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

ceramics

Annie Woodford - Spotlight, October 2012

SPOTLIGHT, October 2012: Annie Woodford

Annie Woodford - Spotlight on Ceramics Now Magazine

Interview by Ileana Surducan and Vasi Hîrdo for Ceramics Now Magazine - Issue Two

You take your inspiration from nature. You are not just making a superficial observation, but you conduct a research of the things hidden to the naked eye. Tell us more about the universe you have discovered through your explorations.

I am fascinated by the natural world in its widest sense and at all levels. An interest in the nature of time - the past, present and future has led me to investigate multiverse theory and hidden dimensions - concealed worlds. From there I began to examine nature on a microscopic and nano scale. I became fascinated by the concept of the unseen and rendering it seen.

One of the subjects I investigated was that of diatoms, especially fossil diatoms. Invisible to the naked eye, beautiful and structurally complex I discovered them to bevery significanting the field of paleoclimatology - they are an important indicator of climate change.

I like to select various aspects of the natural world and then examine them on both a macroscopic and microscopic level, considering them in terms of their relationship to time and how they relate to other parts of the universe.

[] Read the full interview in Ceramics Now - Issue Two

Intricate but also delicate, your work seems to be obtained through a very meticulous process. What materials and techniques do you use and how much time does it take to complete a new piece?

Porcelain is the clay I favor - I particularly like ‘Southern Ice White’ which was developed by the Australian ceramicist Les Blakebrough. In general, the works are handbuilt; occasionally I use slip in a free but controlled way, sometimes combining it with fine glass fibre. I like to push the material beyond its perceived boundaries. The characteristics of porcelain mean that it requires careful handling throughout the making process and control and accuracy with firing and cooling.

I often incorporate extraneous materials once the piece is fired such as metal, monofilament, fibre or horsehair. These elements add richness to the work.

A new piece can take up to two weeks to make, depending on its complexity and it can take a further week or two to construct and apply other elements. I work intuitively when I am making, drawing on my research and bringing all the experiences together.

[] Read the full interview in Ceramics Now - Issue Two

Annie Woodford Contemporary Ceramics, Ceramics Now Magazine
Annie Woodford, Circlet, 2009, Porcelain, copper, stainless steel, 24 x 24 x 24 cm
View Annie Woodford’s works

Both science and art are a way of looking at the surrounding environment. What do you think is their meeting point? What kind of form of knowledge is art?

I often find myself working with scientists on projects and I think the two disciplines have many aspects in common. They both help us to understand the world around us. They both rely on investigation and imagination – the ‘what if?’ principle.

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  • Arina Ailincai - Romanian ceramic artist, October 2012

    ROMANIAN CONTEMPORARY CERAMICS, October 2012: Arina Ailincăi

    Arina Ailincai - Romanian ceramic artist, Romanian contemporary ceramics special feature

    Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two
    Translation by Anca Sânpetrean

    What was your first contact with ceramics?

    The first meeting with ceramic took place when I entered the university, as I decided to take the admission exam for the Ceramics Department. The reason for this option was the liberal reputation held by the Ceramics Department, mainly due to the young teachers of various formations, who were encouraging the free investigation subordinated to an “interdisciplinary” that at that time was quite attractive.

    Because originally I had a sentimental inclination for Graphics - I was more familiar with expressing myself through lines and white / black tonal values. My way of perceiving the world and building volumes remained indebted to the graphic vision.

    After graduation, due to my job as a designer at the porcelain factory in Cluj, I familiarized myself with the subtle expressivity of porcelain and its processing technology, practicing with this material for a long time, and ending up loving it.

    You have participated in many competitions and international group exhibitions. What are the most important things you have learned by taking part in these events?

    For me they represent a form of self-assessment and validation of my personal approach to ceramics in a context of ongoing dialogue with other colleagues. As for the residences and symposiums, they are extremely benefic cultural exchanges for the refreshening of one’s ideas. They also bring the sense of being an ambassador of one’s own culture and historical traditions who makes a personal contribution, no matter how small, to the international artistic context. These kinds of events are especially significant for Romanian artists who have suffered, as we all know, from a period of political restrictions that had made the direct contact with the cultural world outside the Communist Bloc almost impossible.

    What message or feeling do you want to convey to your viewer through your works? The portraits and the imprints that constitute your work are part of the artistic approach, or they are simply the result of a process of searching?

    I find it hard to give a clear answer to this question, because it implies a number factors of which an artist is not always aware. Maybe is best to say that my works are the imprint of my inner trials and tribulations. In other words, they are a way of sensitively relating to the socio-cultural climate that surrounds me.

