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

Interviews

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

  • Interview with Jenni Ward - Spotlight, April 2012

    SPOTLIGHT, April 2012: Jenni Ward

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are presenting yourself as a sculptor even though you have a BFA in Ceramics. What are you currently working on?

    Jenni Ward: Although I’ve been educated in all aspects of ceramics; pottery, functional hand-building or sculpture, I’ve chosen to focus on abstract sculptural ceramics. I feel that if I say I’m a ceramicist, people either don’t know what I’m talking about or they assume I throw pots, so I feel that introducing myself as a sculptor who works with clay is a more precise description of the work I create. Right now I’m working with organic forms that have holes cut into them and those forms have other ceramics pieces that are trapped inside. This process of trapping forms has manifested itself into multiple series of work. I’m conceptually playing with the balance between trapping and protecting an object and simultaneously exploring abstract ways to express that in clay.

    Jenni Ward Contemporary Ceramics, featured on Ceramics Now Magazine
    Nest Series IV, 2010, ceramic & high temperature, wire, 12” x 10” 8” - View her works

    What triggered the passion for ceramics in you?

    I have always worked with clay, my parents still have the first coil pot I made as a kid and I just never stopped working with clay. I was lucky enough to of had an in depth ceramics program in my high school. That exposure gave me the experience to explore clay and know that it was going to be my focus at the university level. I also really love the process of working with clay; each stage that you go through from a soft malleable material to a fired finished piece offers the chance that everything can go wrong at any step in the process. Having the ability to balance control over the clay and letting what happens happen is always a battle for me that I’m very attracted to. I’m constantly learning new techniques or possibilities with clay whether it’s through taking a workshop or seeing another artist at work. Clay is a very basic, primitive material that can be used in such varied and technological ways; it’s a constant learning process.

    []

    Read More

  • Interview with Suzanne Stumpf, Interactive sculptures - Techniques, April 2012

    TECHNIQUES, April 2012: Suzanne Stumpf, Interactive sculptures

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : The versatility of your work is very inspiring and makes the viewer ask himself whether he should play with your works or just to admire their universe. When did you begin to create such intricate pieces?

    Suzanne Stumpf: Thank you for your kind words. I began to create interactive sculptural pieces about 7-8 years ago, after I had been working in clay for about about three years or so. From the outset, drawing the audience in to touch and explore has always been a goal. But also, I have intended for each work to have its own strong essence that invites contemplation/reflection.

    Modularity and interactivity are two main characteristics of your work. How much time does it take to complete a new work? Do you make many sketches?

    My interactive sculptures generally take many weeks. The germination of an idea and realization of each work can also be a lengthy process, particularly when there are complicated construction or even “engineering” issues involved. I can sometimes spend a couple of months in the “head-scratching” stage and work on other projects while I sort out the steps and best approaches. I do keep a notebook with sketches and notes, but I do not personally find it easy to translate some of these projects onto the page. With a fairly good aptitude for spatial relations, I hold much of the planning in my head initially. Because I build primarily in porcelain, extremely slow drying is key — I cannot emphasize this enough. And, of course, this also adds to an already long creation process.

    []

    Suzanne Stumpf Interactive sculptures, Contemporary Ceramics
    Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10 - View her works

    Some of your works consist in multi-component pieces that, put together, metamorphose each time in different compositions. Do your Interactive Sculptures illustrate the ludic dimension of art? How important is this element for you?

    My answer depends on the tenor of the word “ludic”. Although the mere invitation to rearrange components may seem a playful act and some of my sculptures may even possess qualities of games, the interaction by the audience has never seemed aimless to me. To the contrary, I witness people being extremely thoughtful about what they are creating as they rearrange components. The idea with these works is that there are nearly innumerable permutations that the viewer can create, all of which will reveal different aspects of the sculpture’s essence for contemplation.

    Read More

  • Interview with Cindy Billingsley - Spotlight, April 2012

    SPOTLIGHT, April 2012: Cindy Billingsley

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are both a painter and a ceramic artist; is one medium closer to you than another?

