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


Interview with John Roloff, exhibiting artist at the Overthrown: Clay Without Limits exhibition

Interview with John Roloff, exhibiting artist at the Overthrown: Clay Without Limits exhibition, Denver Art Museum, July 2011

The special feature for the Overthrown: Clay Without Limits exhibition includes images from the exhibition and interviews with ten exhibiting artists, plus with the curator. At the end of July, we will also send a special newsletter to our subscribers. Subscribe here to receive the special edition of our newsletter.

Ceramics Now Magazine: You use many materials and different techniques when making your works. What did you learn from the process?

John Roloff: The earth materials (and photo images) used in The Sea Within The Land/Laramide were based upon paleogeographic research of the site.  A lot was learned about the previous landscapes and geologic materials/processes involved and their relationship to the current central Colorado landscape.  These materials (as are all) have many narratives or stories that can be viewed through one lens or another.  The lens I am most familiar with or knowledgeable is geologic transformation, history and process which informs my relationship to the materials and how I might work with or present them.  For the mold/casting sculptural element, I used a variation of an unfired rammed earth process, this state of materiality is copasetic with the very low degrees of lithification and metamorphism of the sediments relative to the geologic and landscape concepts used in the project.  I often look for analogs to natural processes for how I might interpret how to work with  materials or sites.

John Roloff, The Sea Within the Land/Laramide, Landscape Projection, Seascape Structure 31

Ceramics Now Magazine: What’s your connection to the sea, to the magic and eternal world of the ocean? Your work The Sea Within The Land/Laramide approached this matter.

John Roloff : A basic idea of this project is that in many ways the ocean and the land are analogs of each other, so in this regard the land is also magic and co-eternal as well as co-mutable and co-evolving.  I think it is really beautiful that much of the land in the middle of North America was the result of marine depositional processes, sediments slowly settling or precipitating and consolidating on the sea floor.  Two selections from poems of the poet Gary Snyder have been very inspirational to me for many years have resurfaced and found their way into recent lectures:

        Red ooze of the North Pacific — only shark’s teeth and the
        earbones of whales.  An endless mist of skeletons, settling
        to the ocean floor.

(Japan First Time Around, “Anita Maru” at sea, 7: V: 56, Earth House Hold, 1957), and

        sea-bed strata raised and folded,
             granite far below.
        warm quiet centuries of rain
             (make dark red tropic soils)….

(What Happened Here Before, Turtle Island, 1974)

In the Colorado area during the Cretaceous, the Tethys Sea, an incursion from the south (now Gulf of Mexico region) merged with the Mowrey Sea from the north to create what is called the Interior Seaway, rich with Mesozoic dramas of life and death and an ongoing erosion of the surrounding land sending clays, silts and sands into the sea, later to be further eroded by human agency in the Holocene and transformed into brick, paving, artifacts and re-deposited as the Denver built environment, which is currently undergoing erosion… the cycle continues..

Ceramics Now Magazine: Why did you took this challenge of working mainly on site-specific projects? Do you find it easy to express yourself through the openness of the space, rather than to an exhibition space?

John Roloff : For me these spaces are really the same space, it is difficult for me to see architecture (or space definition in certain terms) without considering the origin of the materials of the building itself and some relationship to the space it encompasses.  A building for me is a landscape made out of previous landscapes, which has an effect on the space, either of the building or its paleogeographic history – how that transformation (from one landscape to another) occurred through this lens, is the product of generations of climatic systems, earth forces and human agency to name a few  (see question 2 above).  This attitude, I believe, is a basic extrapolation of more familiar site-based strategies.  In this sense it is not really a question of ease or expediency more of perception, extrapolation and intrinsic relationships.

John Roloff, Landscape Projection, SeaLand 2B

Ceramics Now Magazine: How long it takes to make a project like this? (ex: for the Overthrown exhibition)

John Roloff: Gwen Chanzit, curator of Overthrown, visited my studio in mid- 2010 and invited me to so site research and photography in early December of that year to further develop a basic idea I was interested in to work the the central Colorado landscape and my previous knowledge of what is called the Cretaceous Interior Seaway, an broad incursion of the ocean into the middle of the North American continent about 90 million years ago and that some of the current landscape would be made of sediments deposited at that time.  The themes of Sea/Land, Land/Sea, Sea/Sea and Land/Land is intrinsic to my work.  As in this project, 6-9 months are typical due to an often complex array of research, gestation and implementation.

Ceramics Now Magazine: Where can we find you and your works in the next future? What are your plans?