    How the viewer can “read” my work, depends on one’s cultural heritage or current state of mind, and on other many things… but the perception with its various interpretations will always remains an open question. But oh, what joy we experience when the viewer interpretation comes close to the intended meaning, proving that our discourse is not just a monolog lost in void. 

    [] Read the full interview in Ceramics Now - Issue Two

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  • Kwok-Pong Bobby Tso - Spotlight, October 2012

    SPOTLIGHT, October 2012: Kwok-Pong Bobby Tso

    Kwok-Pong Bobby Tso - Spotlight on Ceramics Now Magazine

    Interview by Ileana Surducan for Ceramics Now Magazine - Issue Two

    Your work evokes artificial landscapes and strange architectural agglomerations. What is your source of inspiration?

    Most of my work inspired by man-made objects; something like a view of building blocks from the sky, transformer boxes out in the field, and strange formations on the roof. Recently I started to add more abstracted objects, like the connection parts of an exhaust fan, pipe or even inside a lock. I am inspired by something that is recognizable but has an uncertain function.

    [] Read the full interview in Ceramics Now - Issue Two

    What technique do you use in order to achieve the monolithic, geometrical volumes that compose your work? Take us through the process of creating your work.

    For most of my work I combine hand building, slip casting, and wheel thrown techniques. In terms of surface, I achieve an ultra-smooth finish by using a range of sandpaper from 200-600 grit. I then use a marble polisher to sand the surface till it is as smooth as butter. For my industrial landscape series, “The View From Above,” I leave the clay surface as it is this emphasizes the unique qualities found within a raw clay body. For my “Industrial landscape series”; I apply glazes, sometimes paint or enamel to achieve the old sanded look.

    The Industrial Landscape series are exploring the mysterious relationship between how one object fits unexpectedly into another and becomes a whole new composition. Tell us more about this relationship.

    The mysterious relationship between space and curiosity has always influenced my work. I think those space redefine objects and give those objects meaning. For example, when you have a simple form like a cup, the space created by the handle defines the shape of the cup, when you added a saucer to this cup, the composition has changed. It redefines the function of this cup not only by adding more meaning to it, but also increasing the tension. I believe that one object needs another object and the space in between are the main reason why I am interested in this relationship, it is also what peaks my curiosity and motivates my work.

    Kwok-Pong Bobby Tso Contemporary Ceramics
    Kwok-Pong Bobby Tso, Zeta, Industrial landscape Series, 2011, Porcelain, paint, wood, hobby paper and metal, H 13 1/4” x W 14” x D 6”
    View Kwok-Pong Bobby Tso’s works

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  • Bogdan Teodorescu - Romanian ceramic artist, October 2012

    ROMANIAN CONTEMPORARY CERAMICS, October 2012: Bogdan Teodorescu

    Bogdan Teodorescu - Romanian ceramic artist, Romanian contemporary ceramics

    Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two

    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.

    Changing the medium could be an important, valuable quality, mostly when you’re forced to work in difficult conditions. For example, if you don’t have your own kiln or the brightest and most refined porcelain, you have to improvise, for example to do installations of found or smashed objects. If you record the process on camera, you also have good chances of becoming a video artist or a performer. I don’t feel like it’s hard to transfer one idea between different types of media, but it is quite frustrating. I have always imagined myself doing heroic jobs, but I have to acknowledge my limitations and therefore pay attention to small or discreet things. From this point of view, things become even more ambiguous.

    [] Read the full interview in Ceramics Now - Issue Two

    Are your creations the results of research processes or they are on-the-spot transpositions?

    Sometimes they are, sometimes they aren’t. Let’s say I like spontaneous ideas. I don’t bother that much with research. I’m always intrigued when someone titles his collection of exhibited images a project, evoking some ideas he is attached to. If you’re honest to yourself you will notice how clear everything is. Everything you do comes from a background. I will give you an example: some years ago I developed a project on an accidental idea. I asked two of my friends, a poet and a monk, to start an artistic collaboration, taking advantage of this multidisciplinary friendship. The monk opened a book and picked a word for a theme. The poet had to write something regarding this, and I had to paint or draw. Almost from nowhere, an idea appeared: smashing watermelons! Then I started the research, amazed by all coincidences I had found. This innocent image had a huge iconography and transgressed many cultures. It was like a revelation.

