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From Potter to Pottery Designer

Posted On January 7, 2013 2 Comments

In a world that seems to favor the fast and the cheap, it can be difficult to sustain a career as a maker of handmade objects. In fact, I think artists work harder than anyone I know to sustain their careers. Even with a successful exhibition career, a teaching gig, and selling her pots, Molly Hatch struggled with these very issues. Then she got a very intriguing email. The major retailer Anthropologie was interested in partnering with her to produce a line of dinnerware for the store. In today’s post, Molly explains how this turn of events came about and gives advice for other potters hoping to receive similar emails!

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2-D to 3-D: Using Image Transfer and Mishima Techniques to Make Drawings on Pottery

Posted On March 26, 2012 23 Comments

In today’s post, an excerpt from the November/December 2009 issue of Pottery Making Illustrated, Molly Hatch explains how she uses image transfer and Mishima techniques to create her drawings in clay. Plus she shares her slip and engobe recipes.

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Text and Context: Stephanie DeArmond’s Slab-Built Porcelain Letterforms

Posted On March 5, 2012 3 Comments

In today’s post, an excerpt from a full profile in the June/July/August issue of Ceramics Monthly, Molly Hatch discusses Stephanie’s work and influences. Plus, Stephanie takes us through the process of slab building her letterforms.

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Relative Permanence: The Vessels of Karen Swyler

Posted On May 24, 2010 1 Comment

Working from her faculty studio at Green Mountain College in Poultney, Vermont, Karen Swyler employs what can be described as a thematic approach to her ceramic work. Concentrating on personal relationships and memory, her pieces rely on juxtaposition to one another to be complete both in concept and form. Swyler’s work is clearly grounded in the history of ceramics and the vessel, but through cutting and altering her thrown forms, much of Swyler’s work enters the realm of the sculptural. Her vessels act as metaphoric memoirs—as bodies relating to one another through proximity, palette, line, and contour.

Interview with Deborah Schwartzkopf at Mudflat Studio, July 2009

Posted On January 20, 2010 0 Comments

Molly Hatch interviews Deborah Schwartzkopf on her work, how she started, and her life as a working potter. 

Pitchers, to 15 in. (38 cm)  in height, wheel-thrown and altered parts combined with patterned slabs that were shaped with hump molds.

Deborah Schwartzkopf: Full Circle

Posted On January 20, 2010 0 Comments

Like a lot of potters just starting out, Schwartzkopf discovered that travel and relocation are part of establishing a reputation and a body of work.
Monthly Methods: Pots as Puzzles by Deborah Schwartzkopf