Ryan Blackwell's profile on Ceramics Now Magazine - View his works
Ryan Blackwell was born and raised in Indiana — receiving a BA in Studio Art from DePauw University in 2009. Expecting to graduate from the University of Massachusetts Dartmouth in the spring of 2013 with an MFA, Ryan intends to move to Brooklyn and continue his journey as an emerging artist.
“My practice is rooted in material investigation. I find my work in a consistent state of flux. Processes change and evolve, imagery comes and goes. This minute I’m steeped in symbolism, say, through the repetition of thousands of dustpans, while the other I’m firmly rooted in geometric abstraction.
My fluid framework reflects my experience of American culture—a place where I navigate free choice and inherent socio-political and economic constraints. Through symbols and materials of domesticity my works find some continuity. It is my intention to create works that, in relation to each other, seem as dichotomous as they are connected. Although materials and processes may seem disparate, they find connection through aesthetics and systematic repetition. It is through a controlled failure of my materials and systems that I find consistency. But of course, inconsistency is always present.” Ryan Blackwell
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Ellen Schön's profile on Ceramics Now Magazine - View her works
“I have always been interested in the ability of a ceramic vessel to point to something beyond itself—to function as metaphor. Ceramic vessels, physically structured with necks, shoulders, bellies, and feet, can evoke the gesture and anthropomorphized stance of the human body; they also reveal deep aspects of human experience and of the natural world.
My fervent interest in clay vessels has led me to explore new territories in form and surface. Recent work explores three variations on the ceramic vessel form:
The ceramic vessel as a Wellspring or Womb, with possibilities of both fecundity and barrenness;
The vessel as Bottle, whose forms evoke the elongated posture of Cycladic idols and the scarified texture of Yoruba terracotta heads;
The Planet Series explores swirling colored surfaces on rounded orbs, suggesting planets and depths of earthly strata.
These series represent different but related expressive interests. Each piece in a series is part of a continually evolving solution to a set of questions or parameters I have chosen to work within. The parameters, themselves, may change as the series evolve.
Through spontaneous handling of inanimate clay, I attempt to find and breathe life into form. My creative process is grounded in reflective practice—imposing ideas on and listening to the material in cycles of learning. The material directs me as I direct it. We are in a reciprocal relationship.” Ellen Schon
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Francesco Ardini's profile on Ceramics Now Magazine - View his works
Francesco Ardini was born in Padua, Italy, and graduated in Landscape Architecture at the IUAV, Venice, in 2011. He discovered ceramics during the study years. Currently works in Padua and Nove.
The vision of reality in Ardini’s studies relates to broken objects, uneven surfaces, the apparent dissolution, the linearity undermined by failure. All these lead to a naturalism where the works provide biological cycles in which the dissolution is always followed by a formal definition.
Francesco Ardini understands the scientific course that begins with Einstein’s relativity, Max Planck’s quantum theory, going on with the Hubble’s discovery of galaxies, to land - in the second half of the twentieth century - within an epistemological revolution that places the possibility/probability above the necessity. Ardini accepts the idea that a large part of reality is not linear, but chaotic, and has a view of a universe development which will end in a cosmic catastrophe. These ideas place Ardini’s work in the sphere of conceptual art.
David Gallagher's profile on Ceramics Now Magazine - View his works
David Gallagher is a ceramic artist from Philadelphia who completed his undergraduate work at the Tyler School of Art-Temple University. He is currently pursuing his Masters of Fine Arts at Kansas State University in Manhattan, Kansas.
In our current epoch of ever more rapid invention it becomes paramount to analyze our relationships to the technology we produce. Systems are created on the foundations of existing technology and are tied to the accepted modes of history and the present. These technologies mediate our experiences with the physical world. We no longer have hundreds of years to determine appropriate uses for the technology we create. In many cases this time frame can be compressed to months or even weeks, with the only criteria for its evaluation being its novelty. These tools we create enter our perception with singularity of purpose, and yet cause repercussions though out our whole cultural existence.
