Debra Fleury: Exopool, 2010. Porcelain, glass and glazes. Multiple firings to cone 10 (reduction atmosphere) and cone 6 (neutral atmosphere). Dimensions 18 cm x 11 cm x 15 cm
Cindy Billingsley: On the prowl cheetahs, 2009, 15” x 22” x 22”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
Cindy Billingsley: Chimp Portrait, 2008, 15” x10” x 8”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
David Gilbaugh: Sycamore Teappot #3, 2011, sculpted teapot, 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 over porcelain decorating slip
David Gilbaugh: Temmoku Grained Bowl, 2011, carved bowl, hand-built slab, 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
Teresa & Helena Jané: Um tigre, dois tigres, três tigres [1+2+3=6], 2010, ceramic, produced and painted by hand, h=0,8x3,8”
Marianne McGrath: Home Landscape Studies III, 2008, earthenware, plywood, steel rod, 12’h x 20’d x 20’w
Marianne McGrath: What I See, What I Saw II (detail), 2011
Suzanne Stumpf: Diatoms, 2011, 16”w x 11”d x 3.5”h, handbuilt with wheelthrown components; porcelain and porcelain paperclay; oxidation fired to cone 10
Interactive sculpture inspired by the beauty of these mysterious single-celled organisms. Upon learning that diatoms may also help against global warming, I was even more driven to “interpret” them.
Suzanne Stumpf: Whale Sounds, 2007, 8” h x 29” w x 20”d, porcelain or porcelain paperclay; handbuilt with thrown necks; reduction fired to cone 10.
Whale Sounds is a multi-component, interactive sculptures. The shapes were inspired by listening to a recording of whales in which the whales’ calls ballooned rapidly and diminished into fine, thin, high endings. (Although some of the objects can elicit tones when blown, this was not my intention.)
“My work mainly consists of salt-fired Porcelain and Stoneware. The salt-firing process is unique in that salt is introduced into the kiln when it reaches the proper temperature (2345 degrees F for my work). Inside the kiln, the salt vaporizes and settles onto the pieces, forming its own glaze over the clay body. I also use various slips and glazes to further decorate the pots.
In my functional work, my goal is to make the pieces “special”. I hope that everyday users will appreciate being “in the moment” as they sip from their hand-made cup or enjoy soup from their favorite bowl.
My sculptural pieces all have specific meaning for me, but sometimes are just fun! I don’t wish to impose my views of the work upon others, but would rather viewers lend their own interpretation to the pieces within their own contexts and ideas. Most importantly, I hope the sculptures will inspire viewers to pause and consider how the piece relates to their lives.” Deborah Britt