Those pots have something wrong with them and are thus not for sale. Since there is something wrong with them, and each bear my name, it would cost a large amount of money to convince me to let them out that door. It would be much cheaper for you to wait until I made a bowl that I am happy with.
The dozen or so stained earthenware sculptures revolved around human heads on pedestal-posts or wall-mounted and clusters of bird beaks (some of which were raku-fired) also mounted on the wall. The results were uniformly dark, foreboding, and very promising.
As a field, we are particularly good at time travel, but really only in one direction. We can, and should, start to look forward-further and more often than we do. Many potters define their work by how it differs from industrially made work. For example, the industrial pot is seen as flawless, boring, identical, sterile, cheap, safe and lacking a personal connection to the user. This critical definition goes back to William Morris’ 19th-century attack on industrialization and his subsequent championing of craft.
An Australian–born potter living in Japan discusses his collaborations with chefs to create ware specifically designed for the presentation and enjoyment of food.
An exploration into the history, near extinction and resurgence of what many consider to be the pinnacle of celadon glazes.
A discussion of the cultural and historical forces surrounding the production of Pennsylvania salt-glazed ware, why and how it ceased, and what it means to the potters of today.
with The Wind in the Jug
Looking for and recognizing the qualities in pots that make them timeless, instructive and perhaps even priceless.
A potter’s perspective on being “the hunter and the hunted” in the collecting world, and what it really means to collect pots.
The annual exhibition, which takes place at the National Council on Education for the Ceramic Arts conference, occupied three gallery rooms at the Pittsburgh Center for the Arts this year. The jurors share their thoughts on the work and their reflections on ceramic education.