Ceramics at LSAD

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The course also encourages new ideas, challenges and risk taking in the conception and realisation of creative work.

The BA (Hons) Design, Ceramics in Expanding Practice at Limerick School of Art and Design covers a wide range of expressive practice through clay and other materials, encouraging new ideas and risk taking in the realisation of creative work. The BA (Hons) course in Ceramics covers a wide range of expressive practice; from that of the individual maker who makes once off objects, be they functional, decorative, figurative or conceptual, to the designer producing products that are informed by social, cultural and lifestyle issues. The course, through 'student centred learning', enables the student to engage with the full breadth of ceramic processes, materials and practice and to solve creative problems with an awareness of design skills, context and responsibility.

24/10/2026

Second years gathering textures outside to make some unique ceramic flasks and bottles.

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03/09/2026

Delicious flat white from Grounded Coffee House Limerick in a cup made by LSAD alumna Amy O'Carroll 𝘼𝙢𝙮 𝙊’𝘾𝙖𝙧𝙧𝙤𝙡𝙡 | 𝘼𝙧𝙩𝙞𝙨𝙩 & 𝙋𝙤𝙩𝙩𝙚𝙧. The perfect pairing!

cup

30/05/2026

We wished a fond farewell to our colleague Fiona Bourke today. Fiona has given so much to the Ceramics programme in LSAD over many years of service. From her student days in the 1980s up until today, she's been a constant in this place. Throughout that time she's been an inspirational teacher, colleague and friend and will be missed by us all.

Sure to be spotted traversing the length and breadth of the countryside in her trusty campervan 'Maude', we wish her the very best for her retirement and many new adventures ahead.

Thanks Fiona

30/05/2026

Congratulations to our class of 2026! Well done on all your hard work this year. It's been a pleasure working with ye. Enjoy the celebrations! 🥳

27/05/2026

Robyn Fulham
Ceramics in Expanding Practice Graduate 2026

Paradiseisyou.com

Paradise is You; Queering Ceramic Practice

27/05/2026

Paige Tilloston
Ceramics in Expanding Practice Graduate 2026

pretty; beautiful

My work examines contemporary beauty as a system that produces and sustains a shared sense of inadequacy. Rather than an attainable ideal, beauty is understood as something continually pursued yet never secured, requiring ongoing adjustment, concealment, and self-correction.

Using the vase, an object historically tied to decoration, containment, and femininity, I explore how adornment functions simultaneously as aspiration and constraint. Decorative gestures become sites of tension, where softness gives way to pressure, and ornament becomes a mechanism of discipline.

The work centres the collective experience of not fully inhabiting prescribed femininity. It considers how the act of trying to fit, through embellishment, refinement, or modification, often intensifies misalignment rather than resolving it. In this way, beauty operates less as a goal than as a structure that depends on continual failure.

Through a visual language of excess, the work traces the point at which enhancement collapses into distortion. Attraction and repulsion coexist, revealing the instability of ideals that demand transformation while resisting fulfilment.

The materiality of clay reinforces this tension, as its capacity to hold memory, record pressure, and permanently register alteration mirrors the cumulative, irreversible effects of continual self-modification.

27/05/2026

Shane Commane
Ceramics in Expanding Practice 2026

thoughts-Feelings-ACTIONS

This series of work explores the emotional intricacies of the human condition.

Evolved through process-led intuitive ceramic experimentation, it explores a range of negative emotions that we attempt to suppress. The objects honour and work through the thoughts and feelings we perceive as negative in our lives. Rather than repressing these emotions, the work externalises what is often hidden and kept internal.

These physical forms aid our understanding of our complex and contradictory inner lives by providing tangible objects to contemplate.

27/05/2026

Cristeen Kilkenny Roddy
Ceramics in Expanding Practice Gradate 2026

A Gentle Reminder of our Past, Present and Future.

The ground we walk on holds memory and bears witness to our present and our past.
We move through life connected to the ground in which we ultimately return to.

We are one with nature; we coexist.
My work explores this connection and reflects it geologically through clay and botanically through found dried tree branches and wild growing seed heads.
Inspired by the Japanese tradition of Ikebana; with an emphasis on mindfulness, heaven and earth, using intentional placement,
I pay homage to this tradition through clay vessels and inclusions.
My pieces are tangible relics of our past, offering us our present and
leading us into our future.
These values guide how I arrange and present my work, encouraging a more reflective
relationship between nature and humanity.

A gentle reminder to be still in the present, contemplative of our past, and to look forward to the future.

27/05/2026

Amanda Kelly
Ceramics in Expanding Practice Gradate 2026ceallaigh.1976.handbuild

Family Secrets

As a ceramic artist, my practice combines material exploration with research into heritage, storytelling and the emotional weight that the objects can carry. My practice is rooted in Irish Heritage, the maternal lineage of the family and the quiet power that is behind my hand-made objects. Through hand-building, casting and surface experimenting, I am exploring how women’s histories are hidden by society. My work is shaped by lived experience and a commitment to honouring the stories.
My current project is based on ‘Family Secrets’. What had begun with me doing genealogy research has led me to reveal a family secret. The discovery that one of my dad’s ancestries had two daughters out-of-wedlock at a time when such things would have brought shame to the family and would have ruined a girl’s reputation. A time when she would have not only been kicked out of the family home but would have ended up in the workhouse. Her child could have been taken from her and may not have survived the workhouse. I know that my dad’s grandaunt did have both of her girls in a workhouse. I also know that they weren’t kicked out of the family home because their names appear in the 1911 Censes living with her parents. I don’t know how the people living around her would have treated her. Would she and her child been accepted or made to be out-casts.
I am hoping that by doing this project, that I can give back her place in society. To let her know that she has nothing to be ashamed of. To give her respect and peace. To tell the world her story, I want to right the wrong that was done not only to these women but others that found themselves in this same situation.

Address

Clare Street
Limerick

Telephone

+35361293870

Website

http://www.lit.ie/lsad

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