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.
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!
Vulture’s Dinner Plate, 11 in. (28 cm) in diameter, earthenware, 2008. Chicken Tray Set, 12 in. (30 cm) in length, earthenware, 2008. My work is a search for a connection to new and shifting landscapes, as well as an investigation of my own evolving relationship with the natural world. The imagery reflects an ongoing inner… Read More »
Children in general are less inhibited by social and cultural constraints imposed on them later in life. Their actions are frank and more sincerely instinctual than those of adults. Adolescence is the meeting of these two worlds, where the boundaries of cultural and natural influences become blurred.
My primary concern is to immerse the viewer in a place of both comfort and uncertainty. While the appearance of the work comes from the realm of fantasy and early video games, my conceptual approach looks for ways to function under strict sculptural parameters, much in the same way those early video game programmers navigated the visual and technological limitations of their time.
I have always remembered my dreams. Though I have never been a religious or superstitious person, I have always believed that my dreams had significance. The fact that there are large parts of ourselves that we can never experience in waking life is deeply fascinating and disturbing to me, and it motivates much of my work as an artist.
The focus of my work has been the creation of objects that are beautiful and fun, with an informal use of material, pattern and color. I am a collector of objects and ideas that manifest themselves in a need to create pieces which are treasured by others in the same way I treasure them.
Familiarity evokes memory and I look to this association to present nostalgia through form. My reference to rural American architecture and antique rural implements places the viewer in a familiar setting that is layered with time, function and history while color creates celebration in these iconic objects.
We live in an era where indirect forms of communication have become standard. Cell phones, internet messaging and e-mail have made face-to-face conversation seem like a distant memory. Through my ceramic vessels, I investigate the important ritual of sharing a meal.
The physicality of the ceramic medium is an integral part of my
everyday liveliness and identity. As a result, it is imperative that my
work reflect this synergy. I define myself as an energetic, passionate
person, striving for balance and harmony in my life and in my creative
The sculptures that I make are driven by a desire to investigate how an
individual’s personal history affects their identity, behaviors and
actions. I am especially interested in inter-generational trauma and
how a person’s past—particularly a past that has been interrupted by a
traumatic event such as war—can influence patterned behaviors that are
passed through the family.