John Roloff: I am working on several projects, one hopefully for the Exporatorium in San Francisco when it re-opens along waterfront, a couple of public art projects in the works for many years in Oakland, CA and Minneapolis, MN, that may come to fruition this year or next and a lot of on-going research for other works.  One thing I am hoping will happen in a panel/conversation for NCECA Seattle 2012 with John Delaney, a scientist  from the University of Washington, working on an amazing project that includes a huge array of real-time sensors gathering data on the active Juan deFuca plate off the coast of Washington – forces driving the evolution of the North Western North American landscape, the eruption of Mt St. Helens, growth and potential activity of Mt. Ranier and other Cascade Range volcanoes, etc.  

John Roloff, Landscape Projection, SeaLand 3B

Ceramics Now Magazine: We somehow find your works complementing Ai Weiwei’s works. You are both searching for/ and trying to learn about the human’s conditions, but you are approaching this through our Earth’s history and throught nature (unlike Ai Weiwei’s political themes). What do you think about the Ai Weiwei’s detention? (the recent crackdown on artists)

John Roloff : For me the situation of his detention in China is first unfortunate on many levels that one could easily imagine and be sympathetic with.  At, I think, a more important level, I am interested in his situation and the relationship of risk, artistic process and the formulation of questions of our time, whether political, ecological, perceptual and/or existential.  In a way it seems natural that Ai Weiwei would be challenged by his government as his work is challenging many ideas including political ones of theirs.  My thought is to see his situation is a very broad context critical to the asking, visualization and engagement with fundamental questions for our time as well as the role of the artist in society/nature.


John Roloff is a visual artist who works conceptually with site, process and natural systems. He is known primarily for his outdoor kiln/furnace projects done from the late 1970’s to the early 1990’s as well as other large-scale environmental and gallery installations investigating geologic and natural phenomena. He studied geology at UC Davis, Davis, CA with Professor Eldridge Moores and others during the formative days of plate tectonics in the mid-1960’s. Subsequently, he studied art with Bob Arneson and William T. Wiley also at UC Davis in the late 1960’s. In addition to numerous environmental, site-specific installations in the US, Canada and Europe, his work has been included in exhibitions at the Whitney Museum of American Art, UC Berkeley Museum, San Francisco Museum of Modern Art, Smithsonian Institution, Photoscene Cologne and the Venice Architectural and Art Biennales. He has received 3 artists visual arts fellowships from the NEA, a Guggenheim Foundation fellowship and a California Arts Council grant for visual artists. He is represented by the Lance Fung Gallery in NY and Gallery Paule Anglim in San Francisco. He is currently a Professor of Sculpture at the San Francisco Art Institute.

"My work is a examination of psychological and conceptual relationships between humanity and nature, materiality and process, often evoking a poetic interplay between primal and scientific conditions.  This exploration was inspired in the work of 1970’s through the early 1990’s by qualities of the sublime evoked by the geology and natural dynamics of the North American landscape.  Since the mid-1990’s other, related issues, particularly structural and systemic relationships between landscape, architecture and technology, have increasingly characterized the work."

Visit the artist’s website.

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Interview by Vasi Hirdo - Editor of Ceramics Now Magazine

  • Interview with Roxanne Jackson - Artist of the month, June-July 2011

    Interview with ceramic artist Roxanne Jackson - Artist of the month, June-July 2011

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    Ceramics Now Magazine
    : The theme of your works is very dramatic and sometimes macabre. Why did you take this challenge of confronting with your subconscious?

    Roxanne Jackson: I want to make work about whatever comes natural to me. Instead of, for instance, sitting down to brainstorm different ideas to see what comes up, and then pick the ‘best one’ to use, I would rather see what surfaces naturally— when it is uncensored. Of course I am making decisions but, I allow room for intuition—rather than forcing the work to go in a particular direction. Art certainly has many roles—one is to depict and create beautiful objects. But, that is not the only way art can serve us.

    Cadaver-Stirrup - View Roxanne Jackson’s works

    We all know that the human nature has a dark side. You explore and question this side with your works and with what they express. Do you find exploring this side of human nature to be hard?

    Not at all. I find the work honest and refreshing. I am currently building a two-part piece to be installed at Socrates Sculpture Park in Queens (Long Island City), New York this fall. Socrates is a contemporary sculpture park which support truly innovative outdoor sculpture.  I am creating two dead animals—one will be a white unicorn (with a crystal formation for the horn)—made from fired ceramic. The other form will be a life-sized adobe (and cement) buffalo, also dead. I am creating this work to comment on traditional outdoor sculpture that commonly depicts animals—usually, the powerful, regal stag in its prime-is represented (and cast in bronze). I have often wanted to see a nature sculpture that depicts an animal that is aging, for instance. Because, then the work would raise a different type of emotion and/or empathy within the viewer. In the same way the viewer can identify with beauty, she or he can also identify with pain, aging and all sorts of other complicated emotions. So, since I have never seen any outdoor sculpture like this, I decided to just make it myself.

