Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

COMMON GROUND: Craftsmanship in Ceramics, Jewellery, Basketry and Wood / Oxford Ceramics Gallery, Oxford, UK

COMMON GROUND exhibition, Oxford Ceramics Gallery

Craftsmanship in Ceramics, Jewellery, Basketry and Wood / Oxford Ceramics Gallery, Oxford, UK
December 1, 2013 - January 12, 2014

Oxford Ceramics is staging its first exhibition of contemporary applied art in December, with ceramics, wood, basketry and jewellery by some of the UK’s most distinguished artists. The exhibition celebrates the richness and diversity of their work, as well as a shared quality of fine craftsmanship. It will be on show at Oxford Ceramics Gallery until January 12, 2014.

Ceramics are central to the exhibition, with exciting new work by Carina Ciscato and Tanya Gomez. Carina Ciscato is one of the most individual voices in the world of contemporary ceramics. Her architectural vessel forms are constructed from different thrown components, each with its own rhythm and pattern of throwing rings. Her approach is largely intuitive, and her exciting, fluid forms evolve in the making.

Bold saturated colour is a trademark of Tanya Gomez’s cylindrical, flat-topped pots. Recently, however, she has introduced an altogether more restrained palette of celadon, white and coal black. The smooth openings of her coloured pieces have been replaced by a sharp, torn gash, adding an immediacy and edge to her work.

Wood as an art form has been enjoying something of a renaissance in recent years, and exhibitor Jim Partridge - renowned internationally for his serene, beautifully crafted work - is one of its most compelling exponents. His spherical bowls and open vessels are carved from oak, then scorched and polished to a rich, deep black or washed in matt white. The striking studio furniture made by Partridge and Liz Walmsley is also represented in the show - minimal yet monumental, with a quiet, strong presence.

Irish wood turner Liam Flynn makes smooth, rounded vessels in which the character and grain of the wood is integral to the design of the piece. He works mainly in Irish oak, often ebonised, with fine detailing: his bowls may be footed, fluted or double rimmed, with a gently undulating profile.

Wendy Ramshaw CBE is acknowledged as one of the greatest jewellery designers of our time, whose work is represented in some 70 public collections worldwide. She is best known for her signature ring sets, which she displays on elegant, tapered stands. These are, in her own words, “both a sculptural object and a collection of rings”, which can be worn singly or in different combinations to suit the wearer.

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  • Ceramics/Glass / Ukrainian Institute of Modern Art, Chicago

    Ceramics/Glass exhibition, Ukrainian Institute of Modern Art Chicago

    Ceramics/Glass / Ukrainian Institute of Modern Art, Chicago
    December 6, 2013 - February 2, 2014

    Ukrainian Institute of Modern Art in Chicago (UIMA) presents the exhibition Ceramics / Glass. This exhibit focuses on the medium of ceramic or glass in contemporary art – mediums that require high temperatures, special tools, kilns and specialized studios. UIMA has selected some distinctive personal styles from numerous glass / ceramics studios in Chicago and from artists working in national and international cities.

    Brent Rogers, Alex Trommler and Aaron Wolf-Boze are from Chicago, showcasing art glass that was created in Ignite Glass Studios. Ignite Glass Studios (founded 2012) is already building reputation as a ‘hot’ art glass studio in the U.S.. Eric Bladholm is from Chicago Glassworks, a state of the art glass blowing facility and artist’s studio, custom built into a former iron foundry. He will present glass works combined with various metals. Nikki Renee Anderson will present multiple piece ceramic installation and Robert Pulley will exhibit one of his larger ceramic garden sculptures. Both artists are from Chicago Sculpture International and focus on the sculptural aspect of working with ceramics. Michael Janis, an ex-Chicago artist (now Co-Director of the Washington Glass School in Washington, DC) will present fused glass with glass powder imagery. Xavier Monsalvatje lives in Spain and works in traditional ceramic techniques which reflect industrial aesthetic designs reminiscent of the works of Mexican Muralists. Yurij Musatov and Anna Lypko, both from Ukraine, are two contemporary artists working in ceramics.

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  • Esencia 2013 by Sanserif Creatius: Japanese and Valencian Craftsmanship / Valencia, Spain

    Esencia 2013 by Sanserif Creatius: Japanese and Valencian Craftsmanship

    Esencia 2013 by Sanserif Creatius: Japanese and Valencian Craftsmanship / Valencia, Spain
    November 28, 2013 - February 28, 2014

    The second edition of the Esencia project is inspired by the reflection of Japanese craftsmanship in the Valencian one and coordinated by Sanserif’s team of designers who worked together with 20 artisans from Alicante, Castellon and Valencia. The aim of this exhibition is to update the image of craftsmanship through the development of a heterogeneous universe of objects that transmit contemporary messages and meet the needs of contemporary society, by the use of traditional techniques and processes.