    Cindy Billingsley: Both mediums have equal places in my heart. It mainly depends on the subject or idea I have, clay is sometimes better at conveying my passion or idea then paint is. There is nothing like the feel of clay in hand. I can say in Ceramics what I can not with paint. Clay is felt with all, the eyes, hands and the heart. No other medium can do this. Clay comes from the earth and has that feeling of being alive if sculptures right. If you look closely at a ceramic sculpture you can see the finger marks, the hand prints — it is made by the hand and touch of the artist.

    I love in clay that, as an artist, I can take that lump of clay and make it into something magical, something others can touch and see the passion I had for my idea. This is what drew me to clay as my medium.

    []

    Cindy Billingsley Ceramics - featured on Ceramics Now Magazine
    Chamber Nautlius
    , 2005, 15” x 18” x 9”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax - View her works

    There is a visible fascination for the world of animals reflected in your work; where does this interest come from? Tell us more about the subjects you explore.

    Since childhood I have had and felt a closeness with animals. I have lived in the company of animals more than in the company of people. So naturally, I would follow that path with my art. In Ceramics I could finally convey the gesture and mood of an animal with the strokes of the clay without a lot of detail.
    I have always been more interested in capturing the spirit of an animal or its essence than making an exact model of an animal. Clay freed me up to be able to do this, with quick clay marks here, and strokes of clay there. Clay has that wonderful freedom to it. And Clay sometimes has it’s own ideas about how a piece will come about, that I might not have thought of until I was in the middle of sculpting it. I am drawn to the less familiar animals in my sculptures, like the blue ring octopus, Okapi or fruit bats. These animals fascinate me. Trying to make clay appear like soft fur is the challenge and the fun, like with my Koala sculpture.

    Read More

  • Interview with Brian Kakas - Artist of the month, January 2012

    Interview with ceramic artist Brian Kakas - Artist of the month, January 2012

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → The full interview with Brian Kakas is featured in Ceramics Now Magazine - Issue Two.

    Ceramics Now Magazine
    : There is visible consistency in your creation. What was the starting point in your investigation with ceramic art?

    Brian Kakas: The starting for my works comes from the traditional vessel and understanding the primary elements in design. I have taken the elements of the foot, body and lip of a pot and applied them as more structural elements within my sculptural designs. Development of a language within these components has allowed the works to maintain continuity through the progression of forms. The works become more refined as I focus on transitions of lines and volume. Complexity in the structures, are inspired from marine life, geological formations, buildings, bridge design and armor. With the creation of all my works I try to stay true to the inherent properties of the materials. 

    Your works reveal a very rigorous methodology. Tell us more about the process of constructing them. Do you make preliminary drawings?

    I used to draw blueprints for my pottery and sculptures. But the works always seemed to lose something in the translation from 2D to 3D. I think the spontaneity of the sketch and energy never quite translated. Once I began using slump and drapes molds I began to only sketch gestural drawings with ink. This allowed me take an idea (not a concrete design) and began to find new forms through exploring hidden lines within objects while only maintaining the idea of the gesture. I apply the gestural line I am looking for onto the X, Y and Z axis of the object in order to maintain flow and control of the entire 3 dimensional space it occupies. I am working with a modular mold system, which allows me to create an inventory of parts to pick and choose from freely. This system allows me to maintain being in a “state of art” while exploring new forms. The sculptures are hollow and all have an inherent strength as I complete lines whether circular or elliptical, symmetrical or asymmetrical. Then I construct a lip on the vessels using armature, just like ribs in an airplane wing or in a boat hull. The ribs create a template to be covered with slabs, which accentuates the forms I have already created. The tensile strength of this element keeps the hollow forms from warping or moving during the firing process.

    Brian Kakas - Contemporary Ceramic Sculptures

    Architectonics – Hull Improv, side view, 2011. White stoneware, slab built, 38”L x 18”W x 17”H, Cone 04 Oxidation - View his works

    Tell us more about large scale fabrication. Taking the size into consideration, have you confronted with some particular technological problems?

    I found through many accidents, the importance of the foundation you build on.  There were many cracking issues early on in the high arches of the sculptures. I thought it was uneven displacement of weight that could be resolved by building additional supports that were fired with the works. But with continual cracking at the point of the supports I began reviewing the overall movement of the pieces throughout the shrinkage stages, from cone 04 to cone 10 the problems were the same.