The primary focus of my artistic practice is the systems we create to manage our society. I am constantly investigating our understanding of the physical and psychological environments we construct. Humanity is driven to invent; to create tools that aid in the managing of society’s existence. Our instinctual proclivity to transcend what exists, to constantly refine and redefine our own existence is the central idea that drives my research. My work is a simulation and examination of systems that function within the constructs of social environments. These systems provide a framework for the investigation of the possibilities of context, specific iterations of conventional relationships.
Elizabeth Shriver's profile on Ceramics Now Magazine - View her works
“I work with clay to create an array of graceful, sensuous, organic forms. These pieces are made through a variety of hand-building methods such as slab-building, coiling, pinching, and forming with molds. Rarely relying on glaze, I use textures, stains, and colored clay to add visual and tactile interest. I am drawn toward neutral earth tones that complement rather than distract from my intricate sculptural vessels.
The curving lines and interplay of light and shadow in my work generate an illusion of movement, giving each piece an almost lifelike quality. A successful piece is one that begs to be touched as well as explored visually.” Elizabeth Shriver
Jason Hackett's profile on Ceramics Now Magazine - View his works
“I understand the world in an evocative fashion and view my artworks as both physical and philosophical memorials to ‘Closeness’. During the construction of new works in series, I commonly consider ideas such as the value of community and family, the honesty of both gross and tedious labor, and the mysteriousness of the metaphysical.
I primarily construct pieces using my hands and molding methods while also using found manufactured ceramics. Captured materials, images and forms; of man and of machine; from immediate and distant pasts are merged in commemorative context where contemplation defines their functional nature. Individually they are cups, plaques, and cultural icons made in clay. Collectively, they express proximity and distance, material and immaterial, and both the tangible and intangible.” Jason Hackett
Patricia Sannit's profile on Ceramics Now Magazine - View her works
“The impulse to decorate is strong. The push to create a border or impose a structured order on the already beautiful order of the (chaotic) natural world is compelling. Humans have always done so.
My work draws from and responds to visual idioms found throughout human history. Visual languages flow from culture to culture and through time; I explore how the changes of motifs and technologies show development and transformation in societies. I draw from our species’ long and intimate relationship with our surroundings, both natural and man-made. To that end, I use a variety of mostly found and repurposed clays to refer to both the contributions of previous makers in our collective art history and the stratigraphy of the Earth. My work is influenced by archaeology, geology, industry and the commonality of human experience through time and across culture.” Patricia Sannit
Born in Cleveland, Ohio, Patricia Sannit received her BA in ceramics, Art History and Norwegian from the University of Minnesota and her MFA from the California College of Arts. She now lives in Phoenix, Arizona. Sannit’s work is influenced by her experiences excavating in the Near East and Ethiopia. Sannit’s most recent project is a large-scale ceramic installation, Citadel, based on an archeological site in Iraq. “I am interested in the story of the earth, our species, and pots. History is manifest in the scarred and worn surface of our planet and in a pot well made and well used.”
Bente Skjøttgaard's profile on Ceramics Now Magazine - View her works
“The basic elements in my work are the materials: clay and glaze. I enjoy engaging in expressive ceramic experiments that test the boundaries of material and form.
I often take my point of departure in nature’s principles and regularities of form. This results in strange inscrutable sculptural growths and large wild and amorphous nature abstractions that may be both lush and melancholic with an expression of beauty in both growth and decay.” Bente Skjøttgaard
“Bente Skjøttgaard is a ceramist: she was born in 1961. In much the same manner as a runner or an existential philosopher, she is cultivating her material, which is clay overcoated with an application of glaze. She is a master of her field and she is “inside” the clay in the sense that she is challenging herself each and every time she creates a new work. The glazed pieces are constantly becoming larger and more voluminous, with interiors consisting of complicated constructions, as is the case inside a person or an animal, a prehistoric creature or another biological phenomenon. And the beauty cannot be mistaken. It is a kind of primeval nature, but accordingly a nature that is created both from within and from without, in the course of a protracted reciprocal interplay.” Excerpt from “Elements in white”, a text By Erik Steffensen - Professor at The Royal Academy of Fine Arts, Copenhagen.