    This investigation project, which annually turns into a travelling exhibition and was awarded in the last edition of the National Crafts Awards (Spain), has been chosen to be part of the official cultural acts to celebrate the Dual Year Spain-Japan, coinciding with the 400th anniversary of the mission of the Keicho Embassy in Europe.

    Esencia 2013, which will stay in Valencia until the 28th February 2014, follows the same motto than the first edition, that is, to join the forces of craftsmanship and design in order to develop a collection of pieces where we find a hybridization of Japanese and Valencian tradition. The main objective is to make new products that bring additional values to the consumer, include new languages and fit in with new technologies, while having commercial viability.

    The exhibition will show from jewellery to kitchenware, fashion accessories and decoration, all paying homage to the creativity of the craftsmanship of both cultures, in collaboration with different national organizations, like the Spanish Foundation for the Innovation in Crafts (Fundesarte), the Valencian Regional Government –through the Directorate-General of Trade and Consumption- the Gild of Tailors and Couturiers, the Gild of Master Confectioners of Valencia, and artisans of recognised standing like Juan Carlos Iñesta, Sara Sorribes, Marifé Navarro or José Marín, among others.

    Actually, a selection of products from the exhibition will be included in the exclusive collections of Sibarita Shop, the first shop of the Arts and Crafts Centre of the Valencian Community. A place to buy pieces such us the olive oil clock Moments by Sara Sorribes and Sanserif Creatius, that had a honourable mention in the 2013 Tortona Design Week; the sheet music peg Score-clip by Sanserif Creatius, present at the Mussikmese 2013 in Frankfurt, among others.

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  • Susanne Silvertant / Terra Delft Gallery, Delft, the Netherlands

    Susanne Silvertant exhibition, Terra Delft Gallery

    Susanne Silvertant / Terra Delft Gallery, Delft, the Netherlands
    November 30 - December 31, 2013

    Connection is one of the most important themes of Susanne Silvertant’s work. Art is a language for her. With her art she tries to communicate and show who she is. This vision is enhanced by scratching signs in some of her pieces. Signs refer to language that cannot be understood instantly. This is the most intense way of expressing herself.

    Inspiration she gets in the beauty of rugged nature, a garden, a landscape or the structure, atmosphere and colour of a city. During her travels in Spain and Portugal, Susanne was inspired by in the architecture of ancient civilizations, translating it into her own free way into contemporary and personal designs. In her pieces, Susanne tries to reproduce this layeredness and erosion caused by the passage of time.

    Susanne has restricted herself to the raku technique. Since then, this has determined the character of her work to a great extent. Besides her characteristic box shapes, she also makes objects constructed from separate parts. If an object consists of several parts, these must all come out of the kiln intact. If one part breaks, the entire object must be made all over again. Risk, unpredictability and chance are very close in Susanne’s work.

    From 2007 onwards she has added sparkling elements of self-cast glass. The clay seems to form itself around the glass. Weathered glass, found along the coastline, served as the inspiration for this development. By melting the glass in fine sand, Susanne succeeds in approximating this weathered look very closely.

    The combination of ceramics with copper foil or wire cast in glass, resulting in a visual continuity of the separate elements, enhances the layeredness of her pieces. She adds details from nature to her pieces, for instance a twig, a bud or a beautifully weathered tree trunk, imprinting it into porcelain or glass and incorporating it in her pieces. This way she emphasizes the organic nature of her work.

    Gallery hours: Tuesday to Friday, 11.00 - 18.00; Saturday, 11.00 - 17.00.

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  • Keisho-Ha - A New Materialism and the Yufuku Aesthetic / Yufuku Gallery, Tokyo

    Keisho-Ha, A New Materialism and the Yufuku Aesthetic at Yufuku Gallery, Tokyo

    Keisho-Ha - A New Materialism and the Yufuku Aesthetic / Yufuku Gallery, Tokyo
    December 5-21, 2013

    Contemporary Japanese art in the 21st century is heading in a new and unique direction.