    Read More

  • Interview with Marianne McGrath - Ceramic Installation, January 2012

    Interview with ceramic artist Marianne McGrath - Ceramic Installation, January 2012

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → The full interview with Marianne McGrath is featured in Ceramics Now Magazine - Issue Two.

    Ceramics Now Magazine
    : Before starting a career in ceramics you studied Biology. In relation to your line of work, how would you characterize the relationship between Biology and Ceramics?

    Marianne McGrath: I believe my study of biology helped create the artist I am today: one that works by questioning what surrounds me, and by creating objects based on observation in a very systematic manner. Artists, like biologists, work from direct observation and immersion in the environment around them, and are forever attempting to interpret this world.
    Both groups employ creative means to achieve this. I grew up on a farm in Southern California, one my family had farmed for four generations, surrounded by this natural world that was under the direct manipulation of the human hand to serve human needs. I believe I was drawn to study biology in college because growing up immersed in this agrarian landscape and was incredibly interested in the idea that we, as humans, have this ability to define, control, and use the natural world that surrounds us, yet we also have an imperative responsibility as a species to maintain this world.

    In my final semester in college, I took a ceramics class, the first art class I had ever formally taken. I was immediately overwhelmed by the questions I found artists asking, by the responses that they drew from their audience, and the simple fact that they were using dirt, one of the most basic components of the natural world, to create. This type of communication and way of thinking drew me in and I decide to completely change the direction of my life. I found that my voice was much more attuned to express my concerns of the livelihood of the natural world through the means of art than through my study of biology.

    In the studio today, I find myself working in much of the same manner as I used to in the biology lab: trying to find the answer to a particular question. I also recognize my history as a student of biology in my draw to clay’s ability to be manipulated at all levels of its creation, whether its in the mixing and altering of a slip, or in the potential of atmospheric firings. I use this characteristic of clay as the basis of communication in my works.
    Marianne McGrath Contemporary Ceramics
    What I See, What I Saw II, 2011, unfired earthenware, plywood, steel rod, wax, 4’h x 10’l x 20’x
    - View her works

    You use unconventional techniques in very interesting ways, like unfired earthenware and wax. Tell us more about these methods and the creation process.

    The medium of clay itself creates a very heavy material metaphor. Artists, I believe, are drawn to it for it’s malleability, its ability to record the touch of the human hand, and the sense of permanence it retains once fired. Unfired clay, especially at the bone-dry stage, is incredibly fragile and ephemeral-it can be dissolved or broken down immediately. The impermanence that clay retains at this stage struck me as incredibly meaningful, and I thus employed it to convey the meaning that I wished for in my work.

    Read More

  • Interview with Deborah Britt - Spotlight, January 2012

    Interview with ceramic artist Deborah Britt - Spotlight, January 2012

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → The full interview with Deborah Britt is featured in Ceramics Now Magazine - Issue Two.

    Ceramics Now Magazine
    : You are in this field for more than ten years now; when exactly did it all start? Tell us how you discovered the passion for ceramics.

    Deborah Britt: My passion for ceramics came rather late. Having been born and raised on a farm in Northwest Missouri, far away from big city influences, exposure to the arts was minimal. Art classes in my small-town school were non-existent past grade school—with a student body of 60 students in grades 1 through 12, resources were focused on the practical skills and knowledge essential to a farming community.

    My interest in the arts began in college, where I was first exposed to fine arts through an Art Appreciation course. After earning a degree in Business, and subsequently a Masters Degree, I was firmly entrenched in the corporate world. The spark that ignited my interest in art, however, continued to smolder, but it wasn’t until I witnessed a wheel-throwing demonstration at a local art fair that my desire to delve into clay became real. After 13 years in business, I returned to school with a whole-hearted desire to master the art and craft of clay, ultimately earning a BFA degree in Ceramics. I have never looked back.


    Deborah Britt Pottery -Ceramics

    Blue Pitcher Set, 8” x 13”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011 - View Deborah Britt’s works

    You are mostly creating pottery pieces. How would you explain your attraction for functional ceramics?

