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

Design

Corner Series by Wim Borst, Meesterlijk - Design and Craft

Corner Series by Wim Borst at Meesterlijk - Design and Craft / RAI Amsterdam

Corner Series by Wim Borst at Meesterlijk / RAI Amsterdam, Hall 9 stand 39
24 September - 2 October 2011

Meesterlijk presents designers and craftsmen who elevate ordinary utensils, objects, furniture and accessories to icons with timeless allure. This extraordinary quality of Dutch designers, to combine the esthetic with the practical, has been known worldwide for ages.

Meesterlijk strives to strengthen the bond between modern design and craftsmanship. At the fair designers and manufacturers of handmade products will be standing shoulder to shoulder with the practitioners of traditional crafts, such as jewelry making and woodcarving. Unique furniture and other products are for sale, such as glass, metal and ceramic objects and also fashion accessories, such as tailor made shirts, shoes (ladies and gentlemen’s), hats, bags, jewelry etc.

The fair takes place in the same building and at the same time as Woonbeurs Amsterdam, the largest event on living, interior and garden of The Netherlands.

Opening times:
Saturday, Sunday, Tuesday, Wednesday: 10.00 - 18.00 h
Thursday and Friday 10.00 - 22.00 h
Monday 26 September only open for invited professionals.

Wim Borst Ceramics - View Wim Borst’s profile on Ceramics Now Magazine.
Jan Bontelaan 6, 2015 EH Haarlem. Tel: +31(0)23 524 87 97
info@wimborst-ceramics.nl, www.wimborst-ceramics.nl

www.meesterlijk.nu

  • Interview with Claire Muckian - Artist of the month, September 2011

    Interview with ceramic artist Claire Muckian - Artist of the month, September 2011

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    Ceramics Now Magazine
    : You are a very young and talented ceramic artist. Can you tell us what was your first experience with ceramics?

    Claire Muckian: Thank you, but I’m not that young actually. I studied art in school, liked it very much but never considered it as a possible career. After many years training and working in various environmental management roles, I began to realise how much I missed making art. So, I returned to the University of Ulster in Belfast to do the BA Fine and Applied Arts with a view to specialising in drawing. There, I had a brief introduction to clay, which I had never used before and had an instant connection with it as a material. I loved how malleable it was and how you could so easily transfer a quality of touch during making. I viewed it as an extension of my drawing practice. So, I made an impulsive decision to specialise in ceramics for my Degree after that.

    Claire Muckian Contemporary Ceramics Magazine - Artist of the month

    Turbine, porcelain - View her works

    Constructing using hand-building techniques give your works a sense of delicacy and lightness. How do you make your works? Tell us more about the process.

    As I mentioned before, I enjoy making where I can transfer a sensitivity of touch to the material. It is important for me that the sculptures maintain a certain immediacy, vibrancy, and vulnerability that can be achieved easily with drawing, but that tends to be lost when making 3-dimensional work.  I think this is the case with ceramics in particular, where so much time and processes are involved. I predominantly choose hand-building techniques such as pinching and coiling so you can build quickly and loosely. I’m not so interested in the perfect surface and I like to achieve an appearance of the handmade. I like the texture of hammered metal and to leave holes and marks like fingerprints. This gives the work an unfinished aesthetic that adds energy and immediacy to what are seemingly primitive works but that still feel fresh and relevant.

    I wish to heighten the viewer’s awareness of space, air and silence.  I am interested in the viewer’s experience and response to objects, particularly the handmade object. I believe that the viewer finishes these forms off in their mind and participates in their making to a certain degree.

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  • Mark Goudy: Surface Detail (p47) - 17”w x 3.5”h

  • Simcha Even-Chen: Inside Outside

  • Simcha Even-Chen: Illusion III A

  • Chris Wight

    Chris Wight's profile on Ceramics Now Magazine - View his works

    “When working with bone china for the first time I was struck by its pure whiteness, ability to take on fine detail and its astonishing translucence. This light responsive property, that enables bone china to switch between translucent and opaque states - gradually or instantaneously - as light changes around it, continues to be a major source of fascination.

    Providing a subconscious inspiration for many pieces is my interest in the patterns, textures, shapes and forms found in nature - often and in particular, the ‘tiny worlds’ seen under a microscope or through a macro lens. In addition to these themes, I continue to develop a small strand of works that focus on ‘iconic’ objects from my own childhood.

    Bone china has many testing characteristics for a maker - an in-flexible ‘body’ prone to crumbling when worked, an inability to be wheel-thrown and a propensity to collapse or bend when firing. Add to these a very keen ‘clay memory’, a trait that causes repaired splits and stresses to reappear again once fired and you inevitably face high loss rates in production. For this reason most ceramicists avoid using bone china. However, through time I have come to understand the nature of the clay and I now relish the constant challenges it presents. Still, a tension exists between the clay’s constraints and my intent as an artist to counter or exploit them in order to reveal its inherent beauty and demonstrate its perhaps unexpected versatility.

    To capitalize on the allure of bone china I adopt ‘high-risk’ techniques - often unconventional, certainly against traditional good practice - which push the clay to its very limits. Intuition allied with experience is relied on to make a successful piece. New technologies like water-jet cutting brought together with long-established ceramic processes make possible the creation of works significantly greater in height and volume whilst crucially keeping the ceramic thin enough to retain delicacy and translucence. I routinely combine traditional and modern approaches whilst attempting to push back the boundaries and to redefine the perception of bone china as something more than simply the sole preserve of fine tableware.” Chris Wight

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  • Merete Rasmussen: Red wall loop #2

  • Merete Rasmussen: Red wall loop

  • Signe Schjøth

    Signe Schjøth's profile on Ceramics Now Magazine - View her works

    “I work process-oriented with the examination of form, which in its presence appears in organic shapes and in rhythmic lines in motion. The starting point was the idea of a flower as a radiant energy and elegance both remarkable and luxuriant, a testament to the existence of everyday miracles. The creation of an aesthetic, sensuous, material object has always been the essence of my work, but the objects have since 2002 become more abstract. At the moment I am asking myself: Is it possible by combining or colliding senses to reach a more complex form? That is my ambition.

    All my works are hand-built. To achieve a sense of elegance and fragility the shapes are made thin in comparison to their size. Furthermore I have put a lot of effort into achieving a harmonic surface and a defined access of lines to intensify the character of each object.

    The surfaces maintain a texture which reflects the depth and sensuous presence of forms found in nature. Together these accentuate the overall tactile quality of the works.” Signe Schjøth

    Born in Copenhagen in 1974, Signe Schjøth was trained at the Ceramic School of Bornholm (1999 – 2002) and since then she has been selected for several international exhibitions.

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  • Plastics as Design Form by Thelma R. Newman, Chilton Book Co., Philadelphia, 1972 via Stopping Off Place (via)

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