This study focuses on the possibilities of overcoming tension, which occurs as a result of bias around disagreements especially in the field of ceramic art that is categorized as material-based art. To this end, first, without referring to any period or geographical location, the modern thought and the dichotomic approach as it result are outlined; this way of thinking has specified as field of plastic arts; then, the effects in ceramic art are examined.
This question is framed as an identity problem that arises because of the lack of construction or connection between body and mind in ceramic. In order to reveal the possibilities of the discipline, it was suggested that opposite concepts should be read in an alternative way and in this context interface concept is presented as the main line of study. This concept, which refers to the chemical reaction between the ceramic glaze and body, represents the idea of unity by the aid of its transitive characteristics. So, the given examples and the personal practices are intended to illustrate this perspective.
The study aims to reduce the tension between practice and theoretical knowledge, especially for the Doctor of Art dissertations. Instead of the classical methodological approach that focuses on the final work of art, it has adopted the method of research through art which offers a more complicated relationship between data and output. As an interface of polarized forms of knowing this study aims to overcome the bias by establishing a bi-directional relationship in different contexts such as language, structure, personal practice or methodology.