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

Contemporary art

1st Santorini Biennale of Arts: Open Call for Applications

The Inaugural Santorini Biennale of Arts: Open Call for Applications 2012

The Inaugural Santorini Biennale of Arts: Open Call for Ceramic Art
Submissions: March 6 - May 19, 2012

Dates: July 1 - September 30, 2012

Within the framework of the 1st Santorini Biennale of Arts in 2012, ceramic artists and potters are invited to send in their artworks for consideration for this international exhibition at which a meeting of artists from all over the world will present their latest achievements.

The 2012 theme, ‘The Past: Memory and Nostalgia’, will examine intrinsic experiences and social relationships, inspired by how humanity accumulates a catalog of our personal fabric and how these collected manifestations shape the patterns of our lives. The subject ‘The Past’ is an integral part of Ceramics. The medium reflects the Past by default. But we are asking for more than the obvious reference of technique, we want interpretations of scenarios, memories or objects from the Past, contemporary or otherwise. We want to forge pathways of communication linking the Past and Present. Special consideration will be given to artworks relating to Ceremony & Ritual and also to those that will form a connection with the space they will be presented within.  

The mission of the Biennale is to promote both emerging and established artists through a wide variety of disciplines; from Drawing, Graphic Design, Illustration, Collage and Comics, through Paper, Painting, Glass, Sculpture and Ceramics, to Photography, Short Film, Video Art, Installation and Industrial Design.
By means of an advanced framework of outreach activities the Biennale will also seek to cultivate the emerging spirit of the island, inviting all participants into an open dialogue concerning new ideas for social change.

The curatorial team
Dimitra Bratika and Michael Vlavianos (Photography), Sara Falanga (Glass Art and Graphic Art), iLya (Comics), Rajesh Punj (Sculpture and Installation), Alexa Kusber (Industrial Design), Tracey Holt Walkden (Ceramic Art), Tomas Poblete (Collage), Paola Gentili (Paper), Nicky Peacock (Illustration), Simon Tarrant (Painting), Anneca York (Drawing) and Holly Bynoe (Video Art and Short Film).

The open call for artist submissions is from March 6 through May 19, 2012.

For further information visit Santorini Biennale’s website.

Read More

  • Bente Skjøttgaard: Frieze P7 no 1215, 2012, Stoneware and glaze, 176 x 43 x 7 cm. Photo: Jeppe Gudmundsen-Holmgreen

  • Bente Skjøttgaard: Clouds, White turquoise cloud no 1003, 2010, Stoneware and glaze, hand built, 23 x 53 x 34 cm. Photo: Ole Akhøj

  • Bente Skjøttgaard: Clouds, Purple white cloud no 1002, 2010, Stoneware and glaze, hand built, 37 x 55 x 27 cm. Photo: Ole Akhøj

  • Bente Skjøttgaard: Clouds, Pink yellow cumulonimbus no 1035, 2010, Stoneware and glaze, hand built, 43 x 27 x 26 cm. Photo: Ole Akhøj

  • Bente Skjøttgaard: Clouds no 1037-2, 2010, Stoneware and glaze, hand built, 45 x 42 x 28 cm. Photo: Ole Akhøj

  • Bente Skjøttgaard: Frieze P7 no 1209, 1207 and 1210, 2012, Stoneware and glaze, 180 x 45 x 7 cm. Photo: Jeppe Gudmundsen-Holmgreen

  • Bente Skjøttgaard: Traces – Art along Hærvejen, At the ancient road Hærvejen nature trail, close to the village of Bække in Central Jutland DK, approx. 40 m2. A project by the Danish Arts Foundation, 2010.


  • Bente Skjøttgaard: The “Hærvejen” Art Project under construction at Gråsten Agricultural College, February 2010. Petersen Tegl A/S in Broager has sponsored 10 tons of red brickwork clay.

  • Bente Skjøttgaard: The stones are put down at the ancient road Hærvejen, close to the village of Bække in Central Jutland, November 2010

  • Interview with Steve Belz - Artist of the month, April 2012

    ARTIST OF THE MONTH, April 2012: Steve Belz

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are strengthening your career as a ceramic artist year by year. What was your first contact with ceramics and when did you realize you have a passion for it?

    I took a ceramics class in my junior year in college, and that changed my world instantly. I was constantly in the studio. I had worked with wood and metal prior to clay, but it was amazing to find one material that possesses the qualities of many materials. Throughout its various stages, clay is plastic at first, then flexible and strong like wood, then hard like steel. This is over simplified, but basically I love the metamorphic qualities of clay. It is an incredible material that twenty years later, I am still very passionate about.

