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There was a time not so long ago when tableware was displayed as the prized possession of households across Britain; fine china used only on special occasions and promised one day to younger relatives proudly adorned dining room cabinets. <br/>More recently, many of those inherited collections have found<br/>themselves forgotten or retired. In the twenty-first century, screen time and throw away culture has eroded the ritual of sitting around a table together at meal times. <br/>In many homes people opt for teas-on-knees while ready-meal packaging and mass-produced supermarket-bought plates have taken the place of the previously treasured dishes.<br/>It's a lack of connection to our tableware that Japanese born potter<br/>Makiko Hastings noticed when she first moved to the UK. <br/>Working from her studio in Knaresborough, she hopes her lovingly<br/>crafted wheel-thrown pieces will encourage a new way of using and<br/>cherishing our crockery.<br/>“One way of looking at pottery is that some people might want to have a collection and treat it like art to look-at, but I want my pottery to be used in daily life,” she explained. <br/>“That’s because the food culture in Japan is quite deep. Table gathering was an important part of my childhood.”<br/>“Over here everything was on the one plate and then quite casually it was just eat and done with - or otherwise people have set tableware and everything is just pristine, and for me that’s kind-of too polite or too posh. It’s not really living life.<br/>“I want my work to be part of daily life so people feel comfortable with it and cherish it.”<br/>Makiko embraces the slow process of pottery. <br/>New collections are never rushed to meet commercial demands - “ideas just come when you’re not trying to think. It just comes when you’re on a bus or walking and then eventually I’ll formulate how I want it.”
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The post-Independence project of nation-building in South Asia (the countries that are now India, Pakistan, Bangladesh, and Sri Lanka) after 1947 was marked by architecture that was often influenced by the International Style led by architects patronized by the newly-formed sovereign states. The current exhibition at the Museum of Modern Art (MoMA), The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985, notes that while the predominant mode of design was defined
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A street artist travelled from Palestine to Glasgow to unveil a brand new mural inspired by his 'precious' homeland over the weekend.<br/><br/>Taqi Spateen brought his artistic talent to the city and created a large-scale mural in the east end - with its exact location on Stevenson Street near to Barrowlands Gate.<br/><br/>He collaborated with Ciaran Glöbe, one of the artists behind the fake Banksy which appeared near Buchanan Street last June, to bring his vision to life and will work with other local artists across the UK.<br/><br/>The artist is liasing with fellow creatives about the plans, both logistical and artistic, for the murals being created.<br/><br/>Graffiti art is a major cultural force in Palestine. In August 2005, UK street artist Banksy and his team painted seven large murals on a section of the 440-miles-long West Bank Wall, also referred to as the Separation Wall. Since then, the wall has gone on to become a hotspot for the graffiti scene.<br/><br/>Taqi has created many murals on the wall including 'The Boy with the Goldfish Bowl' - showing a child with what is left after the destruction of his childhood home - a series of portraits of George Floyd, and his collaboration with the brand The North Face 'Walls Are Meant For Climbing'.<br/><br/>Now creating and exhibiting internationally, he draws inspiration from the Palestinian countryside, particularly the olive tree, one of the most famous of all Palestinian symbols. His more recent paintings also include depictions of mass urbanisation and colonial settlements on his precious homeland.<br/><br/>Taqi's talent is being showcased as part of the Bethlehem Cultural Festival - set up in 2020 to put the artists, arts and culture of Palestine and Bethlehem centre stage.<br/><br/>The Festival’s creative director, Melissa Scott, says: \
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“Hero”, a live stream video installation from July 31 through August 6, 2015 featured a live rat in a glass tank chewing on a pile of $20 bills with a coalescence of digital imagery in the background. Hero, a provocative materiality of a under explored subject in contemporary art asked Why Andrew Jackson is still on 8.1 Billion bank notes in year 2015. nThe work drew on Jackson extreme wealth accruement through Slavery and his Indian Removal Act. Native American culture perceived as a hindra
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