Call for Entries! Ceramics Monthly to Feature Outstanding Ceramics Undergraduate Students in September 2009 Issue
It’s summer time and that means the deadline (June 30 – write it down!) is fast approaching for Ceramics Monthly’s Annual Undergraduate Showcase competition. So as a reminder for that deadline, and simply to show you some great work, I thought I would feature the showcased artists from last year’s inaugural competition in today’s post.
Focus: Working Potters
Eight full-time working potters share their insights on making it in the pottery world, in the studio and in life.
Buy this back issue – $4.99 (PDF only)
In my current studio work, the Factory Work Series, I am equally
interested in formal design considerations and conceptual concerns.
Each piece is carefully crafted with emphasis on elements in contrast;
most notably the delicate white figures juxtaposing the crusty
I believe in the natural cycles of the earth. I often find truth within
these patterns of life and death. While cities grow, wars rage and
industry climbs, nature’s pulse is just as persistent. Migratory paths
remain, rivers continue to run downstream, wolves hunt, and insects are
The surrealistic nature of dreams and childhood memories motivate the
manifestation of the drawn, sculpted and painted images of my forms. I
am drawn to an aesthetic that is both visceral and detailed. I intend
for image, color and clay to exist as a harmonious vehicle that can
generate stories for the viewer.
I am investigating how we experience what we are attracted to. This
experience is multifaceted, involving an awareness of nature, various
cultures and histories, and a connection to ceramic vessels. I do this
with the understanding that visual and physical attraction are both
different than our experience of beauty.
My art explores the overlap and interrelation between child play, adult
play, desire and sensuality. Many of our toys were handed down from
generation to generation. I strive to capture the appeal of those
toys—Lincoln Logs, Legos and wooden blocks—that endured time and
Through the act of arranging, stacking, balancing, and connecting
porous ceramic units, I invite the viewer to experience how a wall or
floor might contain space and direct flow through space in new ways.
Ceramic sculptures of the figure have historically been used to comment on culture, from Japanese Haniwa to Tang dynasty splash ware to Mochican portrait vessels, offering insight into the creator’s social, religious and environmental surroundings.