    []

    Steve Belz Contemporary Ceramics
    Assisted Nucleation, 2011, Low fire ceramic, washes, glaze, rubber cord and steel fastener, 20H x 30W x 10D inches - View his works

    What is the most difficult part in constructing a new piece? Tell us about your creative process, from sketches to the final display.

    I usually work on multiple pieces at one time, so that they feed off of each other as a series. My work is often an amalgamation of forms and details from mostly natural objects and landscapes. I have a lot of natural objects and photographs around my studio. I use these details as a starting point for the forms and surfaces that I create, often manipulating the scale or color of the details that I am interested in. 

    I often start by sketching in a notebook to quickly work through ideas, then I move to a large chalkboard for some full scale sketching. My sketches are often covered in words that inform the themes I am working on. Once I can visualize the form I want to create I move on to construction, my favorite part.

    The most difficult part of constructing my larger work is managing the appropriate humidity. I allow certain areas to dry enough so that they have strength to support the form, while other areas are wet enough so that I can continue adding more clay. All of this happens while maintaining a smooth gradation of humidity between those areas to avoid cracks. I spend several weeks working on one piece, often jumping between other pieces while I wait for one to dry enough.

    I rarely build my work in the position that it will rest. This does two things. It makes it easier to move the piece around to work on it and it keeps the orientation of the object open until the end of the building process. I can have most of the form completed and then cut and dart areas to modify the form. Once the main form is completed I smooth and refine the surface. This step is very meditative for me. It has a rhythm and fluidity that I enjoy.

    Read More

  • Interview with Ruth Power - New artist, April 2012

    NEW ARTISTS, April 2012: Ruth Power

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are a very young ceramic artist. When did you discover the potential of this medium? Did school have an important role in directing you on this path?

    Ruth Power: Like most artists. makers or craftspeople, I have been interested in art and working with my hands from a very young age. I had a fairly basic art education in secondary school in Ireland (largely based on 2-dimensional drawing work) - quite the antithesis of what we do in third level education. However, I decided that I wanted to attend the National College of Art and Design (Dublin) from a fairly young age and my art teachers in school encouraged me to do so.

    The college has a great system, by which everybody does a Core Year in their primary year (four years in total). From here, the student embarks on their first steps towards their professional formation as artists, designers and educators. The student has the opportunity to sample the diverse courses the college has to offer and in turn, discover where their strengths, weaknesses and passions lie.
    Many people (such as myself when I began) have no idea what department they wish to pursue when they enter, so this system works really well. Throughout the year, I did a lot of 3D making and intricate work with wire and found objects, so I decided to go into the Ceramics, Glass and Metals Department, specializing in metals. However, when I entered the department I fell in love with ceramics and its diversity. I knew nothing about the material, glazing or mold-making. The only experience I had with clay was when I made a pinch pot in 1993 for Mother’s Day. I painted in neon pink and yellow (which was in vogue at the time!) with ‘Ruth Power, Age 5’ scrawled into the base. I was in instant awe of the abundance of potential of the material, and the infinite amount of creative and scientific exploration that could be done with this ancient medium. Thus, it was only until I was in my second year of college that I discovered the potential of ceramics.

    Ruth Power Ceramics, tentacles, sexuality
    Breasts (Cephalophilia), 2011, 48cm wide x 42cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior (Black and white image) - View her works

    Your works are debating subjects like censorship, mainstream pornography or sexual repression: did you choose these topics in the hunt for controversy?

    I have identified with being a feminist for many years now and these subjects have been of huge importance to me. I had researched and discussed those topics for quite some time before merging them into my artwork, when I was in Third/Fourth Year. I wrote my thesis on a very similar subject (how pornography is influencing mainstream trends). In Second Year, we focused on skills and techniques and thus, did not get the chance to incorporate much of our own expression. It wasn’t until Third Year that we were taking on self directed projects and had the opportunity to entirely immerse ourselves into our own fully developed concepts.

    To me personally, the work is not controversial; it is dealing with issues that I believe need to be addressed urgently and discussed more openly. Its just that sexual politics and pornography are not usually deliberated, and the naked body is still taboo in our culture. Moreover, because I have had a considerable interest in such topics for quite some time, any of the initial ‘shock’ factor had been lost on me a long time ago. So, for me, the work was never really controversial (especially since I have an open attitude towards sex, sexuality and the body). It was bringing to light issues that I believe need to be confronted, issues that affect me personally.

    Read More

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website design by Thomas Cullen. Powered by Tumblr.