Ceramics Monthly, April 2010
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Focus: Summer Workshops Sometimes, the harder you hit a problem, the tougher it gets. But almost always, putting yourself among other people who care about the same things you do will help you see things differently. Someone will suggest something you never thought to try. Someone has had the very same problem. Realizing that you are not special in this way is, well, special. One of the best ways to put yourself in a situation like this is to attend a workshop—and this summer is chock full of them!—Sherman Hall, Editor on the cover: Tea set, 17 in. (44 cm) in width stoneware, porcelain, 2006; by Po-Ching Fang, Taiwan. |
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This year we see a surge in the number of ceramic workshops offered over the summer—tons of education and inspiration (and perhaps a bit of vacation).
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A Neutral Vision: Po-Ching
Fang’s Tea Sets A Taiwanese artist’s tea sets are a perfect example of well-defined traditional form used in the service of communicating across cultures. |
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Relative Permanence: The
Vessels of Karen Swyler
A potter uses the intimacy of subtle, elegant, understated pots to talk about and encourage intimate, contemplative interactions between people.
Monthly Method: Staying Inside the Lines, by Karen Swyler |
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Ryo Toyonaga: Enigma of the
Exiles
An artist who doesn’t actively pursue the relationship between material, process, and form makes organic work that cannot help but allude it nonetheless.
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Studio Visit: Russell Wrankle, Toquerville, Utah
Making pottery, sculpture, and tile all in the same in a small studio may seem cramped, but the payoff can be well worth it.
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