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

Ceramics Now

Cindy Billingsley: Chimp Portrait, 2008, 15” x10” x 8”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax

  • Cindy Billingsley: Anteater and baby, 2009, 15” x 28” x 9”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax

  • David Gilbaugh: Driftwood Fountain, 2008, sculpted fountain, 12”(W) x 22”(H), hand-built slab and coil, B-mix stoneware with grog, cone 10 reduction, iron, rutile, and cobalt oxide stains, Winokur Yellow, Temmoku

  • David Gilbaugh: Sycamore Teappot #1, 2010, sculpted teapot, 6” W X 8”D X 9”H, hand built with dowels, B-mix stoneware paper clay with grog, cone 10 reduction, black stain brushed in crevices, water washed iron and rutile stain over porcelain decorating slip

  • David Gilbaugh: Racemosa, 2011, sculpted teapot, 4”(W) x 11”(H) x 8”(D), hand-built slab, B-mix stoneware paper clay with grog, cone 10 reduction, black stain brushed in crevices, water washed iron and rutile stain
    Permanent collection of the American Museum of Ceramic Arts

  • Teresa & Helena Jané

    Teresa and Helena Jane Contemporary ceramic design

    THJané's profile on Ceramics Now Magazine - View their works

    “10 Years of art and skill. From the idea to action and from this to the final product is a long and arduous journey for four hands.

    We create and produce contemporary pieces with message.
    Devoutly, seriously, exclusively, dangerously, carefully and - why not say it? - perfectly. Pieces that tell universal or personal stories, sad or happy ones, with horror by the easy effect, the déjà vu or the vain brightness.
    Common denominator is almost always the ceramic and the pursuit of happy marriage between tradition and innovation.
    Playing with fire is a tough one …

    Those who closely follow this trip: Continue with us!
    To those who have just arrived: Welcome!” THJané

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  • Teresa & Helena Jané: Cónicos (series), 2002, ceramic, handmade face in low relief

  • Teresa & Helena Jané: 060710 (front view), 2011

  • Teresa & Helena Jané: Cónicos (yellow), 2007, ceramic, handmade flat face, Top d=1,7” / H 1,3”/Base d=1”

  • Teresa & Helena Jané: Querubim, 2006, cabinet Knob, ceramic, handmade flat face, Face and Base d=1”/ Height 0,9”

  • Interview with Brian Kakas - Artist of the month, January 2012

    Interview with ceramic artist Brian Kakas - Artist of the month, January 2012

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    → The full interview with Brian Kakas is featured in Ceramics Now Magazine - Issue Two.

    Ceramics Now Magazine
    : There is visible consistency in your creation. What was the starting point in your investigation with ceramic art?

    Brian Kakas: The starting for my works comes from the traditional vessel and understanding the primary elements in design. I have taken the elements of the foot, body and lip of a pot and applied them as more structural elements within my sculptural designs. Development of a language within these components has allowed the works to maintain continuity through the progression of forms. The works become more refined as I focus on transitions of lines and volume. Complexity in the structures, are inspired from marine life, geological formations, buildings, bridge design and armor. With the creation of all my works I try to stay true to the inherent properties of the materials. 

    Your works reveal a very rigorous methodology. Tell us more about the process of constructing them. Do you make preliminary drawings?

    I used to draw blueprints for my pottery and sculptures. But the works always seemed to lose something in the translation from 2D to 3D. I think the spontaneity of the sketch and energy never quite translated. Once I began using slump and drapes molds I began to only sketch gestural drawings with ink. This allowed me take an idea (not a concrete design) and began to find new forms through exploring hidden lines within objects while only maintaining the idea of the gesture. I apply the gestural line I am looking for onto the X, Y and Z axis of the object in order to maintain flow and control of the entire 3 dimensional space it occupies. I am working with a modular mold system, which allows me to create an inventory of parts to pick and choose from freely. This system allows me to maintain being in a “state of art” while exploring new forms. The sculptures are hollow and all have an inherent strength as I complete lines whether circular or elliptical, symmetrical or asymmetrical. Then I construct a lip on the vessels using armature, just like ribs in an airplane wing or in a boat hull. The ribs create a template to be covered with slabs, which accentuates the forms I have already created. The tensile strength of this element keeps the hollow forms from warping or moving during the firing process.

    Brian Kakas - Contemporary Ceramic Sculptures

    Architectonics – Hull Improv, side view, 2011. White stoneware, slab built, 38”L x 18”W x 17”H, Cone 04 Oxidation - View his works

    Tell us more about large scale fabrication. Taking the size into consideration, have you confronted with some particular technological problems?

    I found through many accidents, the importance of the foundation you build on.  There were many cracking issues early on in the high arches of the sculptures. I thought it was uneven displacement of weight that could be resolved by building additional supports that were fired with the works. But with continual cracking at the point of the supports I began reviewing the overall movement of the pieces throughout the shrinkage stages, from cone 04 to cone 10 the problems were the same.

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