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
“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
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”
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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.
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.