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

Yô Akiyama exhibition / ARTCOURT Gallery, Osaka, Japan

Yo Akiyama exhibition, ARTCOURT Gallery Osaka

Yô Akiyama exhibition / ARTCOURT Gallery, Osaka, Japan
December 3, 2013 - January 25, 2014

Yo Akiyama established his signature style of sculptural ceramic creation while still in school. His creative mind lies beneath the awareness by facing the nature and energy of clay, expressed through large scale works. We are excited to introduce Akiyama’s new works in this exhibition showcasing the roots, that is the artery of Akiyama’s powerful creation as well as Akiyama’s now as his next step in his career.

Akiyama’s early works were mysterious objects created through black pottery. His student works done in black pottery show influences from primitivism that he was interested in, modern sculptors such as Brâncuşi and Arp, and his professor Kazuo Yagi, but yet to discover his own expression or concept through clay. Those early pieces are gone; however, Akiyama recalls that he can see the presence of Akiyama that has lead to himself now. This discovery lead him to the new set of works, in which the artist re-creates his early black pottery works with his current skillsets and by revisiting his own 1970s. Akiyama titled this new challenge of regenerating or redeveloping his roots “Incubation” (or Houran no Katachi in Japanese) and introduces about 10 new pieces in this exhibition.

Akiyama developed several series of works that express the ever-changing shape of earth with unique creative challenges such as nature vs. human, birth vs. decay, internal vs. external by fusing the phenomenon of soil and thoughts on creation. The series titled “Metavoid,” which began in 2003, puts focus on an enclosed space where objects intervene and how we perceive such space. Akiyama would make a large bowl on a potter’s wheel, then reverse its inside and outside. This act brings a change in spatial relation of the bowl and the space it holds within (the void). The artist would then place this bowl in an even larger vessel – an exhibition space, the other void. Akiyama uses clay as a vehicle to explore physical shapes to his pursuit ranging from multi-layered texture in motion to human perception of space. We are introducing 5 new large scale pieces ranging from 100 cm to 180 cm from the series “Metavoid.”

Akiyama began making a series of slabs with prints of spider webs as his side work around 1993 where the artist began to depart from his signature black pottery works. The series captured the natural beauty of spider webs Akiyama found almost every morning around his home from early summer to fall. About 50 creations from this series will gather in our gallery for public viewing for the first time. They can be seen as an organic map that connects the roots and current of Akiyama’s creation.

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  • Uku Rere: Nga Kaihanga Uku and beyond / Whangarei Art Museum, New Zeeland

    Uku Rere: Nga Kaihanga Uku and beyond, Whangarei Art Museum

    Uku Rere: Nga Kaihanga Uku and beyond / Whangarei Art Museum, New Zeeland
    November 11, 2013 - February 16, 2014

    Whangarei Art Museum is the first venue to host this ground-breaking touring exhibition after a highly successful show at Pataka Art+Museum in partnership with Toi Maori. Uku Rere features contemporary ceramics by the five principal members of Nga Kaihanga Uku: Baye Riddell, Manos Nathan, Colleen Urlich, Wi Taepa and Paerau Corneal. Both Colleen Urlich and Manos Nathan are from the Te Tai Tokerau region and this important exhibition is the first major survey of contemporary Maori ceramics and showcases the strength of Maori ceramic art in New Zealand’s contemporary art scene. The exhibition is displayed in the Younghusband Gallery and accompanied by an extensive catalogue available at the art museum.

    The exhibition also features Manos Nathan’s unique sculptural work Kaitiaki, which stands to welcome visitors at the Whangarei Art Museum’s entrance. This is his largest work to date and was commissioned in 2002 by the Whangarei Art Museum with assistance from Te Waka Toi – Creative NZ Arts Council. The artist chose the concept of ‘kaitiakitanga’ as the theme of the art work, portraying both welcome and guardianship.

    The exhibition coincides with Kokiri Putahi – the 7th International Gathering of Indigenous Artists, organised by Te Atinga the Contemporary Visual Arts committee of Toi Maori Aotearoa in which both Colleen Urlich and Manos Nathan are members of. Since the first gathering in 1995 the committee has worked to develop Maori contemporary art practice for both emerging and established artists working in a range of media, and next year the gathering will also coincide with the January 2014 Ngapuhi Festival in Kaikohe.

    The concurrent exhibition held in the Mair Gallery, Salon to Marae – first glimmerings of a Maori Modernism will feature works from the 1950s-1970s by artists Ralph Hotere, Clive Arlidge and Selwyn Wilson. A selection of Wilson’s early ceramics from the family’s private collection adds a unique dimension to the story of Maori ceramic artists. Selected works from Ross T Smith’s two photographic series Hemi Tuwharerangi Paraha (1998) and Stillness Falls Gradually (2000) will also be on display, adding to the significant development of Maori contemporary art practice.

    Uke Rere: Nga Kaihanga Uku illuminates the strength of the contemporary Maori ceramic movement in New Zealand. From Taepa’s chunky, rugged pots full of personality to the refined elegance of Nathan’s sculptural pots, the exhibition showcases the remarkable vitality and diversity of the individual practices of the five influential artists. Over the last twenty-five years these artists have redefined and expanded ceramic art - imbuing it with indigenous concepts and a deep commitment to Maori culture.

