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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!

Aggressive Species, 13½ in. (34 cm) square, cloth dipped in earthenware, wrapped around earthenware pillow, plant material dipped in earthenware  slip, clear glazed, fired to cone 05, 2010.

Mary McKenzie, Undergraduate Showcase 2010

Posted On August 10, 2010 2 Comments

Mary McKenzie
Sheridan College of Technology and Advanced Learning, Oakville, Ontario, Canada
Instructor: Bruce Cochrane

Blue Floral Tumblers, 5 in. (13 cm) in height, wheel-thrown porcelain, fired to cone 6.

Mariko Brown, Undergraduate Showcase 2010

Posted On August 10, 2010 3 Comments

Mariko Brown
Kansas City Art Institute, Kansas City, Missouri
Instructors: Carry Esser, Paul Donnelly

Lidded jar, 18 in. (46 cm) in height, stoneware with colored slip and glaze, soda fired to cone 10 in oxidation, 2010. Photo: Mike Fleming.

Haakon Lenzi, Undergraduate Showcase 2010

Posted On August 10, 2010 6 Comments

Haakon Lenzi

New York State College of Ceramics at Alfred University, Alfred, New York.

Instructors: Andrea Gill, Kala Stein

Vase with three glazes, 19½  in. (50 cm) in height.

Hideaki Miyamura: In Search of Iridescence

Posted On August 9, 2010 0 Comments

In the more than 25 years that Hideaki Miyamura has been dedicated to fine ceramics, he has focused on classic glazes, most notably the Yohen crystal and the Yohen Tenmoku glaze. Miyamura has explored these ancient techniques, sometimes bringing them back from oblivion, then perfecting them and making them his own.

Yellow faceted box, 4½ in. (12 cm) in height, stoneware, gas reduction fired, 2009.

The Life and Times of a Successful Professional Potter

Posted On June 9, 2010 11 Comments

In today’s post, an excerpt from the Working Potters focus in the June/July/August 2010 issue of Ceramics Monthly, Sequoia Miller tells the story of how he went on from his first class at Greenwich House Pottery to establish a successful career for himself.

Liquor Service, 12 in. (30 cm) in length, porcelain and earthenware, porcelain bisque fired to cone 06 and glaze fired to cone 9/10 in reduction, earthenware single fired to cone 04.

Sip Service: How to Make Sets That Blur the Lines Between Functional Pottery and Ceramic Sculpture

Posted On May 31, 2010 70 Comments

Today, Mike Jabbur shares his process for one of his liquor service sets. Not only does Mike make lovely functional sets, but he also creates display units for them that elevate them to a more sculptural realm.

Untitled, 19 in. (48 cm) in height, stoneware, fired to cone 10 in reduction, 1995.

Ryo Toyonaga: Enigma of the Exiles

Posted On May 24, 2010 1 Comment

Ryo Toyonaga’s recent survey curated by Midori Yamamura and designed by Yumi Kori at the Vilcek Foundation in New York City (March 12-May 15, 2009) summarized nearly twenty years of work in ceramics and other media. For our purposes, we will concentrate on Toyonaga’s evolution as a ceramic sculptor. This is helpful, especially now, since, like many other ceramic artists recently (Frank Boyden, Peter Voulkos, Jim Leedy, Patti Warashina, Michael Lucero, etc.), Toyonaga is switching almost exclusively to bronze and aluminum, cast at the legendary Tallix Foundry in Beacon, New York, near his studio in Garrison, New York, in the Hudson River Valley. It is more important than ever to treat his ceramic work to date as a finite system, even a closed book.


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.

Photo of Mark Skudlarek in his studio.

Working Potters: Mark Skudlarek

Posted On May 21, 2010 1 Comment

The initial reason I wanted to make a living at pottery was that it would provide me with a degree of independence. I imagine this was instilled in me growing up on a dairy farm in central Minnesota. I was accustomed to work but what I enjoyed about pottery (and farming) was the cyclical nature of the occupation and the ability to live and work from home.

Photo of Joanna Howells throwing on the wheel in her studio

Working Potters: Joanna Howells

Posted On May 21, 2010 1 Comment

I fell in love with making almost as soon as I touched clay, some two years before leaving school. But it was at Cambridge University, where I visited the Fitzwilliam Museum twice a week to see the early Chinese porcelains from the Song period, that I discovered a determination to give up medicine as a career and pursue ceramics.