    I was initially attracted to the wheel. Learning to throw basic utilitarian forms was a joy to me.  The tactile sensation of wet clay is so seductive! However, there are some ideas that cannot be conveyed by functional pots, thus I also do sculptural work. I like the idea of making work that is approachable both on an intimate and intellectual level.
    Making functional work appeals to the part of me that wants to connect personally with the user. I love the idea that the work will be handled, and I strive to make work that goes beyond the basic utilitarian form. In other words, I strive to make the work “special” for the user, in an effort to elevate the mundane, e.g., drinking a cup of tea, into the conscious enjoyment of the daily ritual, rather than a routine act.

    I love to play with form, so even in my functional work I like to bring in a sculptural sensibility. The functional and sculptural forms play off each other—one idea leads to the next—so for me, the back and forth of sculptural vs. functional is essential.

    —- The full interview will be featured in Ceramics Now Magazine - Issue Two.


    There is a remarkable touch of sensibility in your decorations. Tell us more about how you decorate and where do you get inspiration from.

    I am intrigued by the fact that we as humans are so connected to the earth, from the food we eat to the ceramic cup we drink from. I am drawn to relatively matte surfaces, perhaps because of their tactile nature or maybe because of their relationship to nature itself.

    I want the clay to look like clay, and have been drawn to the salt firing process because of the ability to let the beauty of the clay body speak for itself as it fuses with salt. The element of surprise that arises from firing to firing with the phenomenon of flashing and variation of salt distribution has always held great interest for me.

    Read More

  • Interview with Kathy Pallie - New artist, January 2012

    Interview with ceramic artist Kathy Pallie - New artist, January 2012

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → The full interview with Kathy Pallie will be featured in Ceramics Now Magazine - Issue Two.

    Ceramics Now Magazine
    : When and how did you discover the passion for ceramics?

    Kathy Pallie: Growing up, I was always the artsy-craftsy one, making things out of all different kinds of materials, using lots of different techniques. I loved going to my Dad’s office in New York City where they produced display products/props used in retail store windows and interior displays. To me, it was a magical, fantasy industry.
    Though I never had art classes in high school, I decided that art would be my major in college. As a first year art student, I was introduced to clay. I immediately loved the tactile sense of working with clay and creating 3-dimensional objects.

    My interest in clay took a back seat to advertising design which was my major within the art curriculum. This was followed by a very exciting career in commercial art designing decorative and functional display products for the retail stores, exhibit world and point-of-purchase industries. Most of these products were 3-dimensional, large scale and fabricated from a variety of materials. It was always exciting and challenging to work with materials that had totally different commercial uses and to create products from them that were applicable to the display field. Much of this was done in foreign countries working with cottage industries, sometimes sitting on the ground outdoors with chickens and roosters strutting by.  

    Years later, when I retired and put my hands back into clay, I realized that this was a material that really excited and intrigued me, and one I had to explore in depth. I was hooked! My “clay play days” took over. Now instead of designing products that had to be marketable or meet a client’s design criteria, this was just me, the clay, and the creative process and didn’t need anyone else’s approval. I played with clay with a childlike approach, investigating, experimenting, and learning, as much and as fast as I could.  

    Kathy Pallie Ceramics

    The 4 Elements – Earth, Wind, Fire, Water, Earthenware, glazes, 18”H x 14” Diameter, 2011 - View Kathy Pallie’s works

    Tell us more about your creative process. Where do you get inspiration from and how do you find the journey towards the final outcome?

    My inspiration comes from just living and observing and being receptive to what is going on around me. I’ve always been inspired by the unlimited variety of textures, patterns, and energy found in nature. I love to be outdoors skiing, hiking, swimming, watching the changing light patterns from dawn to sunset, seeing flowers bloom and leaves unfurl. I’ll often take photos for reference, pick up pieces of bark to experience the sensation of the surface texture, and closely observe different patterns and details. I interpret my reaction to these things in clay. Though many of my artworks have a trompe l’oeil effect, I am not trying to mimic Nature. Rather, I try to bring the essence of what I have experienced in the outdoors into interior spaces.

    Once in the studio, the clay often seems to have a life of its own as it leads me, morphing from one form and concept to another. On other occasions, I can envision the completed piece before even touching the clay.