    Bogdan Teodorescu Ceramics
    Bogdan Teodorescu, This is the best world from the others, 2012, Porcelain, feldspat, approx 27 x 28 cm.
    View Bogdan Teodorescu’s works

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  • In memoriam Eugenia Pop / Interview

    ROMANIAN CONTEMPORARY CERAMICS, October 2012

    In memoriam Eugenia Pop
    Eugenia Pop lived and worked in Cluj-Napoca, Romania, where she graduated from the Ceramics Department of “Ion Andreescu” Arts Institute in 1971. Over the course of 40 years, she had exhibited in many countries and has been awarded for her career by the Romanian Government (Order of Cultural Merit) and the Fine Arts Union.

    Eugenia Pop Romanian ceramic artist

    Two days after our meeting in February, Eugenia Pop went to the Copăceni alms house, near Turda, to read in peace a book by Zhi Gang Sha. She wanted to learn how to communicate better with her guardian angel. She told us that the spirit must be cleaned more frequently.

    We thank Jeni Pop from our hearts and promise to carry her optimism out in the world.

    Interview by Alexandra Mureşan and Vasi Hîrdo for Ceramics Now Magazine, Issue Two
    February 2012

    How did the fascination for ceramics started?

    I graduated Ceramics at the Fine Arts Highschool in Cluj. In the twelfth grade I had an excessive curiosity to do work as much as possible, that’s why I chose ceramics. I was a colleague with Arina Ailincăi for 6 years. We were also six in the department. Our personalities were very different, and they remained the same. A sculptor inoculated me the idea of versions. He gave me a theme, a ceramic piece in an architectural environment. After a few sketches, he told me to do more versions. I didn’t like the idea – why make more versions when the first one was good enough? But, if the master told me, I had to do it. I did lots of versions and sketches, from bad to worse. He chose from the first two, and I remained very sad because I worked so hard on so many. After a while, the seed sprouted in my mind. I was at a Communist party meeting, and I got very bored. I had my sketchbook at me and I was doing all sorts of sketches and drawings. The expression was changing with little diversity if terms of form. I showed the sketches to my professor. It remained my method over the years.

    Now I stopped doing more versions on a theme. I read books, for example those written by Rudolf Steiner, and I make illustrations on the pages. When reading a book twice, the images speak to me a lot more and I feel the text very differently when it’s illustrated, just like a plastic commentary.

    What are your main sources of inspiration?

    I broke up with the illustrative image of the exterior form. I adhered to the archetypal forms, which are interior forms of the soul, forms that kids use when drawing, but also used in the antic culture.

    Mihai Oroveanu said “Look how monumental your works are,” even if they were very small. Dan Hăliucă said the contrary: “That’s how it should be – plenty and small.” I used this thing with plenty and small a lot, because that’s how the image of the soul is. The soul is very capacious. From it’s ampleness you can make plenty and small.

    A moment of crystallization appeared when I found my personality – when I said that this is how I want to express myself. It was the humanity theme, the man. The mother man, the old man, the child man. Mother Earth. These are themes that I feel I synthesized.
    When I was young, my mother used to call me “little golden thorn” – she couldn’t tell me that I was not right, but I was also very determined. I was telling the truth.

    Eugenia Pop - Mother Earth, ceramics
    Eugenia Pop, Mother Earth, 1985, Soft porcelain

    What is your dearest part in elaborating a new work?

    Each part has its own magic. The first one is sketching the idea and choosing the right drawing, then follows the modeling and making the negative. After that, the fascination of the firing starts. It is like when a mother gives birth – she doesn’t know how the child will look like or what color his eyes will be. It is just like that after the firing, when you remain charmed by an object, and you say to yourself that this is mine! – its color has changed and it shrank. After you inspect it for a while, you adopt it or not. Sometimes you have to say I’m sorry – this is not mine.

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  • In relief: German Op-Art Ceramics, 1955-75 / University of Arizona Museum of Art, Tucson

    German Relief Porzellan Exhibition, University of Arizona Museum of Art, Tucson

    In relief: German Op-Art Ceramics, 1955-75 / University of Arizona Museum of Art, Tucson
    September 28, 2012 – January 27, 2013

    Opening Reception: October 4, 5-7 pm.

    A first-ever exhibition of a mid-century movement of German ceramics, known as relief-porzellan, debuts at the University of Arizona Museum of Art. Entitled: In Relief: German Op-Art Ceramics, 1955-75” the exhibition opens on September 28 and runs through January 27, 2013. Both the exhibition and reception are open to the public.

    Lawrence Gipe, UA Associate Professor of Studio Art, has been collecting mid-century German ceramics known as relief-porzellan for a number of years. Little was known about these beautiful objects until Gipe undertook to discover the history of their production. This exhibition presents his fascinating research, bringing to light the stories behind the factories and individual artists who created the objects.

