Suzanne Stumpf: Changeable Views, 2007, 15.5”w x 6”h x 4.5” d (window structure), handbuilt porcelain; reduction fired to cone 10The interactive sculpture Changeable Views is a very modular work—the windows may be left open or up to four of the twelve tiles may be inserted to create many varied views. The tiles have colors on one side and patterns of black and white on the reverse. Although the tiles were lined up flat and adjacent to each other when a number of colored glazes were applied (so technically there is an “order” to the tiles), the tiles “dialogue” and create interest in any number of combinations.Metaphorically, windows offer the opportunities to look outward, inward, more deeply, and in new directions. The interactive play possible in this piece is intended as a meditation for its audience.

Suzanne Stumpf: Changeable Views, 2007, 15.5”w x 6”h x 4.5” d (window structure), handbuilt porcelain; reduction fired to cone 10

The interactive sculpture Changeable Views is a very modular work—the windows may be left open or up to four of the twelve tiles may be inserted to create many varied views. The tiles have colors on one side and patterns of black and white on the reverse. Although the tiles were lined up flat and adjacent to each other when a number of colored glazes were applied (so technically there is an “order” to the tiles), the tiles “dialogue” and create interest in any number of combinations.

Metaphorically, windows offer the opportunities to look outward, inward, more deeply, and in new directions. The interactive play possible in this piece is intended as a meditation for its audience.

Suzanne Stumpf: Whale Sounds, 2007, 8” h x 29” w x 20”d, porcelain or porcelain paperclay; handbuilt with thrown necks; reduction fired to cone 10.Whale Sounds is a multi-component, interactive sculptures. The shapes were inspired by listening to a recording of whales in which the whales’ calls ballooned rapidly and diminished into fine, thin, high endings. (Although some of the objects can elicit tones when blown, this was not my intention.)

Suzanne Stumpf: Whale Sounds, 2007, 8” h x 29” w x 20”d, porcelain or porcelain paperclay; handbuilt with thrown necks; reduction fired to cone 10.

Whale Sounds is a multi-component, interactive sculptures. The shapes were inspired by listening to a recording of whales in which the whales’ calls ballooned rapidly and diminished into fine, thin, high endings. (Although some of the objects can elicit tones when blown, this was not my intention.)

Suzanne Stumpf: Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10I am yet to meet a woman who does not smile knowingly or even laugh out loud when viewing “Spike.” “Für die Schönheit muß man leiden” — “For beauty, one must suffer.”
The fashion industry only seduced me into wearing too-high heels for a short time in my life. It was a long time ago, yet I do have a strong physical memory of how my feet felt after walking an unplanned distance or standing longer than anticipated in them.
“Spike” has innumerable permutations for viewing. When all of the black, orange, yellow, and white “pins” are removed, Spike is somewhat of a trompe l’oeil with the raised black dots disguising its holes. The pins at first glance seem to be playful pain indicators. Yet, because the pins are pointed on both ends, when we place them into Spike, can we feel also a wee bit of revenge?

Suzanne Stumpf: Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10

I am yet to meet a woman who does not smile knowingly or even laugh out loud when viewing “Spike.” “Für die Schönheit muß man leiden” — “For beauty, one must suffer.”

The fashion industry only seduced me into wearing too-high heels for a short time in my life. It was a long time ago, yet I do have a strong physical memory of how my feet felt after walking an unplanned distance or standing longer than anticipated in them.

“Spike” has innumerable permutations for viewing. When all of the black, orange, yellow, and white “pins” are removed, Spike is somewhat of a trompe l’oeil with the raised black dots disguising its holes. The pins at first glance seem to be playful pain indicators. Yet, because the pins are pointed on both ends, when we place them into Spike, can we feel also a wee bit of revenge?

Suzanne Stumpf: All the Little Cups of my Thoughts, 2010, 17”w x 10”d (tray dimensions), handbuilt with wheelthrown components; porcelain and porcelain paperclay; oxidation fired to cone 10The beautiful and charming Buddhist mediation: “I will drink thy consciousness as joy and bliss from all the little cups of my thoughts” inspired this work. Each cup possesses a slightly different form and exterior texture, while I limited the interiors to a palate of blues and greens.The “gridded” tray evokes a chess board which is appropriate to the tenor of the work as chess is a quiet, concentrated activity.

Suzanne Stumpf: All the Little Cups of my Thoughts, 2010, 17”w x 10”d (tray dimensions), handbuilt with wheelthrown components; porcelain and porcelain paperclay; oxidation fired to cone 10

The beautiful and charming Buddhist mediation: “I will drink thy consciousness as joy and bliss from all the little cups of my thoughts” inspired this work. Each cup possesses a slightly different form and exterior texture, while I limited the interiors to a palate of blues and greens.
The “gridded” tray evokes a chess board which is appropriate to the tenor of the work as chess is a quiet, concentrated activity.

Deborah Britt: Blue Pitcher Set, 8” x 13”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: Blue Pitcher Set, 8” x 13”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: Blue Butter Dish, 4” x 6”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: Blue Butter Dish, 4” x 6”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: Alien Vegetable I, 18” x 12”, Wheel-Thrown and Hand-Built with Slip Decoration, Wood-Fired Stoneware, Cone Ten, 2008

Deborah Britt: Alien Vegetable I, 18” x 12”, Wheel-Thrown and Hand-Built with Slip Decoration, Wood-Fired Stoneware, Cone Ten, 2008

Deborah Britt: Alien Vegetable, 20” x 14”, Hand-Built with Slip Decoration, Wood-Fired Stoneware, Cone Ten, 2008

Deborah Britt: Alien Vegetable, 20” x 14”, Hand-Built with Slip Decoration, Wood-Fired Stoneware, Cone Ten, 2008

Deborah Britt: Covered Casserole, 4.5” x 8.5”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip Decoration, Cone Ten, 2011

Deborah Britt: Covered Casserole, 4.5” x 8.5”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip Decoration, Cone Ten, 2011

Deborah Britt: Jaunty Pouring Vessel, 9” x 9”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: Jaunty Pouring Vessel, 9” x 9”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: Pitcher Set, 9” x 14”, Wheel-Thrown and Altered, Salt-Fired with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: Pitcher Set, 9” x 14”, Wheel-Thrown and Altered, Salt-Fired with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: Stamped Box, 6” x 4.5”, Hand-Built, Salt-Fired Porcelain with Honey Weiser Glaze and Stamp Decoration, Cone Ten, 2011

Deborah Britt: Stamped Box, 6” x 4.5”, Hand-Built, Salt-Fired Porcelain with Honey Weiser Glaze and Stamp Decoration, Cone Ten, 2011

Deborah Britt: VC Matte Butter Dish, 4’ x 5.5”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011

Deborah Britt: VC Matte Butter Dish, 4’ x 5.5”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011