Steve Belz's profile on Ceramics Now Magazine - View his works
“The environment is in a delicate balance between well-being and decline. For a healthy society, we must be responsive to the fact that all of our activities affect the Earth. My sculptures express the beauty of nature and the tension created by man’s manipulation of our environment. I use the beauty of form to increase the viewer’s emotional connection with nature. This connection to nature can expand one person’s, and ultimately our society’s compassion for the natural world.
Historically we have manipulated plants by gathering seeds, grafting limbs, and controlling pollination of plants with traits we find favorable. These qualities were gradually developed over countless generations. What is different about our more recent modification of plants is the far-reaching selection of traits from organisms that would not be accessible without genetic engineering. For instance, splicing a fish gene with a strawberry to make the strawberry more resistant to cold could not occur if not for techniques developed by scientists. This kind of manipulation is dramatically different from our prior system of plant selection and has potentially profound effects on the Earth.
I use manufactured elements in my work to create a tension meant to bring about a consciousness within the viewer, to open a dialogue about contemporary society’s association with nature. This discussion can raise awareness of the danger that our current situation poses. A lack of responsibility and stewardship for the Earth creates many problems for the planet, among them degradation of our basic life support systems, as reflected in the loss of biodiversity, increased toxicity of our food systems, inefficient use of natural resources and global climate change. I hope that my art will encourage viewers to educate themselves and become increasingly proactive in assuring a sustainable future.” Steve Belz
Ruth Power's profile on Ceramics Now Magazine - View her works
“My work is strongly political and inspired by the invention of Japanese tentacle pornography.
It all began when I typed in ‘tentacle’ to Google Images. 90% of the images that showed up consisted of violent tentacle porn. Tentacle porn has been around for centuries, but only became hugely popular in 1980, when a Japanese animator named Maeda wanted to make an erotic anime called Urotsuki. However, at the time, Japanese law forbade anatomically explicit pornographic drawings. Illustrators were always looking for ways to get around the law, so, instead of depicting an erect penis, Maeda depicted brutal tentacles.
Moreover, it was illegal to show couples taking part in sex where the man penetrates the woman with his penis for mutual pleasure, but it was perfectly legal to show tentacle rape. This contradiction of censorship fascinated me. The restrictions on the latter substantially caused the former: the return of the repressed as huge, aggressive tentacles…and this is what I found to be most fascinating.
Thus, the tentacles in my work symbolize sexual repression. I am very worried about contemporary sexuality, with women still derogated for acting sexual and mainstream pornography becoming more and more brutal. I pay a lot of attention to the media, which further influences my work. I use casts of my own body parts to express how this state of deformed sexuality is affecting me.” Ruth Power
Jenni Ward's profile on Ceramics Now Magazine - View her works
Jenni Ward is a sculptor, art instructor and owner of Earth Art Studio in Aptos CA. In 2005, she opened Earth Art Studio; a sculpture studio offering clay and mixed media sculpture classes and workshops for children, teens and adults. Throughout her teaching career she has worked extensively with many youth and senior art programs. She is also the creative engine behind the humanitarian group; HOPE Art which brings art to the youth of Haiti. In addition to teaching, she has been creating, showing and selling her own sculptures since graduating from University of Hartford-Hartford Art School with a Bachelor of Fine Arts degree in 1998. She exhibits her sculptures locally and nationally.
“My work focuses on how organic forms interact and engage with the space they encompass. I create abstract arrangements reflecting the biological world of seeds, pollens, bones, shells and entomology.