    "Several years ago, I became aware of this unique genre of German ceramics," says Gipe. "These mass-produced objects were made in "biscuit" porcelain – a matte-white or black finish that leaves the shape unglazed and naked, unadorned in its starkness."

    Between the years of 1955-1980, more than a dozen companies were producing the Relief-Porzellan ceramics, mostly vases. Artisans, working in small Bavarian towns, created hundreds of designs, both geometric and organic. Some of the ceramic objects were stamped on the bottoms with the name of the designer and the trademark of the company that produced them. Gipe’s visit to an archive in Selb, Germany, the venerable Rosenthal and Co., offered a trove of journals and files, revealing artists and providing attributions to previously anonymous pieces.

    Research for the UAMA exhibition, In Relief: German Op-Art Ceramics, was made possible by a grant from the International Affairs Department at the University of Arizona. The University of Arizona Museum of Art includes more than 6,000 artworks in its permanent collection created by artists from the 14th through the 21st centuries. UAMA is one of only twelve museums in Arizona accredited by the American Association of Museums (AAM) and one of only 750 museums of the 16,000 museums nationwide with this highest award for excellence in the museum field.

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  • Month in Review: September 2012

    Featured on Ceramics Now: Bertozzi & Casoni's Regeneration exhibition at All Visual Arts, London

    Hello everyone and welcome to our first Month in Review, a summary of the last month of activity on Ceramics Now. Subscribe to our monthly newsletter and follow us on Facebook and Twitter to receive the latest news.
    Check the Subscription offers on our Magazine shop.

    This month’s featured artists (view list):

    Elizabeth Shriver (works)
    David Gallagher (works)
    Francesco Ardini (works)
    Ellen Schön (works)

    This month’s featured exhibitions:

    Ceramics Now Team Exhibition / Europe Gallery, Brasov
    Contemporary Ceramics / Stremmel Gallery, Reno, NV
    Ellen Schön: Vessel Variations (x3) / Vessels Gallery
    Fragile! In Transit / Traveling exhibition around Europe
    Scandinavian Design / Museum of Fine Arts, Houston
    Marek Cecuła: SEEDS / Glass and Ceramics, Wrocław
    Rosemarie Trockel: A Cosmos / NEW MUSEUM, New York
    Bharti Kher / Parasol unit foundation for contemporary art
    Ruth Duckworth exhibition / Erskine Hall & Coe, London
    Contemporary Clay Invitational / j fergeson gallery
    Arina Ailincăi: In-Scripted Body / Art on the Avenue
    Scandinavian Ceramics Conference 2012 / Hjørring
    Clémence van Lunen exhibition / Galerie NeC, Hong Kong
    MOUNTED / Red Lodge Clay Center, Red Lodge, Montana
    CONCEPTION - Part Two / Canvas Galleries, Belfast
    Aneta Regel Deleu / Puls Contemporary Ceramics
    Liliana Folta / Amazing Things Art Center, Framingham
    Reviving the light: Zsolnay Ceramic Design / ILIAD, NY
    Bertozzi & Casoni: Regeneration / All Visual Arts, London

    This month’s featured connections:

    Daehyun Kim Illustrations
    Mimicry Chairs by Japanese design studio Nendo
    Martin Creed on My Modern Metropolis
    Leslie David - Painting Please!
    Tim Hawkinson - Mobius Ship
    Robert Montgomery: Echoes of Voices in the High Towers
    James Hoff: I’m Already a Has-Been / VI, VII, Oslo
    Anna Von Mertens - Portraits

    This month’s news on Ceramics Now:

    New publishing schedule for print and digital
    New magazine shop - 10% Sale ends December 31, 2012
    We hit 25000 followers on Tumblr (27600 now)
    Published Calendar of Ceramic Art Competitions for 2013

    Next month’s news: Ceramics Now Exhibition - 3rd edition

    For media partnerships or sponsorship please contact Vasi Hîrdo, Editor, at vasi@ceramicsnow.org
    Submissions and general info: office@ceramicsnow.org


  • Carol Gouthro: Anthozoa gouthroii “Viridis”, 2012, Terrecotta clay with underglazes and glazes, 6”h. x 10.5”w .x  6.5”d


  • Carol Gouthro: Anthozoa gouthroii “Chromatella”, 2012, Terrecotta clay with underglazes and glazes, 6”h. x 10”w .x  6”d

  • Bertozzi & Casoni: Regeneration / All Visual Arts, London

    Bertozzi Casoni Regeneration exhibition, All Visual Arts, London

    Bertozzi & Casoni: Regeneration / All Visual Arts, London
    October 13 - November 10, 2012

    Private view: October 12, 7-9 pm.