    Exhibited artists: Ken Mihara, Shigekazu Nagae, Atsushi Takagaki, Takahiro Yede, Naoki Takeyama, Niyoko Ikuta, Shunichi Yabe, Masaaki Yonemoto, Takafumi Asakura

    Artists are using traditional techniques to create not craft, but objects of self-expression that are very much a type of sculpture that can change space itself. Such artists are pushing the boundaries of their respective mediums to new heights, using new techniques and materials that have not been used before.

    Yet when one takes a step back and views today’s world of contemporary art, it is widely seen that concepts are allowed to run free, whilst the importance of technique and actual artistry are left behind and abandoned. Throughout art history, one can consistently observe an element of craftsmanship in fine art, from the statues of Greece to the frescoes of Italy, from the ink paintings of China to the folding painted screens of Japan. Even in expressionist and abstract painting, the works of Monet, Van Gogh, Picasso, Pollock, Rothko, Bacon and Freud were instilled with an element of technique as a priori. Craftsmanship was a given, but was not the sole emphasis. Technique was simply needed to realise the form of self-expression that they envisioned in their mind’s eye. Technique was not a starting point, but was a necessary means to an end. Likewise, I find that the artists affiliated with Yufuku are not technique-oriented artists, even though many of them are renowned for their technical prowess. Rather, for artists such as Shigekazu Nagae and Ken Mihara, the technique is simply a requirement needed for them to create the clay sculptures that they wish to manifest. Technique, again, is a given, and is only a means to an end.

    If taken in this light, I find that the term craft or the Romanized Japanese word Kogei (synonymous with craft) is gravely inadequate in fully expressing what these contemporary Japanese artists are actually creating. Their works are not craft works, and they are not craft artists. Instead, they are emancipating their art from the fetters of language and from the limitations imposed by the element of categorisation. Such is the progressive moment in today’s Japan. I call them the Keisho-Ha (the School of Form), and can be also expressed as a New Materialism, wherein technique and material are chosen specifically to create sculptural works imbued with self-expression. This is, in a sense, a Return to Innocence, or a revival of artistry within art.

    Today’s Japan is a world where craft does indeed exist vibrantly, and craft is very much alive and well in the likes of the Traditional Art Crafts Exhibition and the Living National Treasure System, along with potters and makers of mass-produced vessels for everyday life. But one cannot continue to categorise the makers of everyday utilitarian tea cups and bowls with the same terminology and language as artists wielding the very same techniques to create works that are worlds apart from these everyday objects. A different expressive process is taking place, and the Japanese are at a loss for properly contemplating and understanding this new movement. To lazily lump everything together as craft or kogei was simply out of convenience, an excuse for the Japanese to stop thinking about the subject that was so obviously unique to their culture, and is so vastly different from traditional Western connotations and demarcations of art and craft.

    "The limits of our language are the limits of our world." Yet if such is true, then why not expand the boundaries of our language and properly express what is happening in our world today?
    Such is the importance of language and ontology.

    The artists assembled in this exhibition are a representation of this new movement in today’s Japan, a movement that Yufuku finds its lifework and reason for existence. This is art. And they are the Keisho-ha. Such is a true return to innocence, an emancipation of art for the sake of art.
    Wahei Aoyama, Owner and Director of Yufuku Gallery

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  • Kerry Jameson: Unbounded / Marsden Woo Gallery, London

    Kerry Jameson: Unbounded exhibition, Marsden Woo Gallery London

    Kerry Jameson: Unbounded / Marsden Woo Gallery, London
    November 7 - December 21, 2013

    Kerry Jameson’s new sculptures have an emotional charge that is presented through a mix of narrative set pieces, tableaux and individual figures. Subjects include historical events and the exploits of folkloric and storybook characters. She derives inspiration from an equally eclectic range of sources, which include portrait paintings, the figures of British myth such as the Burryman and Wicker Man, the work of animator Ray Harryhausen, a fascination with the polychrome religious sculptures of 17th century Spain and the toy collections of the Bethnal Green Museum of Childhood. She explains: ‘A work starts with a thought or feeling, an undigested experience that needs to be worked through.’

    She says: ‘I want to capture life in my work, a sense of movement, the feeling of something living… a constant state of transition.’ This ambition is experienced inthe faintly disquieting feeling that one of her figures might just spring into action. It is also apparent in the attention she gives to keeping the material qualities of a piece ‘alive’. Dissatisfied with the seeming permanence of fired clay, she adds layers and detail through the use of other materials to create nuanced effects. In addition to the ceramic base, components of a figure can be hessian, canvas, wool, fur, wood, paint, seeds, stones and sometimes hyper-real glass eyes.