    Read More

  • Interview with Liza Riddle - Recognized artist, June-July 2011

    Interview with ceramic artist Liza Riddle - Spotlight - Recognized artist, June-July 2011

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    Ceramics Now Magazine
    : What is your present project, what’s its history and how do you make the pieces?

    Liza Riddle: I am exploring using soluble metal salts on low-fired porcelain clay, a project I began two years ago and am just now achieving the effects I desire.  All of my work is hand coiled, then carefully burnished to a smooth finish.  I bisque fire the clay at earthenware temperatures, paint them with water soluble metals – iron, nickel, cobalt and other salts, and fire again at low temperatures.

    Three Closed Forms - View Liza Riddle’s works

    Ceramics Now Magazine: Where do you get your inspiration for your pieces and what motivates you?

    I seek to create work that evokes a sense of wonder and mystery, forms that beckon to be held and admired.  I delight in closely observing and then interpreting natural objects and events – weathered boulders on a mountain slope, wind ripples on a gray blue sea, complex designs on a delicate bird egg – their rhythms, patterns and forces have greatly inspired my work.  I am an avid traveler and hiker.  During my adventures I have discovered the magnificent pottery of ancient cultures in the American Southwest, South America, and Asia, which speak to me in very profound ways.   

    In what techniques do you usually work and what materials do you use? Do you find working with soluble salts hard?

    I have been experimenting with soluble metal salts for the past two years, a collaboration with my husband, Mark Goudy, which draws on the inspirational work of the master of soluble metals, Arne Åse. Through trial and error, I have developed my own techniques for applying these almost transparent, highly sensitive “watercolors.” The chemicals are toxic and care must be taken while working with them, so my experiences working with photography chemicals and in a scientific laboratory have been extremely helpful. Although metal salts are challenging to work with, I love the sense of anticipation as I wait for a kiln load to finish firing, the joy of seeing their almost magical effects. Some results are disappointing, but I enjoy challenges. Because working with metal salts requires continual testing, inventing and learning, I am certain this project will keep me engaged for quite a long while.

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  • Interview with Jim Kraft - Ceramic Technique, June-July 2011

    Interview with ceramic artist Jim Kraft - Ceramic Technique, June-July 2011

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    Ceramics Now Magazine
    : What was the starting point in your investigation (research) with earthenware clay?

    Jim Kraft: When I set up my studio I bought an electric kiln which satisfied  my needs as I was interested in making objects that were not meant to be functional or to be displayed outdoors.  I did not want to cover the clay with a glaze, I wanted the earthen colors of the clay to be prominent.

    In what techniques do you usually work and what materials do you use?

    My work is solely hand-built. I roll  25# slabs of clay by hand. I use a clay extruder to make my coils .I imbed dry colorants in both the slabs and the coils. I throw dry colorants on the ware boards as I roll the slabs, the moist clay picks up the dry materials.  Depending on what series I’m working on I build the vessel forms using cut up or torn slab pieces and twisted off sections of coils. I use earthenware clay in either a buff or a red color.  After the piece is bisqued I brush on a black/brown slip, I let that dry and the next day I wipe it off.  It stays in the cracks and crevasses.  Then I brush on a clear glaze.  I let that dry and wipe it off the next day.  I leave enough to give it life but not shine.  I want the surface of the clay to absorb light not reflect it. This is a building up of the surface, layering, as you might do in print making or painting. Then I fire it a final time.

    Cord 5 - View Jim Kraft’s works

    What is your present project, what’s its history and how do you make the pieces? Tell us more about the process.

    Currently I’m building vessel forms using short torn pieces of clay coils and stacking them, like cord wood.  The end of each torn piece faces the viewer.  It’s like building with wine bottle corks or cigar butts, but end up looking more like natural, organic objects such as bird nests, bee hives or tree stumps.  The trick is finding the place where they don’t look like any of those things but allude to any and all of them. However I always want them to read as vessel forms, something that contains.

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  • Interview with Chang Hyun Bang - New Artist, June-July 2011

    Interview with South Korean ceramic artist Chang Hyun Bang - New artist, June-July 2011

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    Ceramics Now Magazine
    : In what techniques do you usually work and what materials do you use?

    Chang Hyun Bang: I usually use two different techniques for my artworks. One is slab-building for the architecture, the other is plaster-casting for the swine. I use stoneware for the architecture, firing at cone 04 while porcelain clay for the swine, firing at cone 6.

    What is your present project, what’s its history and how do you make the pieces?

