Dryden Wells: Movement Stack #5
Dryden Wells: Stack #4
Antonella Cimatti: Optical fibers #2
Because we received a lot of good feedback in the last month (we really thank you for your messages and support), we are now opening submissions for Ceramics Now Magazine.
If you are a ceramic artist/ potter, you can now submit your work to Ceramics Now Magazine via email at ceramicsmagazine[at]gmail.com. We need your C.V. (resume), your statement and at least 15 images with your works (minimum 700px wide). Here you can see a list of our featured artists.
Also, if you have articles you need to publish or an event to promote, feel free to contact us. Submissions are free of charge.
You can also make a donation. It will help us stay alive in this wonderful scene and reach our goal.
Cynthia Lahti: Hands
Carole Epp: Shino and Celadon #2
Grayson Perry (born in 1960) is an English artist, known mainly for his ceramic vases and cross-dressing. He works in several media. Perry’s vases have classical forms and are decorated in bright colours, depicting subjects at odds with their attractive appearance, e.g. child abuse and sado-masochism. There is a strong autobiographical element in his work, in which images of Perry as “Claire”, his female alter-ego, often appear. He was awarded the Turner Prize in 2003 for his ceramics, receiving the prize dressed as Claire.
Perry’s work refers to several ceramic traditions, including Greek pottery and folk art. He has said, “I like the whole iconography of pottery. It hasn’t got any big pretensions to being great public works of art, and no matter how brash a statement I make, on a pot it will always have certain humility… For me the shape has to be classical invisible: then you’ve got a base that people can understand”. His vessels are made by coiling, a traditional method. Most have a complex surface employing many techniques, including “glazing, incision, embossing, and the use of photographic transfers”, which requires several firings. To some he adds sprigs, little relief sculptures stuck to the surface. The high degree of skill required by his ceramics and their complexity distances them from craft pottery. It has been said that these methods are not used for decorative effect but to give meaning. Perry challenges the idea, implicit in the craft tradition, that pottery is merely decorative or utilitarian and cannot express ideas.