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 ceramics

» 7 Ceramic Art Competitions and Fairs Where You Should Participate in 2014

  • Interview with Bente Skjøttgaard

    Interview with Bente Skjøttgaard / Featured now
    By Andra Baban
    Published in Ceramics Now Magazine Issue 2

    As a Danish ceramic artist, do you consider the living climate an important influence in your work?

    I think it’s fair to say that my works have a certain Nordic nature component. Danish nature is not wild and magnificent – more one that offers quiet experiences: a misty morning over the ploughed fields; an old, dead tree; rainy weather that starts as dark streaks on the horizon; the weather clearing up after rain. Danish weather is changeable and often a cold, clammy affair, but this makes one more keenly aware of the light and small shifts in nuance.

    Your work have been described as highly experimental. From the slip-cast rigorous design to the hand-built structures, you have been experimenting different body of works over the years. How do you find yourself shifting subjects and manners? Is it a continuous change?

    I have never personally felt that I undertook dramatic shifts. I see my work as an on-going development, where one thing leads to the next. I will never completely finish – fortunately. While working, new ideas emerge that have to be tested. One could say that the experiments themselves ask the next questions. Ceramics has so many possibilities, and I like challenging the material and myself.

    Bente Skjottgaard Ceramics

    Portrait of Bente Skjøttgaard, 2010, Photo: Ole Akhøj

    What influences and inspires you the most in your creation? How would you describe your current body of work?

    With my background as a ceramist I nearly always have my point of departure in an idea to do with material or form. This can, for example, be new form expressions achieved by special compositions, or through cuts or glazing experiments that result in strange surfaces and textures. I often gain inspiration from nature’s formal principles and phenomena. Work takes place systematically and always on the premises of the ceramic material, but the investigations often develop into something that is reminiscent of large, amorphous nature-abstractions, with plenty of glaze. The fantastic thing about clay is that what is nature’s own material can constantly be transformed into something new and relevant.

    Delicacy and sensitivity are two powerful characteristics of your work. How much do you rely on intuition and how much on unpredictability?

    I make use of both in my work. Ceramics has an innate unpredictability, especially because it is out of one’s hands during the firing at high temperatures. This unpredictability is a challenging co-partner and opponent. All the time, one gets something more or less intentional for free, and from there one has to decide if and how it can be used. My intuition has probably been honed by many years’ experience of this process.

    Besides a very playful approach in manipulating clay, you ingeniously use colors and assets of glazes in your work. Tell us more about the importance of color and its use in your creations.

    Previously, I was mainly interested in the ability of glazes to interact and behave differently, according to the thicknesses involved. At my ‘Interglacial Period’ exhibition in Galleri Nørby in 2005, it was mainly green/turquoise, because copper is very good at producing that sort of thing. Then came the exhibition ‘Elements in White’ at Galerie Maria Lund in Paris in 2008, where I almost washed the slate clean and experimented with various textures within white glaze.
    It was not until the more recent works ‘Clouds’ that I seriously explored selecting more precise colours. Here I have thought more in psychedelic colours, the colours of the sky, sunrise, violet, pink and yellow. It has been interesting to include these more ‘un-ceramic’ colours.

    Bente Skjottgaard Danish Ceramics - Purple white cloud

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

    You are one of the initiators and directors of the Copenhagen Ceramics platform. How did this project start? Tell us more about the objectives of this new Danish movement.

    The project Copenhagen Ceramics has been implemented by the ceramic artists Steen Ipsen, Bente Skjøttgaard and Martin Bodilsen Kaldahl, based on having noted that there was no longer any exhibition venue in Copenhagen where the best of the great diversity of ceramic expression existing in Denmark could be shown and experienced ‘live’. Another important aspect of the project is the Internet platform www.copenhagenceramics.com, which we wish to use to disseminate knowledge of Danish ceramics internationally.
    We have planned the 10 exhibitions for 2012: 4 solo exhibitions, 5 two-man exhibitions and a single group exhibition with six of the best ceramic artists from the younger generation. The individual artists have been selected and linked together in new constellations that enable completely new artistic facets in all of them to emerge – also among those already more established.