    I have been interested in expressing my personal emotion derived from my own trauma through swine’s body language. Most of all, depression, anxiety, desire, obsession from my daily lives, and subtle emotions indescribable through language have been important sources for my inspiration. My recent works ‘Secret Garden’ represent my personal story hidden in the flowers. The universal meanings of flowers were subverted with my personal narrative in my artworks. But viewers are given a clue through the text to decode my secret story with the flowers.

    Demosirorooo, 2009, 50 x 32 x 39, 2009, clay, glaze, decal - View his works

    Do you remember your early works, how did it all started?

    When I look back on my early works, I seem to be interested in expressing my ‘contradictory desire’ and ‘phenomenological things’ such as the absence and presence of a thing. I usually loved using big words that I couldn’t fully understand. But that kind of questions are very helpful to my recent works.

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  • Interview with The Young Artists’ Collective - Tumblr Community, June-July 2011

    Interview with The Young Artists’ Collective - Tumblr Community, June-July 2011

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    The Young Artists’ Collective own description sounds like this: “This is a blog about art. This is a blog about passion. This is a blog about creativity. It’s about a community. It’s about recognition, originality, skepticism. It’s about freedom of expression, fearlessness, and dreams. Style, hunger, and emotion. It’s about life. It’s about us, and it’s about you.

    We are all artists.

    Love thy art.”

    We wanted to know what challenges this young artists (like us) meet along their way in becoming a strong collective and in finding themselves through art. We asked why is art important to them.

    Emily Ford : Asking why art is important to me is like asking why is air important to me.  A little dramatic I know,  but I can’t imagine my life -or any life without creativity and art. It is called visual art for a reason, because we literally see it everywhere. I see it in a well made piece of clothing, in the patterns drops of water make on the floor as I leave the shower, even in the graphics used to create this website.
    Design, craftsmanship, color, and creativity can be found in anything and I can’t escape it even if I tried.  The question is so very broad, but to me art is important because I live, communicate and understand concepts visually; therefore, without art I would struggle hopelessly through my days.  In addition, the creative process itself is a way for me to express and release my subconscious concerns.  It is very much a therapeutic process that I use to connect my works of art with viewers. I also involve myself with others in my community through art making, so this creating is a way to connect, inspire, and benefit myself and community.
    Art gives me sanity, happiness, connectivity, meaning, freedom, discipline, and so much more.  Like I said, I breathe it in daily. It is in my blood and I can’t live without it.

    Chelsea Sherman : “The imagination encircles the world.” I have a very strong connection to this belief, so much in fact that a (personalized) version of the phrase is tattooed on my arm. The idea that our imagination, where creativity and artwork expand from tiny specs of thought to explosions of color, connects every human being (because we are all artists!) on an incredibly intricate, passionate level. To me, ‘world’ could be taken literally or to mean your life, and in my world imagination threads art and vitality together, tailoring them inseparable. Creativity flows through my veins; without it I cannot live.

    More importantly, it’s everywhere! Art is the piquant spice that flicks your taste bud, the hangnail that you can’t pick, the crisp crackling an ice cube makes when it trampolines into a glass of lemonade. It is something freshly observed, something extracted from the everyday and twisted with paintbrushes and cheap pens. Writing a short story or painting an oil piece from watching a boy drop a popsicle stick in the park last Tuesday. That to me is art. Everything. And the last time that I checked, everything was pretty fucking important.

    Tim Boyle: There’s a story of a Russian dancer, who when asked to explain the meaning of her dance, responded, “If I could say it in so many words, do you think I should take the very great trouble of dancing it?” I think that’s a salient point in regards to art as a whole. To flourish as humans, we must communicate with one another. And yet so often we find that there are parts of our lives we struggle to express.

    From the mundane to the grandiose, we have thoughts, feelings, and instincts which we can’t seem to define yet art let’s us communicate to each other. And because of that, art is an essential part of my life. It’s importance rests in its ability to communicate those things which can’t be expressed directly. And without it, I’d know so much less about myself, let alone anyone else.

    Tim Hughes : Many artists say that the process of creating is why they view art as important.  This is valid no doubt, but I think the after effects of creation is where the importance of art lies.  People react to art.  They will experience feelings and emotions that they may or may not have experienced before.  They may become happy or excited.  They may have sadness or depression.  But the most important thing is that they are feeling. 
    When art forces the viewer into the act of feeling emotion, the viewer is reminded of their existence.  People’s lives typically revolve around a routine in which we become accustomed to, and comfortable with.  We forget what it’s like to feel something real.  Art lets us feel.  It breaks the monotonous cycle of our daily routine.  It reminds us that we are really alive.  In a world without art, we would lose an element of our emotional essence.