    Each of the works is either an imaginative exploration of a possibility or reflects on some human idiosyncrasy. In this world part-animal/part-human characters abound. Scenes from the past are also played out, as in her battle sequence based on Pickett’s Charge during the Battle of Gettysburg - representing a famous military blunder of the American Civil War - thereby reflecting on how misplaced human confidence can override logic and reason. With reference to both her subject matter and approach, Jameson admits to an interest in ‘things that aren’t quite right’ and to ‘things that happen on the boundaries’, rather than on firm, fully rational ground. The predominant aesthetic is that of the uncanny – where objects or ideas are recognised as familiar and at the same time experienced as deeply strange.
    Words by Tessa Peters

    Gallery hours: Tuesday to Friday, 11:00 - 18:00 and Saturday, 11:00 - 16:00. The nearest tube stations are Barbican, Farringdon or Old Street.

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  • Ken Mihara: Serenity in Clay / Liverpool Street Gallery, Sydney

    Ken Mihara: Serenity in Clay, Liverpool Street Gallery, Sydney

    Ken Mihara: Serenity in Clay / Liverpool Street Gallery, Sydney
    November 16 - December 12, 2013

    Ken Mihara’s ceramics are a visual ode to his native land, Izumo, Shimane Prefecture, known as the capital of the gods; a land steeped in ancient Japanese myths and legends. The vessels are a culmination of elegant shapes, soft delicate curves, and ancient forms inspired by the surrounding land. Mihara’s striking palette of blues and dark greys intersperses with bursts of beige, gold and orange hues.

    Using clay rich in iron from his native Shimane Prefecture, Mihara constructs each work through an organic creative process. Each piece is hand formed using a coil and oinch technique to create a strong linear quality. Mihara states: “I consider it my job to help the clay express its beauty”, and likewise, “clay leads, and my hands follow. I do not know what shape my work is going to end up even while I am making it.” (Ken Mihara in conversation with Nishi Keiko, An interview with artist Mihara Ken, e-yakimono.net, August 2002) His most recent series titled Kei (Mindscape) generate a sense of movement and vitality through gentle folding and bending. The vessels feature double-walled interiors that swirl and spiral similar to small galaxies. The outer walls subtly embrace a complex interior; whilst at the same time the compositional tension allows the form to unravel.

    Mihara’s most revered series, Kigen (Genesis), are primordial in formation. The structures are symmetrical and balanced, which create a unique combination of subtlety and solidity. The rough, unrefined and grainy surface texture adds to the ancient ambiance. Mihara repeatedly fires the vessels at high temperatures to slowly unlock subtle and soft colours ranging from deep grey to peach to misty whites and purples. Mihara states: “The high degree of chance and serendipity in any firing is far beyond my control.” (Ken Mihara, “Mihara Ken – The power of chance”, Ceramics Art and Perception, issue 73, 2008, p84)

    Ken Mihara was born in 1958 in Izumo, Shimane Prefecture, Japan. After completing his studies in 1982 with Funaki Kenji, Mihara participated in numerous exhibitions and prizes. In 2005, he received a grant from Tomo Museum to travel for 6 months throughout Italy, from Milan, then south to Florence, Rome and Sicily. Mihara has been the recipient of many prizes and awards, including the prestigious Japan Ceramic Society Award in 2008; Paramita Ceramics Competition, Paramita Museum, Japan in 2006; The Energia Art Award in 2002 and the Shizuoka Prefecture’s Cultural Encouragement Award in 2009. Mihara has exhibited internationally with SOFA New York, New York (2008), Galerie Besson, London (2010), and most recently with Joan B Mirviss Gallery, New York (2011). His works are held in public collections including The Metropolitan Museum of Art, New York; Victoria and Albert Museum, London; Los Angeles County Museum of Art, Los Angeles and The National Museum of Modern Art, Tokyo. Since 1996, he has been represented by Yufuku Gallery, Tokyo, Japan.

    The Liverpool Street Gallery concomitently hosts the solo exhibition of artist Kevin Lincoln.

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  • Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 15x15x15 cm. Photo by Hernán Cédola.


  • Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2011, Porcelain sheet (Keraflex) print with laser decal on raw sheet before handbuilding, Acrylic box with led light, 50x25x20 cm. Photos by Martín García Olivares.

  • Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2011, Sheet porcelain (Keraflex) print with laser decal on gold and platinum lustres. 40x20x20 cm.

  • Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 10x10x12 cm. Photo by Hernán Cédola.

  • Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 15x10x12 cm. Photo by Hernán Cédola.

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