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  • Interview with ceramic artist Ken Eastman

    Interview with Ken Eastman / Featured now
    By Ileana Surducan
    Published in Ceramics Now Magazine Issue 2

    Ken Eastman’s work is on the cover of Ceramics Now Magazine Issue 2

    Why did you choose the vessel as the central element of your art? Was there a transition from functional vessels to sculptural ones?

    I have been working in ceramics continually since 1980. There have been periods when I have moved away from the vessel, but really it has been at the core of my work for most of the time since then. I do not make functional pots, but rather use the vessel as a subject - to give meaning and form to an expression. For a long time now I have realized that my overriding interest is making new coloured clay forms. This seems for me to be the essence of pottery- to make shapes which occupy and contain space and to decorate those shapes. By decorate, I mean to paint slip or glaze, to draw, to make image or line across the skin of the clay.

    Ken Eastman Ceramics

    Ken Eastman: For all we know, 2010, Stoneware with painted coloured slips and oxides, 43x31x37 cm.

    Does your creative process start from a certain image in your mind, or do you seek for inspiration as you progress?

    I have always made things - at first out of Lego and wood and for a long time now, using clay. Working on how to approach creating, so that I can go to work every day and explore shape and colour and move forwards, is always hard. The breadth of ceramic possibilities means that to make any progress it is necessary to build up some strict limitations. I use writing and drawing to approach the spirit of a piece of work, but I do not draw an ‘architectural plan’ of the piece that I am about to make: ideas that work in two dimensions are often different from those that are successful in three dimensions. Also, if I knew exactly what I was going to make before I started work in clay, there would be little room left for the play and invention that is an essential part of creative work. A large part of the reason for making is to see things which I have never seen before - to build something which I am excited about and wish to show and share with others. So I try not to plan anything except roughly how to proceed within my imposed limitations.

    Tell us about the slab building technique that you use. What are the challenges that you encounter and the skills that it requires?

    I roll out slabs of white stoneware clay by hand with a wooden rolling pin. Most of the rolling is bashing the clay flat and the rolling smoothens the material towards the end of the process. From the moment I start rolling out slabs I have to start making decisions - not what the piece will look like, which will in time become clear, but the details - how wide, how long, how thin or thick the slab, choices which determine shape. The objects which I make are clearly defined, they have drawn ground plans, smooth walls and clear edges, but this resolution emerges slowly. There are certain curves and curlings which a thin slab can manage better than a thicker one, but sometimes it’s the soft fatness of a rim or the weight of a piece which is more important.

    Colour is an important part of your work. How do you see the interaction between colour and volume?

    As soon as possible in the making process, I begin to make marks on the surface with coloured slips and oxides, whilst the clay is still quite wet. I paint on numerous layers of colour, firing the work repeatedly. I apply it in response to three dimensional form and it is in this way I paint the surface in order to explore and make sense of what I have made. I don’t know what colour I want a piece to be until I find it by working - building up layers of colour can often feel more like a stripping away to reveal what was meant. I am interested in the relationship between colour, the illusionistic space of a surface and actual space. This relationship is a complex one - as well as inhabiting the 2 dimensional space on a curving plane of clay, colour can, in a sense fill the actual 3 dimensional space of the vessel itself. Glen Brown in writing about my work said that colour becomes “volumetric, contained, like real space itself, by the vessel walls rather than merely carried on them: it becomes a fundamental content of the work rather than a superficial aspect of it.”

    Today’s contemporary art puts a lot of emphasis on dynamics and interactivity. In this context, what is the merit of an art work that encourages contemplation as an aesthetic experience?

    Being a static artwork does not exempt it from being dynamic or profound. Art work which is three dimensional demands that the viewer moves around the work and becomes involved in order to experience it and to contemplate it, which is of course a truly dynamic and interactive experience.

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  • 7 Ceramic Art Competitions and Fairs Where You Should Participate in 2014

    Ceramics Now comprised a list of 7 ceramic art competitions and fairs where artists can apply to participate in 2014. Be quick, the deadlines are approaching fast!


