We talk in-depth about one of her key research projects that explores extractive stories of clays. Pompili worked with a polluted river clay, developing processes that used treated asbestos as a filler to lessen the amount of mined clay needed. The project’s dramatic findings are the result of a durational methodology that relied on the designer establishing conversations between materials and techniques, industry and craft, experts and institutions, scientific findings and cultural associations. It was also based in an ecology that Benedetta was deeply connected to, the region was where she was born and connects to her social and familial history.

We talk about how her practice informs her work as a Workshop Technician at the Rijksakademie, and how her interconnected approach inform the everyday workings of a busy ceramic workshop. It’s the confluence of these different perspectives that make Pompili’s experiences and approach so interesting – we hope you enjoy it!

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Robertson works in print, sculpture and installation, with a focus on materials and processes. She selects materials based on their associations. Systems of technology, advertising and print media are all explored through the materiality of the artworks. Kate is also one of the directors of Sculpture Placement Group, advocating for more sustainable practices in the visual arts. From this dual perspective, she has a depth of understanding about different methods of commissioning and the material reality of contemporary art production.

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The bank is both an online and physical thing, it’s a living document and resource of all the materials that have been developed thus far on the programme. Its intention to inspire is clear in the wealth of imagination and technique illustrated. 

Leading the programme at the Nature Research department is Giulia Bellinetti. Previously a Coordinator of the Production Department at the Museum of Contemporary Art of Antwerp. She engaged with a wide range of art practices gaining a nuanced understanding of the cognitive, affective, and material configurations underlying contemporary art production. In recent years, Giulia has become increasingly interested in the ecological discourse in relation to contemporary art, institutional work and interdisciplinary forms of collaborations.

In this episode Giulia tells us about her journey, delving into some of the epistemological underpinnings of her research and the department. She’s both incredibly engaging and generous with her time, we hope you enjoy it!

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