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

Ken Eastman Ceramics

Interview with ceramic artist Ken Eastman

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

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

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

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

Ken Eastman Ceramics

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

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

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

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

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

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

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

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

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

> Subscribe to Ceramics Now Magazine and sign up for the monthly email newsletter.

Read More

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