    The Young Artists’ Collective consists in the following:
    - Tim Hughes - Creator and Editor
    - Chelsea Sherman
    - Tim Boyle
    - Andrew Olanoff
    - Layne Dixon
    - Emily Ford
    - Anthony Smith

    Ceramics Now Magazine: You say creativity, freedom of expression, originality and recognition are values that you and The Young Artists’ Collective respect. Can you tell us more about the project? What are your goals?

    Tim Hughes , Creator and Editor of The Young Artists’ Collective:
    Making your way in the art industry is a tough, stressful thing to do.  I’ve been painting for a couple years now and have had relative success in doing so, but I’ve also experienced the low blows that the art world can throw.  Though discouraging, these setbacks can only be taken in stride.  In attempting to do so, I’ve developed a philosophy: I think that the best way to make it in the art world is to involve and immerse your self in the art as much as possible.  Thus, the Young Artist’s Collective was born.  It’s one more tool at our disposal.  One more open road to take.  One more stage to grace. 
    The Collective is made up of artist’s of different natures and pasts.  Our experience spans many mediums from painting to writing to graphic design to philosophy.  We are a small group but are growing slowly.  We may not post in great quantity but will always try to post in great quality.  We want to share our artistic experience and findings with each other and the rest of the world.  We want artist’s that we love to be discovered and loved by others too.  This can only help in building a community that consists of artists who have each other’s back. 
    The hope is to have a successful art blog.  This success won’t be measured in popularity, number of views, monetary gain or reputation.  It will be measured in what we as a community will gain from this forum.  Through the Collective’s and the community’s posts, insights and philosophies, we will learn from each other.  We want to encourage each other’s creativity and celebrate our freedom to create.  We will inspire and motivate each other.  That’s the whole point of the Collective: to attempt to survive and tame the beast that is the art world… as a group.

    Visit the artists website.


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    Interview by Vasi Hirdo - Editor of Ceramics Now Magazine with help from Miruna Pria.

  • Interview with Gwen F. Chanzit - Special feature for The Denver Art Museum, July 2011

    Interview with Gwen F. Chanzit, the curator of Overthrown: Clay Without Limits exhibition at The Denver Art Museum, July 2011

    This is the first interview we’ve made for the special Overthrown feature. The special feature for The Denver Art Museum covers more interviews with artists exhibiting at the Overthrown: Clay Without Limits, which is on view June 11 through September 18, 2011. Subscribe here to receive the special edition of our newsletter.

    Ceramics Now Magazine: How did you find the artists for Overthrown: Clay Without Limits exhibition? Was it hard or you already had their names in mind?

    Gwen F. Chanzit: I spent many months researching, talking with artists in the field, and visiting artists in their studios.  I also participated in symposia at the Victoria and Albert Museum in London and in Santa Fe, New Mexico, where I was introduced to the work of additional artists.

    From well over 100 file folders with research on the work of individual artists, I narrowed my selections by reviewing these regularly, moving the folders into piles that grew into “yes,”  “maybe,” and “no.”  I was particularly interested in showing the breadth of work that ceramic artists are accomplishing today.  Sometimes when I made a studio visit to see one artist, I discovered another artist or two.

    Ceramics Now Magazine: What are the criteria on which you selected the artists for this exhibition?

    Gwen F. Chanzit: I look for quality, inventiveness, and artists who are pushing the limits to develop new methodologies. 

    Working in all scales, from architecturally expansive to almost impossibly small, the artists in Overthrown employ twenty-first-century technology hand-in-hand with standard modeling and molding techniques. They use digital cameras, computers, laser cutters, 3-D printers, and computer-controlled mills along with more traditional tools. Some push the forms of functional objects. Others push the limits of fragility. They take risks that draw on material chemistry and maverick kiln techniques. Some of their works include not only clay, but also found objects such as metal, plastic, and abandoned industrial materials. Overthrowing our expectations of ceramic art —its size, its context, its methods, and its meaning—these artists show us new ways of using this versatile and timeless material.

    Ceramics Now Magazine: Did the exhibition space offered many obstacles? How did the artists adapt to the space?

    Gwen F. Chanzit: The exhibition space is a dynamic Daniel Libeskind design with angular walls and interesting spaces that are wonderful for exhibiting three-dimensional work. The soaring ceilings provide particularly good opportunities for large scale work. Each artist was encouraged to utilize these exciting spaces—which they did.

    Most of the works were made especially for this exhibition, and many are in direct dialogue with the site—they move beyond the pedestal to the wall, the floor, and even the ceiling. A few extend across the entire museum complex. They break boundaries that are physical, technological, conceptual, and spatial.

    Ceramics Now Magazine: On what principles do you guide on preparing an exhibition like this, with more than 20 artists participating?

    Gwen F. Chanzit: It’s important to show each artist’s work with integrity, to enable the work to have enough space to show itself well.  It was a particular goal for each work in this exhibition to be seen independently—-with the added bonus of long vistas across the gallery from work to work.

