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Ceramic Artists
See how today's ceramic artists are taking the lessons from old traditions and shaping their work for the future. Meet emerging and established ceramic artists and find out what influences their work. Learn more about the issues affecting contemporary studio ceramic artists and potters. In these articles, you'll find out how working artists make it work. You'll learn about their inspirations, methods, challenges and see examples of some of the best ceramic art being made today. And don't forget to download your free copy of Emerging Ceramic Artists: New Pottery and Ceramic Sculpture. You won't want to miss these up-and-coming ceramic artists who are sure to make a mark on the ceramic art world!
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October 7, 2009
Ribbons of rubber and strands of silk meander and stretch around porcelain pods and protrusions. The current work of Alison Petty Ragguette explores the parallel between visceral and mechanical systems. This intelligent and emotive work envelops interior spaces where bones fit into cartilage swaddled with translucent skin, or nourishing fluids flow. Naked porcelain, silicone rubber, and colorful silk thread merge, wrap, wind, and flow, implying the hardness and softness of our interior and exterior lives. These organic abstractions are intimate and tight, slick and sticky, stimulating and seductive, playful and alien.
October 7, 2009
Edinboro University, Edinboro, Pennsylvania: From Ceramics Monthly’s MFA Factor
Students in the graduate ceramics program at Edinboro University are expected to develop a strong individual direction, whether it is in ceramic sculpture or functional pottery. Our extensive facility provides all methods of firing and studio access 24 hours a day.
September 18, 2009
Southern Illinois University, Carbondale: From Ceramics Monthly’s “MFA Factor” Series
The ceramic program at Southern Illinois University, Carbondale, places emphasis on each student expressing their unique personality through their work. The program encourages a diverse range of attitudes including utilitarian pottery, figurative work, mixed media, and sculpture. Students are expected to explore ideas, materials, and processes, and to engage in critical dialog with the faculty and each other. Each student receives an individual studio space within a shared working studio environment and is expected to contribute to the overall health and well being of the community. Through group and individualized instruction, the faculty shares ideas with students and assists them in their creative endeavors. Visiting artists will also assist in this activity. The student ...
August 18, 2009
Finding Your VoiceJeffrey NicholsMaster craftsman Jeffrey Nichols talks about Finding Your Voice by developing your techniques and your ideas. over a period of time. He demonstrates his accumulated skills by sharing his technique for making a faceted teapot and using his unique decorating technique of layered underglazes. To view his teapot spout technique, check out the video.
August 13, 2009
Tyler School of Art, Temple University: From Ceramics Monthly’s “MFA Factor” series
Tyler's philosophy emphasizes the investigation and articulation of concepts leading to a high level of personal inquiry, resulting in work that challenges and extends the traditional boundaries of the media and their accepted definitions. Students have access to state of the art facilities and tools while enjoying an interdisciplinary education. The program provides weekly contact with major faculty, ongoing informal critiques with faculty, formal critiques and evaluations twice a semester, and an interdisciplinary graduate thesis committee. There are also significant teaching opportunities and study abroad programs available in Rome, Japan, India, and Scotland, among others. The visiting artists seminar enhances the curriculum by bringing nationally renowned artists and critics working in a variety ...
August 13, 2009
Down to Earth: Joseph Pintz’s Hand-Hewn Pots
Oval boxes, to 12 in. (30 cm) in length, handbuilt earthenware, fired to cone 02 in an electric kiln, 2008. Nesting bowls, to 12½ in. (32 cm) in diameter, handbuilt earthenware, fired to cone 02 in an electric kiln, 2008. Ricer, 13 in. (33) in length, handbuilt earthenware, terra sigillata and washes, fired to cone 02 in an electric kiln, 2009. Ridged Press, 7.5 in. (19 ...
August 12, 2009
NCECA 2009 Regional Student Juried Exhibition
Bent tray, 23 in. (58 cm) in length, by David Eichelberger, University of Nebraska-Lincoln. Orb Cluster, 15 in. (38 cm) in height, by Amanda Pless, Arizona State University. Childbearing Hips, 18 in. (46 cm) in height, by Shenny Cruces, San Francisco State University. Set of Shells 1, each approximately 2 in. (5 cm) in diameter, by Duncan Tweed, Northern Arizona University. ...
August 12, 2009
Travis Winters, Buffalo State College: CM 2009 Undergraduate Showcase
Nebula, 10 in. (25 cm) in height, raku fired, 2009. Cinched, 14 in. (33 cm) in height, wood-fired stoneware, 2009. As a child I spent a lot of my time exploring the woods that were right in my backyard, which is why I have always been drawn to the organic beauty of nature. By looking at the world around us, we can begin to see how some objects have been affected by imperfections. Many trees, plants, and animals have evolved because of mutations ...
August 12, 2009
Timo Fahler, Kansas City Art Institute: CM 2009 Undergraduate Showcase
Layered Archetype B, 17 in. (43 cm) in height, slip cast and thrown porcelain, stoneware, black underglaze, fired to cone 10 in reduction. Porcelain Archetype, 35 in. (89 cm) in height, slip cast, press molded porcelain, fired to cone 10 in reduction. My recent work investigates the interplay between the interior architecture of an object and the exterior surface it projects. My intention is to create visceral sculptures that expose the elegance of their skin while revealing the complexity of their anatomy. Utilizing a variety of textures allows me to ...
