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

ceramic artist

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.

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  • Tim Rowan: New Works / Cavin-Morris Gallery, New York

    Tim Rowan: New Works exhibition at Cavin-Morris Gallery, New York, NY

    Tim Rowan: New Works / Cavin-Morris Gallery, New York, NY
    April 5 - May 12, 2012

    Opening Reception: Thursday, April 5th, 6-8 pm.

    The American sculptor Tim Rowan’s personal quietude belies the depth and activity of his process. He allows his work to be his voice but sometimes this leaves much to the perceptions of the viewer. The work often depends on the viewer not only to intellectually grasp it but to intuit it as well. The Japanese aesthetic of Yugen or mysterious essence is an important part of his presentation. This work not only occupies gallery space but it also has a placement in the context of his studio and land. When you see his work in its birthplace you realize you are standing in the presence of one of the world’s great Poets of Place.

    Tim Rowan’s work does not refer directly to the history of traditional Western ceramics. Of course aspects of all ceramic sculpture processes are universal but his work does not travel to us out of an evolution of Western form and surface techniques. By this token they barely travel out of Japanese form either, though there are parts of the process that refer to it obliquely; firing technique and flame markings for example. But his cups are not chawan, and his sculpture does not quote Bizen form. His urns are not mizusashi. If there are any references at all to the work of his teacher, Ryuichi Kakurezaki, they come from Rowan’s responding to that work despite the Japanese legacy that work comes from. When you look closely at Tim Rowan’s abstract pieces the implications of his freeform place in history come home to roost. You can compare his colors perhaps, his textures perhaps, his melted ash perhaps, but his forms are his alone. They are not utilitarian objects trying to break free from tradition. They are however, utilitarian to the eye and the soul, used in aesthetic contemplation and the cerebral and ephemeral pleasures therein. He is saying new things in an ancient language.

    I am not sure I would label Rowan as anything but a Contemporary Artist. His expansion to found and shaped stone forms extend his ceramic vocabulary. He is a Minimalist but that is more a description of his affect than of any philosophical viewpoint. The tension in his pieces is not minimal. His work covers power with a veneer of control and calm; a dangerous directed power. It seethes. The spikes on his cups or in his bowls, the cracking and splitting of his geode-like forms whether ceramic or metal, reveal mineral turmoil and convey a universe that can be ominous and/or aggressive even in its quietest moments. He creates a geological ethnography with objects that have resonances beyond the membrane of our ordinary aesthetic recognition.

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  • Steve Belz

    Steve Belz Ceramics - Featured ceramic artist

    Steve Belz's profile on Ceramics Now Magazine - View his works

    “The environment is in a delicate balance between well-being and decline. For a healthy society, we must be responsive to the fact that all of our activities affect the Earth. My sculptures express the beauty of nature and the tension created by man’s manipulation of our environment. I use the beauty of form to increase the viewer’s emotional connection with nature. This connection to nature can expand one person’s, and ultimately our society’s compassion for the natural world.

    Historically we have manipulated plants by gathering seeds, grafting limbs, and controlling pollination of plants with traits we find favorable. These qualities were gradually developed over countless generations. What is different about our more recent modification of plants is the far-reaching selection of traits from organisms that would not be accessible without genetic engineering. For instance, splicing a fish gene with a strawberry to make the strawberry more resistant to cold could not occur if not for techniques developed by scientists. This kind of manipulation is dramatically different from our prior system of plant selection and has potentially profound effects on the Earth.

    I use manufactured elements in my work to create a tension meant to bring about a consciousness within the viewer, to open a dialogue about contemporary society’s association with nature. This discussion can raise awareness of the danger that our current situation poses. A lack of responsibility and stewardship for the Earth creates many problems for the planet, among them degradation of our basic life support systems, as reflected in the loss of biodiversity, increased toxicity of our food systems, inefficient use of natural resources and global climate change. I hope that my art will encourage viewers to educate themselves and become increasingly proactive in assuring a sustainable future.” Steve Belz

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  • Steve Belz: Assisted Nucleation (detail), 2011, Low fire ceramic, washes, glaze, rubber cord and steel fastener, 20H x 30W x 10D inches

  • Steve Belz: Pulse (detail), 2011, Ceramic, glaze, bronze and powder coating, 9H x 14W x 10D inches

  • Steve Belz: G.E.M. Genetics X Environment X Management, 2011, Low fire ceramic, washes, glazes, slips and resin, 9H x 17W x 12D inches

  • Ruth Power

    Ruth Power Contemporary Ceramics

    Ruth Power's profile on Ceramics Now Magazine - View her works

    “My work is strongly political and inspired by the invention of Japanese tentacle pornography.

    It all began when I typed in ‘tentacle’ to Google Images. 90% of the images that showed up consisted of violent tentacle porn. Tentacle porn has been around for centuries, but only became hugely popular in 1980, when a Japanese animator named Maeda wanted to make an erotic anime called Urotsuki. However, at the time, Japanese law forbade anatomically explicit pornographic drawings. Illustrators were always looking for ways to get around the law, so, instead of depicting an erect penis, Maeda depicted brutal tentacles.

    Moreover, it was illegal to show couples taking part in sex where the man penetrates the woman with his penis for mutual pleasure, but it was perfectly legal to show tentacle rape. This contradiction of censorship fascinated me. The restrictions on the latter substantially caused the former: the return of the repressed as huge, aggressive tentacles…and this is what I found to be most fascinating.

    Thus, the tentacles in my work symbolize sexual repression. I am very worried about contemporary sexuality, with women still derogated for acting sexual and mainstream pornography becoming more and more brutal. I pay a lot of attention to the media, which further influences my work. I use casts of my own body parts to express how this state of deformed sexuality is affecting me.” Ruth Power

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  • Ruth Power: Two faces (Cephalophilia), 2011, 33cm wide x 34cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior (Black and white image)

  • Ruth Power: Stomach (Cephalophilia), 2011, 48cm wide x 42cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior

  • Ruth Power: Cephalophilia (installation), 2011, 100cm wide x 100cm long x 40 cm high.

  • Ruth Power: Split breasts (Cephalophilia), 2011, 48cm wide x 42cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior

  • Ruth Power: Bound breast (Cephalophilia), 2011, 43cm wide x 37cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior.

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