    Ceramics Now Magazine: Do you have any guidelines for the artists? How long ago did you contact and proposed them to exhibit at the Denver Art Museum?

    Gwen F. Chanzit: I encouraged each of the 25 artists to be very ambitious—not to be hindered by cost of materials or limitations of space.  Most artists had just over a year to prepare the work—a very short time in the world of these ceramic installations where challenges of materials and techniques had to be resolved.  In some cases, kilns had to be built..

    Ceramics Now Magazine:  Significant support was provided by different foundations and citizens. What is DAM’s relationship with foundations and donors?

    As most non-profits, the Denver Art Museum appreciates the significant support received by foundations and donors.

    Ceramics Now Magazine:  What part or what limits of this exhibition you find yourself connected to?

    I am connected to all parts of the exhibition.

    Ceramics Now Magazine: What expectations do you have from this exhibition?

    Gwen F. Chanzit: I very much hope this exhibition will overthrow some expectations of what ceramics might be.  It is a versatile and timeless material that is being used in new inventive ways in the 21st century.


    Gwen Chanzit is curator of modern and contemporary art and the Herbert Bayer Collection and Archive, Denver Art Museum. She has organized many DAM exhibitions including Bonnard, Matisse from the Baltimore Museum of Art, Martha Daniels Grotto, Vance Kirkland: The Late Paintings and Color as Field, as well as numerous exhibitions on Herbert Bayer. Her rotation in the modern and contemporary art galleries for Marvelous Mud is Focus: Earth and Fire.

    Among her many publications, Chanzit has authored two books on Herbert Bayer; contributed essays to DAM exhibition catalogs, RADAR: Selections from the Collection of Vicki and Kent Logan and The View From Denver; served as editor and authored essays for the 2009 exhibition catalog, Embrace!; and published an essay in the Austrian exhibition catalog, Ahoi, Herbert: Bayer und die moderne (2009). 

    For Marvelous Mud, Chanzit is curating Overthrown: Clay Without Limits, an exhibition in the Anschutz Gallery that features new work by 25 contemporary artists—most of whom work very large scale. She is also preparing a catalog and organizing a related symposium in September 2011.

    Chanzit is a frequent lecturer locally, nationally and internationally. She often serves as juror for art competitions and exhibitions and has been a guest curator at the Aspen Institute and the University of Denver. Chanzit holds a Ph.D. in art history and contributes to the future generation of museum professionals as director of the graduate program in museum studies at the University of Denver’s School of Art and Art History.

    Visit the Modern and Contemporary Art Collection's web page on the Denver Art Museum website.


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    Interview by Vasi Hirdo - Editor of Ceramics Now Magazine

  • Interview with Carol Gouthro - Artist of the month, May 2011

    Interview with ceramic artist Carol Gouthro - Artist of the month, May 2011

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    Ceramics Now MagazineIn what techniques do you usually work and what materials do you use?

    Carol GouthroAll my work is made using clay and fired ceramic glazes and  materials. I am a bit of a purist about this in my own work. I love ceramic materials and surfaces and do not feel the need to use cold finishes. I enjoy mixing my own glazes and running glaze tests to get the resulting fired surfaces I seek. I love Terracotta clay, the color and the feel of the clay, and that is the primary clay body I use. Color is important to me in my work and I combine  both commercially bought materials, underglazes and glazes and  my own studio mixed  slips and glazes to get the results I want.

    I have two bodies of work that I make.
    The first is my on going explorations in sculpture and vessel forms. These are one of a kind and always evolving. In this work I use many different techniques combining handbuilding, slip casting and wheel throwing to get the forms I want. I make a lot of slip cast  molds from found objects ,usually objects that I have some kind of emotional response to. I often manipulate the resulting forms making 2nd and 3rd generation molds. I also throw and  handbuild forms and make press molds for future use. That way when I start working on pieces I have an inventory  of shapes at my disposal. My visual library.

    The second body of work I make is a line of dinnerware and accompanying serving pieces that I produce and sell exclusively out of my studio.

    This line consists of dinner plates, salad and dessert plates, shallow bowl, deep bowls, tumblers, and cups and saucers. For the dinnerware I throw all the original forms and then make slipcast molds  and pour the pieces in Terrecotta. They are painted by hand with underglazes and fired with clear glaze. The large bowls, and platters are press molded and finished the same way as the other dinnerware. These pieces are my production line and I do not change the designs very often  unlike my sculptural one of a kind  work. I make all this myself, I do not have assistants.

    Aurlia Barnacles - View her works

    Where do you get your inspiration for your pieces and what motivates you to do a good job ?

