keen to go back to Staffs Uni as a guest lecturer. It was also great to meet the team at BCB. The other potential connection was with Burleigh and I’m trying to come up with ways I could explore this further. I met some great ceramicists on the MA programme that I will stay connected with.
What are you most excited to take forward in your practice?
I have had a busy year following the residency, with exhibiting at Ceramic Art London (CAL) being the highlight. After all of that, I am back in the studio experimenting with new ideas and processes. I have bought myself a resin printer and continue to explore how I can combine this with my porcelain sculptures. Winning the award gave me the confidence and validation to keep doing what I’m doing. I have been thinking about doing a Phd in Ceramics. It would allow me to dive back into a research led practice, which is a key part of my process.