August 12, 2009
Mai Maruo, New York State College of Ceramics at Alfred University: CM 2009 Undergraduate Showcase
Jewelry box, 4.5 in. (11 cm) in height, soda-fired porcelain. Bowl, 11 in. (28 cm) in diameter, soda-fired porcelain. Over time, traditions adjust to people and their lifestyles. The rate of this change may vary within different cultures. In contrast, nature tends to change slowly and universally. Both of these types of change are meaningful to me for different reasons. Exploring Japanese traditional culture allows me to preserve a sense of my identity. I appropriate motifs and patterns not only from kimonos, but also from different cultures. Nature, on ...
August 12, 2009
Melanie Blood, Massachusetts College of Art and Design: CM 2009 Undergraduate Showcase
Draped Series Arches, 22 in. (56 cm) in height, low-fire slip, soda fired,2009. Draped Series, Untitled #2, 2 ft. (1.2 m) in length, low-fire slipand cotton batting, 2009. A moment in time can be captured; however, what remains most important is the memory and existence of that instant. My inspirations have been my grandparents, the longevity of their lives, the existence of time, and the idea of aging. The fear of death and longing lingers in my mind when creating unsustainable works. I am interested in the process of creating, ...
August 12, 2009
Matthew Bright, Minnesota State University-Mankato: CM 2009 Undergraduate Showcase
Failure to Function, 18 in. (46 cm) in height, earthenware, metallic paints, 2009. Transfuse Me, 25 in. (64 cm) in height, stoneware, glaze, glass, metal, fired to cone 05, 2008. As an artist, it is my responsibility to influence the viewer to see not just an object, but an expression of myself when looking at my artwork. I am consumed by the completion of my art more than by its purpose. I work with my ideas as rough directions rather than an exact map, therefore, the initial conception ...
August 12, 2009
Julie Malen, Kansas City Art Institute: CM 2009 Undergraduate Showcase
Bull in a China Shop, 75 in. (1.9 m) in length, stoneware, commercial dishes, ceramic decals, found objects, 2009. My interest in ceramics draws me to analyze the life and character of objects-the idea that possessions can retain the story of human existence. As a result, the scenarios I create in clay combine objects, plants, and animals that tell stories metaphorically. The viewer can derive meaning by asking first what the objects represent, and second what the relationship is between them. Clay is an amorphous and process oriented material that I ...
August 12, 2009
Momoyama Liquor Set, 10 in. (25 cm) in width, thrown, altered, and assembled stoneware (with cellulose fiber, nut shells, feldspar chips, and grog) and porcelain, soda-fired, 2008. Double Condiment, 12 ½ in. (32 cm) in length, thrown, altered, and assembled stoneware (with cellulose fiber, nut shells, feldspar chips and grog) and porcelain, soda-fired, 2009. I produce functional ceramic ware that has been inspired by my wilderness travels throughout Canada. These trips have produced an interest in natural processes and materials. As a result, my work is often about the methods used to form and ...
August 12, 2009
Brenda Danbrook, The Australian National University: CM 2009 Undergraduate Showcase
Composition of Eight, 16 in. (41 cm) in height (tallest), wheel-thrown stoneware, iron glaze, soda fired to cone 10. Composition of Fourteen, 16 in. (14 cm) in height (tallest), wheel-thrown stoneware and porcelain, wax resist glaze and soda glaze, fired to cone 10. Finding art within functional pottery has become my passion. I begin a piece by considering the shape, rims, and space, with rhythmic patterns creating relationships between forms. When people see my work, I’d like them to see confident, considered, elegant forms with engaging relationships developed through arrangement ...
August 12, 2009
Ice bucket, 16 in. (41 cm) in height, soda-fired porcelain, 2009. Serving bowl, 14 in. (36 cm) in diameter, soda-fired porcelain, 2008. While at Sheridan College my focus has been to explore as much technique and process as possible. The challenging method of soda firing has captured my attention. The random atmosphere and the dynamic glazes lend themselves to creating wheel thrown, altered, and hand-built forms that highlight this technique. My personal interest in the outdoors and traveling allows me to draw visual inspiration from both nature and architecture. ...
August 12, 2009
Angee Verzani-Dorcey, University of South Dakota: CM 2009 Undergraduate Showcase
3-Tier Cake, 15 in. (38 cm) in height, stoneware with slips and glaze, fired to cone 10, 2009. Bread tray, 18 in. (46 cm) in length, stoneware with slips and glaze, fired to cone 10, 2009. Conceptually, it is my intention to physically preserve a celebration, capture a moment, and honor the functional form. The works I create are artifacts that intuitively evoke cherished memories, rituals, and special occasions that we experience throughout life. I desire the journey of clay and possess a passion for functional ware and ...
June 15, 2009
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.
April 27, 2009
Emerging Ceramic Artist to Watch: Stephanie Craig, Strongsville, Ohio
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 industrial machinery.
April 27, 2009
Emerging Ceramic Artist to Watch: Shay Church, Kalamazoo, Michigan
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 hatched.