    The inspiration for my work comes from several sources. Ceramic vessels, Ornamentalism, plants forms and other natural forms, childhood artifacts.

    I have always studied historical ceramic vessels  ever since my university days. Some of my favorites are Persian Luster ware, Italian Renaissance majolica, Tang Dynasty Terrecotta, Japanese Oribe ware, Victorian Majolica, and  Noritake Art Deco Lusterware. Color , pattern ,and texture are essential components in my work and I have always been drawn to very ornamental historical pieces , palace pots of all kinds.

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  • Interview with Margrieta Jeltema - Ceramic Technique, May 2011

    Interview with Italian ceramic artist Margrieta Jeltema - Ceramic Technique, May 2011

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    Ceramics Now Magazine
    : What was the starting point in your investigation with paperclay?

    Margrieta Jeltema: Some years ago, when I had finished some jewelry pieces using porcelain together with paper, a  friend suggested to translate the paper part in porcelain as well. I tried and failed but my mistakes turned out rather nice in their own way. They encouraged me to explore this path…
    Now observing earlier pieces it seems the idea of folding was already there.

    I think any research in art is not just a technical one. Yes I wanted my porcelain to resemble paper but most of all I wanted it to have a life of its own.
    My porcelain objects have grown to be flowers, they are wishes or a song. They belong to a different world, follow different rules, not those accepted by the pragmatic world of utility, they truly belong to the “world of beauty and imagination*”.

    The technical skills with paper-thin ceramics have their origin in beliefs about the nature of art. Objects made by human beings belong to the realm of art when seen as aesthetically pleasing.
    Seeing something as a work of art or looking at it are not the same. Looking has a beginning and end. Seeing however is an achievement – it has no beginning, no stretch of time, it is the realization that we are confronted with something different. The work of art is not confined in a cave of individuality. It participates in an essential way in our everyday communication. From the act of seeing emerges our ability to understand a message.
    The beautiful object has an intention; the intention of sharing, of telling a story and exploring our world of imagination.

    Message, story, communication, these are the words which describe my previous occupation with writing, using paper, making books with etchings.
    I was held captured by these sheets of paper on which I could try to communicate with others.
    My Loveletters and my Ode to Monet go back to my obsession with paper carrying stories to those prepared to look, to understand and hopefully, to enjoy them.

    Folded loveletter - View her works

    Ceramics Now Magazine:  Do you find working with porcelain hard, especially if you try to make it look like paper?

    Margrieta Jeltema: Working with porcelain is really easy if you get a bit used to its terrible shrinking, its proneness to distortion, it’s tendency to collapse and its ability to ‘remember’!…
    But there are also many advantages over other clays. It is easy to join dried pieces together or repair a piece before baking, it is easy to glaze using a brush (saving on amounts of glaze) as most unevenness will disappear in the high temperatures and of course usually colors look nice and bright on the white body.
    What I find really difficult is the handling of the folded Loveletters when they are only bisque fired and still extremely fragile. Because I want to glaze them only on the backside I have to turn them someway. Eventually I solved this using a piece of light foam polystyrene with which I can turn the letter like a omelet on a lid (some cooking experience helps a lot in ceramics).

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  • Interview with Shane Porter - Recognized artist, May 2011

    Interview with ceramic artist Shane Porter - Spotlight - Recognized artist, May 2011

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    Ceramics Now Magazine
    : In what techniques do you usually work and what materials do you use?

    Shane Porter: My practice is multi-disciplinary in nature, from the way I draw, plan installations and think about different concepts. These areas intertwine from the research that informs my work- by rough scribbled drawings on scraps of paper, to precise computer aided illustrations. I usually need to see my pieces in three dimensions before going any further so after the initial drawing stage, I will construct rough maquettes (usually made from paper, card etc.) to get a sense of scale and presence. The series Vessels 2010 were first made from turned plaster using a lathe and from that initial investigation I played with scale and proportions before turning to clay to make the finished objects. Vessels 2010 were made in two separate stages. A bowl-like press mould was made and a large mass of white stoneware was pinched into it so to not create any seams. A top was then made from a slab of clay and the rather rough pieces where joined together and then slow dried for 4 days. The pieces were then turned on the wheel to create the desired form and finish. I am interested in clinical forms, which flirt with the idea of mass production, but which disrupt this notion by subtle marks of the maker. 

    What is your present project, what’s its history and how do you make the pieces?

    “If anyone wishes to come after me, let him deny himself, take up his cross and follow me.”- Matthew 16:24

    My work explores the role and function of the Vessel within ritual theory and practice. I am currently developing a new body of Vessels which are inspired by the practice of Corporal Mortification used in Orthodox Christian traditions.  Corporal Mortification is the practice of inflicting pain on the body as a type of spiritual psychology which uses the ‘body to affect the mind’, punishing man for carnal desires and indulgences, therefore becoming closer to the divine.