    1. INTERNATIONAL CERAMICS COMPETITION MINO, JAPAN

    The competition is the main event of the International Ceramics Festival Mino, which is held with the aim of supporting growth of the ceramics industry and the enhancement of culture through global exchange of ceramics design and culture. The first festival was held in 1986, and this will be the 10th edition. The last edition gathered 2777 entries from 57 countries. It is considered the largest event in the world entirely dedicated to contemporary ceramics. Read more

    Apply online / Download application procedures / Application form: Individual or Company

    Deadline: January 10, 2014 / Dates: September 12 - October 19, 2014
    Total prizes: ~ USD 130.000 / No entry fee
    Entry categories: Ceramics Design, Ceramic Arts


    2. INTERNATIONAL CERAMICS FAIR OLDENBURG, GERMANY

    Situated around the noble Schloss in the city-center of Oldenburg, the International Ceramic Fair which includes a ceramic market, presentation of professional prizes, special exhibits and artist showcases. The fair ensures that collectors and enthusiasts alike are offered an exquisite range of works from artistic creations to high-quality tableware. Based upon strict criteria a jury of professionals within the field chooses over a hundred workshops and ceramic artists to present their current work. This event attracts more than 60.000 visitors annually. Read more

    Download application procedures and terms / Application form

    Deadline: January 11, 2014 / Dates: August 2-3, 2014
    Entry fee: EUR 240 (includes 3x3 meters stand)


    3. CLAY? V EXHIBITION, UNITED STATES

    The fifth installment of Kirkland Arts Center’s biennial contemporary ceramics exhibition, Clay? V, is juried by University of Washington, School of Art Professors Doug Jeck, Jamie Walker, and Akio Takamori. Clay? V explores the versatility of clay as a medium of artistic expression. Showcasing a range of sizes, scales, subject matter, and techniques, the artwork of this exhibition is both a testament to the enduring legacy of clay and future of the field.

    Read more / Apply online

    Deadline: January 17, 2014 / Dates: March 21 - May 17, 2014
    Entry fee: USD 25


    4. WESTERWALD PRIZE 2014 - EUROPEAN CERAMICS, GERMANY
    Competition open only to European citizens.

    The Westerwald Prize was first awarded in 1973 to present outstanding ceramic art and craft work in the framework of a competition and exhibition at the Keramikmuseum Westerwald (KMW). This remains a priority of the administration of the Westerwald region for the 13th Westerwald Prize in 2014. A further aim is to promote the dialogue between ceramics and art in the region and to support cultural exchange within Europe.

    Download application procedures and form

    Deadline: January 19, 2014 / Dates: September 26, 2014 - February 1, 2015
    Total prizes: EUR 24.000 / No entry fee
    Entry categories: Saltglaze (stoneware and porcelain), Design (serially produced ware), Vessel / Form / Decor, Sculpture / Installation, Talent Award (below 35 years old)


    5. INTERNATIONAL BIENNIAL OF VALLAURIS, FRANCE
    Competition open only to European Union citizens.

    Since 1966 the Town of Vallauris Golfe-Juan has organised a biennial with the aim of promoting and rewarding artistic creation in the field of ceramics. For this edition, it has been decided to use the expression ‘Contemporary Creation and Ceramic’ to stress its intention of making ceramic creation part of the world of contemporary art. The competition is intended to encourage and publicise European talents using the reputation of Vallauris, the town of ceramics, as a springboard facilitating their recognition around the world.

    Apply online / Download application procedures / Application form

    Deadline: December 30, 2013 / Dates: July - November 2014
    Total prizes: EUR 25.000 / No entry fee
    Note: You first have to apply online, then to send the required documents by mail (post).

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  • HYPERCLAY: Contemporary Ceramics / Gladstone Regional Art Gallery & Museum, Gladstone, Australia

    Roderick Bamford at HYPERCLAY: Contemporary Ceramics exhibition, Gladstone Regional Art Gallery Museum

    HYPERCLAY: Contemporary Ceramics / Gladstone Regional Art Gallery & Museum, Gladstone, Australia
    December 13, 2013 - March 2014, 2014

    RoHYPERCLAY: Contemporary Ceramics investigates the field of ceramics, focusing on new attitudes, techniques and technologies that are being embraced by artists in the 21st century. Walter Auer, Roderick Bamford, Stephen Bird, Jacqueline Clayton, Andrea Hylands, Addison Marshall, Pip McManus and Paul Wood all ignite the imagination with the potential of clay through their work. As the prefix ‘hyper’ suggests, HYPERCLAY presents clay-based work where the medium has been amplified, extended and intensified to produce work that will delight, provoke and surprise. New technologies, the process of making, and the re-purposing of materials to create new forms are the delicate threads that bind the works in HYPERCLAY together.

