Over the past thirty years, Terry Gess has developed a
personal logic that allows him to engage fully with the world around him. The
short version of the story is this: Whole life, whole potter. The long version
has to do with learning how to see, touch, and hear the nuances of daily life,
then intuit a light-handed, rich response through clay.
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.
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.
Developing techniques he still uses today, Baskin fired some pieces up to five times to achieve a certain effect. The first, and highest, firing is always in an atmospheric kiln for a spontaneous, natural looking surface. Adding silicon carbide to slips, Baskin accomplishes a gritty, textured surface. Additional layers of glazes and a black wash fired at lower temperatures complete the design
“Adventure Bound” is the most recent offering from ceramic
sculptor Pavel Amromin. This series could be described with a variety of
singular terms: cute, naked, vulnerable, lush, polychrome, intoxicating,
excessive, disquieting, and unnerving.
Don’t you love visiting the studios of people whose work you admire? Beginning with this issue, we’ll be taking you inside the garages, barns, basements, lofts, closets, and porches that serve as studios for potters and sculptors of all stripes. We kick off this special feature with four artists whose studios and work are both geographically and stylistically diverse: Patsy Cox, Los Angeles, California; Jeff Campana, Louisville, Kentucky; Stephanie Lanter, Topeka, Kansas; Robbie Heidinger, Westhampton, Massachusetts. Check them out!
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My studio is a converted horse stable, located in the Pioneer Valley at the foot of the Berkshire Mountains. My space is surrounded
by gardens, chicken coops, and bee hives.
It’s small with big windows. The tightness forces me to be
efficient with everything I do, and I’m not allowed to have anything but a bare
I work at home, and I was extraordinarily fortunate to find
a beautiful little airplane bungalow to rent with the space for the TWO studios
I really need. The “dirty” studio, where I work in wet clay and glaze, is my
13×11-foot spare bedroom on the first floor, and the “clean” studio, where I
draw, keep yarn, crochet, knit, and sew, is the upstairs 12×7-foot loft area.
Nearly as important are the “portable studios” of my sketchbook, digital
camera, and laptop. I gratefully am able to fire work in the kilns at Washburn
University (less than a mile and a half away), where I teach.
My studio is the main perk associated with my position as
visiting artist in the ceramics program at the University of Louisville. The
setting is urban and industrial, with the constant rumble of planes landing and
trains passing by. I have a large private space (10 × 27 feet) that opens into
the main ceramics studio classroom.