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

artist

Jorie Johnson (Joi Rae): Ceramic Pendants with felted cord variations 2010, variegated dyed wool; Ceramic Pendants by Yoko Takao (Fuucho, Tokyo) Scarf, wool, silk organza, mohair yarn. Photo by Toyoda Yuzo.
/ Keiko Gallery - Japanese artists

  • Jorie Johnson (Joi Rae): Confetti Shawls 2008, hand-woven silk fabric, wool. Photo by Toyoda Yuzo.
    / Keiko Gallery - Japanese artists

  • Takeda Asayo: Sculpturesque Purse, 2009, Cotton, leather, 19” x 17” x 3”
    / Keiko Gallery - Japanese artists

  • Hayashi Shigeki: KOZO, 2008, Glazed porcelain, 12” x 12” x 24” (H)
    / Keiko Gallery - Japanese artists

  • Hayashi Shigeki: 00, 2011 (white bike), Glazed porcelain, 32” wide
    / Keiko Gallery - Japanese artists

  • Murata Yoshihiko: Silhouette 08, 2010, Maple wood, lacquer, 16” x 3 1/4” x 5 1/4”
    / Keiko Gallery - Japanese artists

  • Murata Yoshihiko: Silhouette 01, 2009, Maple wood, lacquer, 3” x 4” x 9”
    / Keiko Gallery - Japanese artists

  • Fujita Toshiaki: Layered Form 3, 2004, Urushi, gold leaf, earth powder, 24” x 20” x 7”(h), Photo: Takahashi, Noboru
    / Keiko Gallery - Japanese artists

  • Niisato Akio: Luminous Vessel, 2007, Glazed porcelain, 6 1/2” x 6 1/2” x 12”
    / Keiko Gallery - Japanese artists

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

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

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.

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

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

    Claire Muckian Contemporary Ceramics Magazine - Artist of the month

    Turbine, porcelain - View her works

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

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

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

    Read More

  • Interview with Mark Goudy - New artist, September 2011

    Interview with ceramic artist Mark Goudy - New artist, September 2011

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → Pre-order the first printed issue of Ceramics Now Magazine - Issue nr. 1, Winter 2011-2012.

    Ceramics Now Magazine
    : Your work with ceramics has been active only in the last three years. What did you do before that? Tell us about your first experience with ceramics.

    Mark Goudy: Well, my mother was a potter, starting back in the early 70’s, and so when I was a teenager I was exposed to clay through her work. She had a studio in our basement, with a wheel, kiln, glaze mixing area, etc. I tried throwing on the wheel back then, but I didn’t really connect with the craft aesthetic or the making process during that time. I was more interested in playing music and adventuring outdoors than working with mud.

    Somehow thirty years went by before getting my hands back in the clay again. I ended up studying engineering and enjoyed a twenty-year career in the computer industry (designing graphics chips for companies such as Pixar, Silicon Graphics, and nVidia). It wasn’t until a little while after my mother passed away that my wife Liza had the idea of paying homage to her creative spirit by taking a raku class at our local adult school. Pull pieces directly out of a red-hot kiln and drop them into burning sawdust? …sign me up! It was fun performance art, but it was the building process that really drew me in. I started hand-building and designing systems to create forms that reflected my own sensibilities. More classes followed, and within a couple years I left the virtual world of computer engineering and was spending a lot of time in the clay studio. It was refreshing to be working with such a physical material and in a process where every piece created embodies its own unique identity.


    Three Vessels - clockwise from left: (m70) 7”w x 3”h; (m81) 10.5”w x 4”h; (m71) 8”w x 3.5”h


    You usually work with soluble metal salts, that give impressive shapes and patterns. How do you make the pieces?

    I may have been influenced by my experience in computer graphics, where you can render all sorts of interesting objects composed from intersecting curved surfaces, but early on I wanted to get away from the radially symmetric forms that come about from working with the wheel. So I learned about slab construction and ended up making a series of special hump molds (by pouring plaster into stretchy fabric suspended through triangular cutouts in plywood) to shape the clay. These molds enabled me to construct forms out of asymmetric parabolic curved surfaces, which had immediate appeal. My basic process is to shape, and then join these surfaces together to make my rounded vessels. The arcs in these pieces are designed to fit the sweep of my hand as I burnish the surface by rubbing with a smooth stone. For now, I enjoy working in a scale that fits easily into the hands, with forms that feel like waterworn stones.

    Read More

  • Interview with Shamai Gibsh - Ceramic Technique, September 2011

    Interview with Israeli ceramic artist Shamai Gibsh - Ceramic Technique, September 2011

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

    Ceramics Now Magazine
    : What was the starting point in your investigation with Saggar firing and Terra Sigillata painting?

    Shamai Gibsh: Terra sigillata painting intrigued my imagination when I was a teenager.  At first, I saw Venetian vases decorated with black and white figures and later with color painting, as part of the history and heritage of the eastern Mediterranean board. Years later, when I was already a ceramic artists, I researched terra sigillata and the rediscovery of it in the 20th century, and started to apply it to my work. I tend not to use glazes in my work, except for exterior mural work. Thus, the use of terra sigillata over the last 15 years enabled me to reach a non shiny and a very appealing color palate, and when fired within saggar vessels in the presence of organic materials or smoked firing, appears to have exiting results. I fire within a saggar, which is an enclosed clay vessel that holds the specific organic material, to get the desired results. Over the years I have used many forms of organic materials like saw dust, salt Marché, pine needles, various seeds and fruits. These days, I mainly use pine needles collected from two forests; one in the Carmel mountains and the other one close to my studio.

    Installation “Stelae 2011”, 235x213x55 cm. Stoneware, Terra sigillata, Saggar firing.


    Tell us more about the process of constructing your works. Does it take much time, do you have to make many preparations?

    The manual part of my work: wheel throwing, hand building murals and sculpting occupy a large part of my time. However, these come after an idea has been formed following considerable thoughts, planning and designing. Naturally, I am influenced by my roots, the immediate cultural and social environment and by the exposure to anything that touches us as human beings. Therefore, yes, it is a lengthy process.

    My preference of the use of sagaar firing also contributes to the prolonged preparatory phase in my work. Bone-dried vessels, made out of white stoneware clay, are covered with three layers of terra sigillata, occasionally decorated with copper cuttings and bisque fired to cone 06. Metal soluble are also used for decoration, and the objects are inserted into clay vessels (saggars) which are just a bit larger than the fired object, and filled up with organic materials, mostly pine needles, pretreated with different oxides. I fire in reduction to around 1000C.

    Preparation of murals varies. At times terra sigilata is applied in different layers on a plaster board in a reverse pattern, followed by a thin layer of liquid clay. When in a leather-hard state, the board is lifted and cut into tiles, bisque fired and only than saggar fired. In other instances, tiles are painted with terra sigiillata, applied with layers of various copper cutting and even painted with oxides and metal solubles, bisque fired and saggar fired.

    Read More

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website design by Thomas Cullen. Powered by Tumblr.