    This work is still in an early stage of development and I am beginning to create a series of porcelain paper clay Vessels which challenge the function and ergonomics of the ritual container. I am interested in juxtaposing materials in unusual ways which enable the viewer to question the various connotations which are deep rooted in society. I manipulate typography, clay and organic materials to create narratives and conversations across the work.

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  • Interview with Wim Borst - New artist, May 2011

    Interview with Dutch ceramic artist Wim Borst - New artist, May 2011

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    Ceramics Now Magazine
    : In what techniques do you usually work and what materials do you use?

    Wim Borst: My ceramic work is built from clay slabs.
    The clay which I am using it is a mixture of two stoneware bodies, Molochite and flax-fiber. I have developed this clay while working for European EKWC Work Center in ‘s-Hertogenbosch in 1998.

    At gray/black objects a black body stain is added.
    The open texture in the clay is obtained by adding organic material during the firing.

    Counterpoint Series 11 - View his works

    What is your present project, what’s its history and how do you make the pieces?

    Currently I am working on a new series of objects, tube / pipe structures (see photo), which will be exhibit during this year.

    I begin a series/theme with a few sketches on paper or small designs in clay.
    Slabs leather-hard clay and cutted molded parts from a PVC / wood or plaster mold are mixed up together with clay slip.

    Special attention is given to the finishing of leather-hard.

    Once bisque fired, the object is wet smoothed with diamond pads and dried.

    Glazing: parts of the object are sprayed with glaze or sinterengobe, the glaze fire in an electric oven 12600 C.

    Where do you get your inspiration for your pieces and what motivates you to do a good job ?

    I am inspired by the abstract geometric forms in sculptural art work and architecture.

    The inspiration is based on a systematic approach to design and execution of similar artists such as, among others, Ad Dekkers (NL), Jan Schoonhoven (NL), the architects HPBerlage (NL) and JJPOud (NL), including artists belonging to ‘the Style’ (Dutch art movement (1917-1931).

    The objects refer to functional forms, such as vases and bowls, but they are never the starting point. The autonomous objects show how triangles, squares, circles and ovals are split and merged.

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  • Photographer Jonathan Vanderweit - EXTRA!, May 2011

    EXTRA!, May 2011: Jonathan Vanderweit

    Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two

    Ceramics Now Magazine: Tell us who you are and what you do.

    My name is Jonathan and I make photographs in Denver, CO, USA. I have been shooting for about ten years, but have really begun to focus on the craft of photography since early 2010. I also work as a videographer and creative director for a small nonprofit organization here in Denver.

    Jonathan Vanderweit monocle photo

    What is your present photography project, what’s its history and how do relate to it?

    Jonathan Vanderweit: My work focuses on the exploration of the world around us with specific regard to the interaction between humans and the natural environment. This means finding areas where nature has begun to reclaim the world of people, which here  in the US often happens in formerly industrial/manufacturing areas as well as at the fringes of cities and towns. I love finding where our maintenance crews haven’t caught up or which taken on a kind of serendipitous equilibrium between the forces of creation and ruin.

    My next two photo projects are extensions on this theme. One is a series of portraits of people who wear glasses or contact lenses. The photos will be displayed in pairs, the left a normal portrait of the subject in their glasses and the right will be a shot without them.  The image on the right will have the focus corrected to account for the person’s natural visual acuity, with a different effect for each person depending if he/she is nearsighted, farsighted, or has astigmatism.

    The second project will use some of the locations I have discovered over the last year–walls, doorways, stairs, the urban features of Denver–as settings for exquisitely-dressed floating protagonists. These photos will explore the habitation of spaces that have previously been considered industrial or austere by inhabiting them with individuals bursting with style and weightlessness. Gven the labored past of many of these dwellings, one would expect that they be drab and deserted. In fact the opposite is proving true, homes in lofts and warehouses have strong draw for creative people and have become a highly desired place of residence.

    Jonathan Vanderweit monocle photo

    How it all started? What was your first camera and what devices do you have now?

    My first camera was an Olympus OM-1 with a 50mm lens, which was a gift from my father when I was around 15 years old. Today, I primarily shoot with a  Nikon D700 and I also have a Nikon FE2 that I use when I don’t feel like carrying much, as well as a Mamiya RZ67 medium format system which is huge and exquisite serves as a constant reminder of what a camera actually does.

    The instant feedback of shooting digital has accelerated my learning curve and gives me loads of flexibility when processing my images, but I will continue to shoot film for the sheer fact that it feels like creating a real thing (which makes me shoot more slowly and thoughtfully), and that the look of many film types is hard to duplicate digitally.

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