    — The full interview will be featured in Ceramics Now Magazine - Issue Two.

    Read More

  • Interview with Connie Norman - Spotlight, November 2011

    Interview with ceramic artist Connie Norman - Spotlight, November 2011

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → The full interview with Connie Norman is featured in Ceramics Now Magazine - Issue One / Winter 2011-2012.

    Ceramics Now Magazine
    : Text and pattern is seen everywhere on your works; they make a fantastic rhythm and enhance the forms. When did you start to use text on your works?

    Connie Norman: My current style using text started years ago when I was making mixed media sculptures that were mostly clay integrating text. I gave myself the challenge to make something esthetically pleasing. What I wanted to do was -to be able to tell a story with pots. I suddenly had the revelation of incorporating the text onto my pots. But it is very ironic that I use words on my work, because I have always struggled with writing. And I still do! When I was working in sculpture I only used single words, but now I have expanded to phrases. 

    You recently came home from Ethiopia. What did you experience there? Tell us your impressions.

    My journey to Ethiopia started approximately four years ago, when my husband and I started the adoption process for our son Vander. In 2009 our permanent relationship with the country of Ethiopia started, we traveled to Addis Ababa, to pick up our son. As the days, months and years went by; I realized I wanted to give back to the country that gave us our son. I started looking for a way to go back to Ethiopia and volunteer. I went to Ethiopia this past July for three weeks. I worked with three organizations, One Child Campaign, Vision on Africa and Mission Ethiopia.
    Connie Norman working with Tigist, the master potter of Vision on Africa.I worked with women to help restore their dignity who are HIV positive and who have leprosy, and women who are destitute. Through the language of clay we were able to communicate, laugh and be with each other without a common language.
    The women of Mission Ethiopia are HIV positive and suffer from leprosy; these women are considered outcasts and unemployable. Women like these and their children, spend their days searching the garbage dumps for food. Now, these women make pit fired beads, which are fired on the ground in an open fire.Currently they are able to feed their children and themselves.

    I sat with the women much like an old fashioned quilting circle, they showed me how to roll the beads in my palm and decorate each bead. While we were making beads their children ran in, out and played outside with meager toys like old tires, but were always smiling. 
    Vision of Africa is an organization that is helping destitute women in many diverse ways, they provide medical care for mothers and children are educated on contraceptives, sponsorship programs of orphans, and of course they train women to be potters. Ceramics in Ethiopia is a very hands’ on process  I was asked to help the women with their production process, but I felt like I learned more from them, than they learned from me. Tigist, the master potter gently guides the women from mixing the clay they collect from other regions of Ethiopia, to hand building bowls, vases, spice cellars, and coffee pots, and much more. While I was there, Tigist did a pit fire with me. I was amazed at her skill; she laid the green pots near the fire and slowly moved them into the fire ring. Then just like in American raku, she threw the pots in some dried leaves for a post reduction process. 

    Connie Norman in Ethiopia with boys from one of the orphanages in Addis

    "Me in Ethiopia with boys from one of the orphanages in Addis Ababa.  I caught my frist chicken."

    Read More

  • Interview with Blaine Avery - Spotlight, November 2011

    Interview with ceramic artist Blaine Avery - Spotlight, November 2011

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → The full interview with Blaine Avery is featured in Ceramics Now Magazine - Issue One / Winter 2011-2012.

    Ceramics Now Magazine
    : You’ve been working with ceramics for over twenty years now. Do you remember your first works? How did you evolved in time?

    Blaine Avery: It has been just over 20 years since I stated in the field of ceramics. I remember my first works very well I know at every point in my career I strived to produce the best possible work I could, going against any business plan and striving to be the best artist I could. I threw away many of my works because in my opinion they just did not meet the mark. I felt it better to show and sell only what I felt was the finest quality I could produce at any point of my development as an artist. My first works were refined shapes as I was trying to get to the root of the form. Most were based on early american folk pottery that of, Edgefield South Carolina, Central North Carolina stonewares and slip trailed earthen wares.

    These first works were simply glazed or left unglazed and fired in a wood-fired salt glazing kiln. In my early work I wasn’t ready to decorate the surface, I was only concerned with the root of the form; once I felt that I had achieved mastery of this, only then was I able to begin to think of working with surface design, by adding patterns a zoomorphic imagery. However, some forms still call me to show their true essence.