My pieces explore the tensions of opposing forces with results that evoke contrary feelings of unshackled captivity, organized randomness and the density of negative space. At times I work in multiples; the forms are often configured in simple geometric compositions to counter their organic nature. Using clay as my primary medium, I develop these pieces with commonalities of shape, color, texture and movement. The results are a series of work that strive to achieve a sense of beauty in their asymmetrical balance.” Jenni Ward
Liliana Folta's profile on Ceramics Now Magazine - View her works
“The potential ability of the imagination has an important impact in our lives. Minds have visual images that we collect through our lives.
These inner-images that represent my works are examinations of my existence. However, in this bank of memories I cherish every possible emotion; happiness, growing pains, family loss, first love, motherhood, sexuality, multicultural experiences, frustration, social-political issues and most importantly the celebration of life.
As an artist I like to work with different mediums, especially ceramics and acrylic paintings. Lately I have been experimenting with ceramic installations and mixed media. The freedom of expanding my work in another dimension makes me feel more connected with the viewers.
The process of my work mostly is very spontaneous. The rest comes along with what my subconscious has been saving in my bank of memories, throughout my life and the happening of the moment.” Liliana Folta
Kira O’Brien's profile on Ceramics Now Magazine - View her works
“My work has a sculptural yet functional element to it and encompasses a sense of traditional ceramic techniques. Within this tradition is the art of storytelling and symbols which evoke certain sentiments and nostalgia but also a sense of the present environment. This environment is psychological and therefore each piece points to emotions within the narrative.
My present work is currently narrated by the symbol of the chair.
How does one define a simple thing like the chair? What makes the chair, a chair? As James Joyce says in A Portrait of a young man, “Is a chair conceived as a work of tragic or comic art?”
No other object forcefully shapes the physical, social and emotional dimensions of our lives. On the chair seats only one person at a time and responds to the body through comfort. It has a communicative function and offers a glimpse into our collective ideas about that sense of comfort and order.
One can imagine the world from a persons’ perspective as it communicates compassion. Just as its absence communicates disrespect, lack of empathy and loss, whether this loss is a physical or emotional one.” Kira O’Brien
Annie Woodford's profile on Ceramics Now Magazine - View her works
Intrigued by the tenuous connection between past, present and future and the shadowy, illusive meaning of time, Annie Woodford makes work that is both haunting and enigmatic. Shifting boundaries between science and metaphysics and an enduring interest in parallel universe theory instill the pieces with a heightened intensity, whilst an obsession with hidden worlds has prompted her investigations into microscopy and the nano universe - making the unseen seen.
Captivated by the natural world and our mysterious, infinite universe - whether seen at macroscopic or microscopic levels - she finds them the source of endless fascination and wonder. Mankind’s place within that universe and the dichotomy between our wish for progress and our proclivity for self-destruction, has become a central theme.
A passion for frozen environments and the message they embrace, not only from the past but also for the future of our planet has resulted in research trips to the Arctic and Iceland and a detailed study of the coldest place on Earth – Antarctica.
The work exhibits qualities that reflect the natural world, elements that highlight its beauty and transience. Fragile, frangible, complex and esoteric, delicately balanced between risk and control, her pieces float and oscillate between absence and presence, hovering silently in a place between.
‘Nature is an infinite sphere of which the center is everywhere and the circumference nowhere’ Blaise Pascal, mathematician, poet, philosopher.
Kwok-Pong Bobby Tso's profile on Ceramics Now Magazine - View his works
“The concept of my recent work is about form, and it grows from my curiosity about space; it investigates the relationship between two objects and it questions how we should make the landscape to react to man-made object. In my work I aim to explore that joyful, interesting, and mysterious relationship between objects and to create compositions with complex configurations though simple and unexpected components.
It is my intention to trigger the viewer to look closer and rediscover the ordinary, yet unfamiliar relationships that exists everywhere within all objects and human beings. Through sensations, communication and exploration, both objects and humans are able to obtain appropriate space and attention. I hope my work is able to look into this perception of the relationships, but more importantly - to enrich this relationship and establish a sense of place.” Kwok-Pong Tso