    A collection of 35 short videos have been produced to accompany the work in HYPERCLAY. These include interviews with the artists, curators, academics, collectors, gallerists and students. All videos are available to view through iPads in the exhibition space, offering the viewer different perspectives on the works as well as deeper, richer connections to the artists.

    Roderick Bamford explores the process of additive fabrication, creating a series of ceramic sculptures using a modified rapid prototyping printer. Bamford sourced the parts for his 3D printer online, gradually building a machine that could print with clay. The result is a device that affords Bamford an expanded making process that incorporates both analogue and digital techniques.

    Stephen Bird, better known for his satirical figurative ceramics, presents two works that also play at the intersection of the digital and the handmade. Wanting to reveal the sequence of events that takes place when transforming raw clay into a finished sculpture, Bird spent several intensive weeks in his studio creating the stop-frame clay animation What are you laughing at?. The work is a re-telling of the Creation Story through the lens of the post-industrial world. It also documents Bird’s making process, capturing it as performance. Similarly, I Just Don’t Believe in Ceramics elevates ceramic surface decoration from static and permanent to evolving virtual design.

    New Warriors by Andrea Hylands captures the performance of material itself. Her fragile forms are the product of bone china slip poured into a mould and then removed at varying durations. This process is a balance between the spontaneity of movement and material, and the precision of the artists’ hand.

    Ceramicist Walter Auer is interested in the transformation and preservation of objects through a petrifaction process that he has been experimenting with for nearly 10 years. Auer soaks discarded soft toys in watered-down clay (terra sigillata) for weeks – even months - before submitting them to a grueling firing process.

    Similarly, Pip McManus is interested in transformation. Combining clay, video, sand and water, McManus has created a video work entitled Watershed 2 that engages with ideas of permanence and organic forms. In Watershed, the ancient medium of clay is effortlessly in conversation with the contemporary medium of video.

    Paul Wood scours op shops, thrift stores and neighbourhood gardening centres for pre-loved ceramic objects that he then re-fires, melts and slumps to create dramatic new sculptures. For Guardians of a Goddess Wood has crafted an ode to the ornamental water features that proudly sat in the neighborhood gardens of his childhood.

    Read More

  • » Michal Fargo

    Michal Fargo Ceramics

    Michal Fargo's profile on Ceramics Now - View the works

    "In my work, I am driven by textures, materials and non-traditional working methods.

    The main subject I deal with is the thin line between imitation and interpretation - My work portraits the contrast between an urban lifestyle and a remote admiration of nature. When I work, I use the most naive and (sometimes) barbaric techniques while facing industrial materials. I try to capture a longing for authentic nature and at the same time to celebrate its progress and many benefits, and perhaps combine both emotions into one.

    If I had to sum my main ambition in my work I would say that I seek authenticity that comes from a personal aesthetic perception. The fine definitions of art, craft and design seem to me unnecessary in relation to my work. While working on a piece, it is not so much a ‘narrative’ that I’m after, but rather, visibility and the abstract feelings that may be summoned by viewing the form. 

    As an artist I would like to think that I am a highly individual maker searching for an aesthetic vision that would be completely my own.” Michal Fargo

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  • Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, Variable dimensions. Photos by Mel Bergman.


  • Michal Fargo: Else, 2012, Porcelain, fired models technique, fired to cone 6 electric (Bronze Winner of the China Kaolin Prize 2013, part of Jingdezhen’s Ceramic Museum’s Collection), 23x18 cm. Photo by Mel Bergman.


  • Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, Variable dimensions. Photos by Mel Bergman.


  • Michal Fargo: Else, 2012, Porcelain, fired mold technique, fired to cone 6 electric, 20x7 cm. Photos by Mel Bergman.

  • Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, 28x15 cm. Photo by Mathew Stanton.

  • Michal Fargo: Else, 2012, Porcelain, fired models technique, fired to cone 6 electric, 30x18 cm. (white right), 24x21 cm. (white middle), 26x16 cm. (blue). Photo by Sasha Flit.

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