    Blaine Avery Ceramics - Ceramics Now Magazine

    Dancing turtle platter (salt glazed, local clay, hand painted slip, glaze) - View Blaine’s works

    You work with great delicacy when using patterns and symbols of ancient cultures on your works. How do you choose these patterns?

    I first began looking at my surroundings, taking patters and imagery from nature. So much inspiration can be found in nature, if you just pay attention to its rhythm and symmetry. With other designs I do look back on many cultures, taking from them what I feel is relevant to me in this time and place. I first started looking at early American ceramics of the 1600’s forward, than from there I began studying pre-Columbian ceramics and folk art from around the world. There is a common thread that links all ancient cultures, a trueness and simplicity that I feel drawn to. I also study textile patterns for many ideas as in nature there is a rhythm, a symmetry and a repetition that calls to me. Sometimes, I take only one small part of a pattern and cover the pot with it, repeating the process over and over; repetition can be very powerful if done correctly.

    Read More

  • Interview with Arthur Gonzalez, Front-cover of Issue One and Artist of the month - October 2011

    Interview with Arthur Gonzalez, front-cover of Ceramics Now Magazine - Issue One
    Artist of the month, October 2011

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → The full interview with Arthur Gonzalez is featured in Ceramics Now Magazine - Issue One / Winter 2011-2012.

    Ceramics Now Magazine
    : You are one of the most assiduous ceramic artists in the world, with hundreds of exhibitions over more than thirty years. Why did you choose this career path?

    Arthur Gonzalez: If by career path you mean, “why did I choose to be an artist?” I was one of those guys who always knew that they wanted to be an artist. I honestly cannot remember a time that I did not draw. I remember drawing in kindergarten. I took my first oil painting class with my mother at age 7. I identified with being an artist my whole life so the path was “written on the wall” so to speak. Also, times were different thirty years ago when I graduated from UC Davis. The word “career” was subject to interpretation. I remember that all I wanted to do once I graduated was to do whatever I needed to do to keep making art without needing to work a “regular” job. This was a huge factor, because if one wants to make art their whole life they need to be creative in terms of how to do that. As a consequence, I learned how to make a career instead of only making a lot of things.

    Arthur Gonzalez Contemporary Ceramics - Interview Ceramics Now MagazineEverything, 2007, ceramic, glaze, rope, blown glass, ink, epoxy, gold leaf, gut, pollen, 40”x42”x12 - View Arthur Gonzalez’s works

    When did you realize that ceramic art was important for you?

    My relationship with ceramics has always been a double-edged sword, because I originally didn’t identify with ceramics or sculpture. In the beginning, I used clay to make a better painting!

    My formal undergraduate art education at American River College in Sacramento and later California State University was as a photo-realist painter, this was the art movement of the time and all my teachers were photo-realists. I, although formally trained with all the exactitude and precision of a realist, was extremely frustrated. I wanted my paintings to be more expressionistic, spontaneous and “rule breaking”, but the training and dictum of “painting the right way” was so hardwired that I needed to change the very physicality of the painting’s object-ness. I realized that when addressing the white geometric canvas, specifically when the paintbrush approached the edge of the canvas, my gestures would be stilted and choked. I was too intimidated by its rigidity. I remember thinking that if I was too influenced by the edge, then I needed to change that edge.

