Exploring the Art of "Ceremation"

Conducting research and problem solving in artwork, however, requires a different approach. On a recent studio day, Professor of Art, Megumi Naitoh and Art Therapy major Gemma Cosgrove ’26 were underway on a “ceremation” project – a term Naitoh coined for her own work – meaning stop motion animation of ceramic processes and objects.

Since the start of the semester, Naitoh and Cosgrove have been working together to visually animate and present a ceramic object repairing itself. With a camera setup and broken cup shards that were hot glued together, the pair searched for a solution to how they would capture the teacup crumbling as the glue was melted. When the footage is played back in reverse, the animation will look as if the cup’s pieces are coming back together from its broken state.

This "ceremation" method isn’t an easy process, Naitoh explained, because typical water-based clay won’t maintain its workability for long enough when it dries out – but she found a solution – using a water saturated plaster platform can sustain the wetness of the ceramic object.

“I want to make something that pushes ceramics art forward – and this fills that gap,” she said. There is more to be discovered as well: in future phases, Naitoh will have to use a particular glaze that she is still yet to develop.

They began on the current project, entitled “Mending” in mid-November, which has been inspired by Naitoh’s mother’s cancer and her resilience in her recovery as well as the human desire to “repair” what is broken in society.

For Cosgrove, who one day aims to open a private practice that offers clay-based art therapy, being involved in the troubleshooting and experimenting that goes into a unique art form has been invaluable, even after just a few months.

As the student researcher on the project, she’s been able to see firsthand in a one-on-one setting how an experienced ceramicist tests out materials and workshops ideas to find a solution that no one else has found. She’s also directly involved in the development of Naitoh’s ongoing project, helping select color palettes, performing tests with the artwork and sharing her own insight.

Early in her career as an artist, Cosgrove can benefit from the freedom and open-endedness of this experimental work, Naitoh said. The hope is that the studio can feel like a giant playground and act as a space where Cosgrove can explore her own curiosity and creativity. It’s a chance to learn by doing, and there’s no wrong answers.

“There’s no right or wrong approach, there’s no formula. As an artist, you have to discover your own process and voice,” Naitoh said. 

Learning alongside a longtime artist in this way has not only helped Cosgrove see how she can develop her process but has been great practice in pivoting between tasks and finding solutions. “We keep it organic,” she said, “which is teaching me how to be less rigid in my approach.”

By design, Naitoh’s workflow has to be fluid, open-ended, and non-linear. “There needs to be a sense of play,” Naitoh said, “when it comes to working with so many moving pieces. This way leads to discovery.”

Both Cosgrove and Naitoh will attest: it is not a typical research experience by any means – but they often find themselves on the same page regardless. “I feel like our brains work in a very similar way,” Cosgrove said.

“This isn’t the easiest thing to partner on,” Naitoh said, “but it’s a great opportunity for both of us. I don't know of a lot of other places where there is this type of one-on-one, back and forward work between faculty and students. And I get a lot from Gemma as well – I benefit from her insight!"

As she prepares to graduate in May, Cosgrove’s work with Naitoh has been the perfect foray into how she will operate in an art studio post-graduation. Cosgrove grew up loving art and wanted to study psychology at Emmanuel, finding her passion for art therapy where the two subjects intersect. 

In addition to her coursework, which is a blend of art and psychology courses that have more structure, the research is a bonus crash course on working with ceramics in cutting edge ways.

“Testing so many different materials, seeing how they work and witnessing a ton of unconventional methods has given me a lot of ideas that I could use in my own work,” she said, “it’s so exciting to be involved with Megumi’s work and learn from someone who is so passionate and talented.”