Jamie Bates Slone is a ceramic artist known for her figurative work in clay paired with with projected imagery as surface, as well as her experimental work in the casting of ceramic glazes. Her most recent work addresses the fragility of the human spirit in the midst of illness and loss in relation to her family’s history with cancer.
Constance McBride draws her inspiration from nature, dreams, family and personal experiences.
Art critic Brian Sherwin commented on her sculptures, remarking, “McBride’s sculptures remind us of the connection we share with nature. One could suggest that said connection has been distorted by technological advances - but it still exists. We need to ‘listen’ now more than ever." Sherwin adds, "McBride’s work allows viewers to reflect on that connection - her work invites viewers to think beyond human-made constructs.”
Originally from Pittsburgh, Pennsylvania Brett Freund has studied and traveled in a variety of areas in the United States. After a residency at St. Petersburg Clay Company in Florida Brett received his MFA from Southern Illinois University Edwardsville and later was awarded the Lormina Salter Fellowship from Baltimore Clayworks. He exhibits nationally and was chosen as 2012 Emergency Artist by Ceramics Monthly.
Susan Phillips (b. 1978) studied a BA (hons) in studio ceramics at Falmouth College of Arts between 1996-1999. She is now based in rural Herefordshire where she lives with her partner and 2 children on the Welsh/English border.
Born in New York City Kevork Cholakian attended classes at the Art Students League and the Fiorello La Guardia High School of Music and Art before earning a Bachelor of fine arts from Pratt Institute in Brooklyn, NY.
After graduation he began working in broadcast television as a graphic designer and later moved to Los Angeles to take a senior design director position in that field. After leaving television in 2010 to pursue his art fulltime Kevork also developed an interest in ceramics. His work focuses on sculpture related to his still life painting.
Eszter Imre was born in 1985 in Hungary. Growing up in a historical town in the heart of Hungary she discovered her great interest towards the arts and crafts and started her artistic education at the age of 14.
Getting to know ceramics during the high school years had significant influence on Eszter and she have been working with clay ever since. She earned her Master in fine arts (2010) and an MFA degree in design (2014) from the School of Design and Crafts (HDK, University of Gothenburg), Sweden.
Lucy Gresley is currently in her 3rd year of BA Fine Art - Painting and Drawing at the University of Gloucestershire. Prior to entering full time art education in 2010, she was as a Clinical Psychologist, specializing in mental health for children and young people.
Michael Boroniec (b. 1983) is an American sculptor who resides and works in Berkshire County, Massachusetts for its culturally rich history, natural surroundings, and family.
Boroniec received a BFA from Rhode Island School of Design in 2006 with a concentration in ceramic material. His work focuses on ceramic as a dialog between the historical and contemporary implications of clay as a fine art material.
In this series, works depicting physical aging and a gendered issue surrounding dementia are engaged from a female point of view. Questions surrounding social responsibility are visited through an intimate look at a mother’s dilemma. My focus shifted to my mother after a few years of observing and caring for her while she navigated her days living with Alzheimer’s disease. My mother’s countenance emerges in the work through clay figures over a period of time and through multiplicity. By investigating concrete representations and creating situations that the viewer will identify with, I hope to engage the viewer in a deeper way.
The path of my work can be brought together in thematic series which are constantly reshaped. These can be defined as: Social Satire, Saga of Discovery, Automata, Contemporary Bestiaries, Dwarfs, Self-referential work, Uselessly Decorative Objects, Project South (work in progress) and The Collector.
Project South is a “work in progress” in which I use images transferred from Simulcop booklets (Argentinean schoolbooks used to help drawing during the 60s and the 80s) to propose a journey through South America and Argentina. The drawings of political, hydrographical and climate maps as well as maps showing our flora and fauna, different parts of important cities and ports, and the most important American products show the ideal representation of our continent’s recent past. Project South is a commitment to the future of our region, a work anchored in the ironic game of our memory.
The Home Series, which is part of Project South, expresses and affirms a place of belonging. A region, Latin America, a continent South America, a country, Argentina, a city, a house, a home. Modest, almost collapsing houses are a regular sight in the cultural landscape of both, South and Latin America. The ironic word “Home” entails a trick, almost a funny one, in this poverty context. The simplicity of the dwelling, made up of printed cardboard shows the sad reality we have been facing for years now. There are roofless houses, houses on the verge of catastrophe, houses falling apart and self- sustaining houses. This is a series in permanent construction and its metaphorical development manifests itself as a symbol of resistance.
Ryan Blackwell was born and raised in Indiana — receiving a BA in Studio Art from DePauw University in 2009. Expecting to graduate from the University of Massachusetts Dartmouth in the spring of 2013 with an MFA, Ryan intends to move to Brooklyn and continue his journey as an emerging artist.
“My practice is rooted in material investigation. I find my work in a consistent state of flux. Processes change and evolve, imagery comes and goes. This minute I’m steeped in symbolism, say, through the repetition of thousands of dustpans, while the other I’m firmly rooted in geometric abstraction.
My fluid framework reflects my experience of American culture—a place where I navigate free choice and inherent socio-political and economic constraints. Through symbols and materials of domesticity my works find some continuity. It is my intention to create works that, in relation to each other, seem as dichotomous as they are connected. Although materials and processes may seem disparate, they find connection through aesthetics and systematic repetition. It is through a controlled failure of my materials and systems that I find consistency. But of course, inconsistency is always present.” Ryan Blackwell
You are a young ceramist who had started her artistic endeavor early on, during college. How did you discover the passion for ceramics?
I guess it was while working. From one work to another you get new ideas; you get excited, you make things. I remember that at the beginning, in high school, I was fascinated to discover how a crude glaze that was a washy orange became dark green after the firing. When you are applying glazes, a significant part of the process is a mental/ imaginative one. While you are mixing and combining them, you need to imagine their true colors, revealed by the firing process.
By accident! When I was in high school I studied painting and I believed that nothing could rise to its value; that painting is part of my soul and the only way of expression for me as an artist. But this had changed when in university I have met ceramics, felt in loved and couldn’t separate since. This is mainly due to my professor, Ernest Budeş, the person which showed us all the ways of expressing through this medium, using clay, stoneware, earthenware or porcelain, each with its specific techniques.
You are a versatile visual artist who works in mediums such as painting, collage, video art, but also ceramics. In the process of creating a new work, do you allow yourself the freedom to change the medium of expression?
Versatility it’s not entirely a positive feature, at least not for an artist. To be consequent could be in many cases a better option. Up to this moment, my flexibility didn’t create a strong image of myself, but instead surrounded me with an aura of strangeness and ambiguity.