Maren Kloppmann: Working Potter
Oval bowl, 23 in. (58 cm) in length, porcelain with glaze and terra sigillata, fired in oxidation, 2008. Wall plates, 24 in. (61 cm) in length, porcelain with glaze and terra sigillata, fired in oxidation, 2009. My last teaching job ended in 2002 and I consider myself to have been a full-time studio ceramic… Read More »Work and Play: The Potter’s Life
Choosing Solitude Jeff Oestreich, Taylors Falls, Minnesota; Deeply Invested Silvie Granatelli, Floyd, Virginia; Small Rewards, But Who’s Counting?, Blair Meerfeld, Saguache, Colorado; Hard Work, Soft Clay, Mark Shapiro, Worthington, Massachusetts; Foundation Stones John Glick, Bloomfield Hills, Michigan; Pots in the Real World Ayumi Horie, Cottekill, New York
A Builder of Pots: Combining Handbuilding and Throwing to Make Altered Functional Ware
When throwing pots for long hours at a time became too much for ceramic artist Marlene Jack’s wrists, she altered the way she worked, putting more emphasis on handbuilding and looking at the wheel as just one of the many tools in her arsenal – not the primary one. As you can see in the image, the work didn’t suffer one bit. Today, Marlene tells us about her working methods and philosophies for altered functional work.
Stretching the Limits: Slab Building to Create Pots That Look Like Pillows
Today, we bring you the work of Margaret Bohls who stretches the limits of porcelain to explore the ideas of expansion and restraint. Margaret’s vessels have the appearance of soft, cushy upholstery. They seem like they are being inflated from within. She achieves this effect by painstakingly creating each bulge in her slab building process, which author Glen R. Brown elaborates on below.