    Meanwhile, at California State University, at the opposite side of campus from the painting lab, was the ceramic department. Two of the professors there were Peter Vandenberge and Robert Brady, both were UC Davis alumni and former students of Robert Arneson. It was by watching them make their clay sculpture and witnessing the ways that they both treated the clay as a mud that did their bidding, that first attracted me to it. This was an epiphanous moment. I remember thinking that clay was the perfect replacement for canvas on stretcher bars. Upon returning to my studio, I slung a number of clay slabs and stretched them on the floor and then fired them, resulting in “bisque canvases” of non-geometric shapes, like a stack of so many pancakes. Then, using oil paint, I reacted to the silhouette of the shape by painting-in imagery that would co-relate to the swells and dips of the randomly shaped ceramic slabs. In my eyes, clay was a remedy not a historical material.  Ironically, I later dispassionately applied to graduate school at UC Davis to study ceramics sculpture under Robert Arneson knowing that I was competing against real ceramic artists who knew more about clay than slinging slabs, which literally was all I knew! It was those first experiments with oil paintings on ceramic slabs that got me into graduate school. My education of clay as a material didn’t start until my time with Robert Arneson. The one thing that I loved about clay was how I now could make things that could distance me from the confines of oil on canvas and, as a result, lifting the weight of the ‘History of Painting’ off my shoulders. When I thought of ceramics, I didn’t see “History” or “Tradition” or “right and wrong”. In fact, I didn’t even think of it as “ceramics”, I thought of it as clay that you made hard. To me the material was only material, and because I came to it through the back door it represented to me to be absolute freedom, a kind of sanctuary from the rules of painting and, as a result, pure invention.

    Read More

  • Interview with Ian Shelly, Ceramic Installation - October 2011

    Interview with ceramic artist Ian Shelly - Ceramic Installation, October 2011

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → The full interview with Ian Shelly is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.

    Ceramics Now Magazine
    : You’re a very prolific artist, with lots of exhibitions, lectures and workshops being held in the last years. How do you find the time needed for all of this? Do you also teach?

    Ian Shelly: Thank you for the considering me prolific, that is an adjective that has been used before to describe not only the breadth and quantity of what I do and what I call “My” art but a diagnosis that I find most properly describes my unyielding need to make. I don’t know how to make art any other way…never have. I think that the only way to find the time to work “prolifically” is by making the best out of all the other tasks that you do. Be it exhibiting, lecturing, and teaching workshops. All of these moments and all of the moments not making provide us with a unique opportunity to think, plan and daydream. I need my time spent talking about other artists to think of how I am different. I also need my time as a Sunday afternoon mechanic fixing things around the house to remind my brain that my hands like moving this way or that. All of this activity then tells my wallet what kind of clay and glaze I need to use to keep my brain and hands satisfied. My brain still cannot keep up with my hands.
    The teaching that I also do is like a buffet. In some ways it provides me with necessary exercises that a growing artist needs to flourish. It also provides me with a multitude of materials and technologies to further understand the science and dexterity needed for ceramics. I find one of the most helpful aspects of teaching to be the communication development. When I started in education, I couldn’t walk a person through making a paper airplane, and now, through all of the practice I can teach all kinds of different styles of airplanes. Most importantly, I, myself, make a better airplane. This has been very helpful. Inevitably though, if you do too much, like any buffet…it isn’t healthy.

    Ian Shelly Contemporary ceramic installation

    Playtime (detail) - View his works

    Like the system and language of chemistry, your works behave like an equation, trying to connect human relationships. Tell us about the process of constructing a new work, from sketch to firing.

    This is a great question. One that I believe all artists answer differently at different times in their careers and lives. My works attempt to answer relationship equations in the final product but also in the process in which they are made. Like I say in just about every artist statement and writing I do, I see my art making and general studio process as a living, breathing, eating, growing and even more important, a mutating organism. One that is fed helpful amounts of media then distilled and filtered clumsily through screens made of new materials and techniques. Like any healthy science project, random samples are taken to ensure the highest quality of homogenization and communication. At times it is absolutely similar to a chemical equation made of compounds and bonds, but one that is never ending, moving and ultimately insolvable.
    Ian Shelly Contemporary ceramic installationI am sure that we all do things like these in our pursuits to make art. For me, I believe it is important to keep the theme and scenarios of my project in mind. In the case of this work, the themes are systematic and a-systematic routines of study and classification. I think what you may be asking is whether or not I start with sketches and end in a fired ceramic work that installs in a viewing space. Of course I do. However, it rarely follows the paths that I see my colleagues using. Sometimes I wish it did, because I wonder if I would be more productive with someone else’s art routine.
    The journey that my work follows often begins with an accidental gluing of one thing to another and after a very calculated series of profanity and failures, what you see is my work…in all of it’s sticky, gooey, orb-ness.

    What is your present project? Tell us about it.

    Read More

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website powered by Tumblr.