    All Visual Arts are proud to present Regeneration, a unique installation from Italian artists Bertozzi & Casoni. The artists are acclaimed for their delicate depictions of a culture in decay, deftly rendered in fragile ceramic clay. Their latest work Regeneration queries the hierarchy of aesthetics, revealing the beauty in the neglected and discarded ephemera of our seamless culture. The pieces compel the viewer to confront the visceral decay of contemporary society, to expose the cracks between the artifice of the world we are presented with and to explore what lies within these fissures. With this imaginative approach to their practice, Bertozzi and Casoni align the traditional with the experimental, and allow us to construct our own narrative around their evocative scenes.

    Bertozzi and Casoni manipulate the indistinction between the real and the simulacrum in their work, an obsession for detail which evokes the Decadent taste for imitation and crafted artifice as superior to the natural. In fabricating these visually and emotionally compelling still-lifes, the artists engage the viewer in deeper themes of impermanence and mortality. Through rendering the abject and overlooked in such exquisite detail, Bertozzi and Casoni signal the return of the repressed, the avoidance of our own mortality. In one piece in which the memento mori is explicitly rendered, an ox skull is dominated by a vivid monitor lizard, symbolic of both death and rebirth in its habitat across Asia and Australia. In the antonymously titled DisGRACE, vibrant blooms sprout from the polluted detritus of a decadent and avaricious society, a scene of nature triumphing over the excesses of hyper-capitalism.

    Regeneration contemplates the possibility of change through rebirth, rediscovery and reappropriation, manipulating earth into elegant and fragile structures. In one piece, a cluster of butterflies flock to raise the severed head of a deer from an ornamental platter, recalling the Renaissance representations of John the Baptist or Holofernes. In a similar echo of classical scenes, and dominating the Regeneration is the serene image of a silverback gorilla resting in the Buddhist lotus position on a bed of discarded mattresses. A roe deer lies prone across its body, while wrens and goldcrests commune around the pair. The piece is an evocation of symbolic power, from the visceral confrontation of our Darwinian descendent dying out in front of our eyes, to the shift between the viewer and sculpture, object and subject as we find ourselves caught in the compassionate gaze of the animals. Our own mortality is inscribed in the tableaux where urban structures, religion and the animal world collide to reveal the grace in disgrace which Bertozzi and Casoni seek to capture.

    It seems appropriate that the duo push their material to its limits and question the possibility of representation in their work at every turn. Their liberal accumulation and compilation of cultural references is evident in the playful amalgamation of objects in a work where a swordfish’s head juts from a guitar case; the shapes tessellating the natural with the cultural. Their curiosity and playful approach to objects creates a process of continual experimentation and discovery, freeing themselves from convention and the stereotypes of the ornamental and domestic associated with the ceramic medium, and producing unexpected moments of pathos and humour through their synthesis of past and present, nature and artifice. The artists subvert the established rules about the perception of applied arts through inverting the symbolic power of their traditional medium, exceeding the inherent conservativism of ceramics to sculpt fantastic and grotesque scenes that liberate both the artist and viewer’s imagination.

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  • Ellen Schön

    Ellen Schon ceramics, Featured artist on Ceramics Now Magazine

    Ellen Schön's profile on Ceramics Now Magazine - View her works

    “I have always been interested in the ability of a ceramic vessel to point to something beyond itself—to function as metaphor. Ceramic vessels, physically structured with necks, shoulders, bellies, and feet, can evoke the gesture and anthropomorphized stance of the human body; they also reveal deep aspects of human experience and of the natural world.

    My fervent interest in clay vessels has led me to explore new territories in form and surface. Recent work explores three variations on the ceramic vessel form:

    The ceramic vessel as a Wellspring or Womb, with possibilities of both fecundity and barrenness;
    The vessel as Bottle, whose forms evoke the elongated posture of Cycladic idols and the scarified texture of Yoruba terracotta heads;
    The Planet Series explores swirling colored surfaces on rounded orbs, suggesting planets and depths of earthly strata.

    These series represent different but related expressive interests. Each piece in a series is part of a continually evolving solution to a set of questions or parameters I have chosen to work within. The parameters, themselves, may change as the series evolve.

    Through spontaneous handling of inanimate clay, I attempt to find and breathe life into form. My creative process is grounded in reflective practice—imposing ideas on and listening to the material in cycles of learning. The material directs me as I direct it. We are in a reciprocal relationship.” Ellen Schon

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  • Ellen Schön: Cycladic Bottle (white dash), 2011, Stoneware, 16” x 7” x 7”

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