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  • HYPERCLAY: Contemporary Ceramics / Gladstone Regional Art Gallery & Museum, Gladstone, Australia

    Roderick Bamford at HYPERCLAY: Contemporary Ceramics exhibition, Gladstone Regional Art Gallery Museum

    HYPERCLAY: Contemporary Ceramics / Gladstone Regional Art Gallery & Museum, Gladstone, Australia
    December 13, 2013 - March 2014, 2014

    RoHYPERCLAY: Contemporary Ceramics investigates the field of ceramics, focusing on new attitudes, techniques and technologies that are being embraced by artists in the 21st century. Walter Auer, Roderick Bamford, Stephen Bird, Jacqueline Clayton, Andrea Hylands, Addison Marshall, Pip McManus and Paul Wood all ignite the imagination with the potential of clay through their work. As the prefix ‘hyper’ suggests, HYPERCLAY presents clay-based work where the medium has been amplified, extended and intensified to produce work that will delight, provoke and surprise. New technologies, the process of making, and the re-purposing of materials to create new forms are the delicate threads that bind the works in HYPERCLAY together.

    A collection of 35 short videos have been produced to accompany the work in HYPERCLAY. These include interviews with the artists, curators, academics, collectors, gallerists and students. All videos are available to view through iPads in the exhibition space, offering the viewer different perspectives on the works as well as deeper, richer connections to the artists.

    Roderick Bamford explores the process of additive fabrication, creating a series of ceramic sculptures using a modified rapid prototyping printer. Bamford sourced the parts for his 3D printer online, gradually building a machine that could print with clay. The result is a device that affords Bamford an expanded making process that incorporates both analogue and digital techniques.

    Stephen Bird, better known for his satirical figurative ceramics, presents two works that also play at the intersection of the digital and the handmade. Wanting to reveal the sequence of events that takes place when transforming raw clay into a finished sculpture, Bird spent several intensive weeks in his studio creating the stop-frame clay animation What are you laughing at?. The work is a re-telling of the Creation Story through the lens of the post-industrial world. It also documents Bird’s making process, capturing it as performance. Similarly, I Just Don’t Believe in Ceramics elevates ceramic surface decoration from static and permanent to evolving virtual design.

    New Warriors by Andrea Hylands captures the performance of material itself. Her fragile forms are the product of bone china slip poured into a mould and then removed at varying durations. This process is a balance between the spontaneity of movement and material, and the precision of the artists’ hand.

    Ceramicist Walter Auer is interested in the transformation and preservation of objects through a petrifaction process that he has been experimenting with for nearly 10 years. Auer soaks discarded soft toys in watered-down clay (terra sigillata) for weeks – even months - before submitting them to a grueling firing process.

    Similarly, Pip McManus is interested in transformation. Combining clay, video, sand and water, McManus has created a video work entitled Watershed 2 that engages with ideas of permanence and organic forms. In Watershed, the ancient medium of clay is effortlessly in conversation with the contemporary medium of video.

    Paul Wood scours op shops, thrift stores and neighbourhood gardening centres for pre-loved ceramic objects that he then re-fires, melts and slumps to create dramatic new sculptures. For Guardians of a Goddess Wood has crafted an ode to the ornamental water features that proudly sat in the neighborhood gardens of his childhood.

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  • » Michal Fargo

    Michal Fargo Ceramics

    Michal Fargo's profile on Ceramics Now - View the works

    "In my work, I am driven by textures, materials and non-traditional working methods.

    The main subject I deal with is the thin line between imitation and interpretation - My work portraits the contrast between an urban lifestyle and a remote admiration of nature. When I work, I use the most naive and (sometimes) barbaric techniques while facing industrial materials. I try to capture a longing for authentic nature and at the same time to celebrate its progress and many benefits, and perhaps combine both emotions into one.

    If I had to sum my main ambition in my work I would say that I seek authenticity that comes from a personal aesthetic perception. The fine definitions of art, craft and design seem to me unnecessary in relation to my work. While working on a piece, it is not so much a ‘narrative’ that I’m after, but rather, visibility and the abstract feelings that may be summoned by viewing the form. 

    As an artist I would like to think that I am a highly individual maker searching for an aesthetic vision that would be completely my own.” Michal Fargo

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  • Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, Variable dimensions. Photos by Mel Bergman.

  • » Ceramic art competitions, biennales, festivals and fairs in 2014

    View the list of international contemporary ceramics competitions, biennales, contests, ceramic festivals and fairs recommended by Ceramics Now in 2014


  • Michal Fargo: Else, 2013, Porcelain, fired models technique, fired to cone 6 electric, 15x6 cm. Photo by Mel Bergman.


  • Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, Variable dimensions. Photos by Mel Bergman.


  • Michal Fargo: Else, 2012, Porcelain, fired mold technique, fired to cone 6 electric, 20x7 cm. Photos by Mel Bergman.

  • Michal Fargo: Else, 2012, Porcelain, fired models technique, fired to cone 6 electric, 30x18 cm. (white right), 24x21 cm. (white middle), 26x16 cm. (blue). Photo by Sasha Flit.


  • Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, 12x11 cm. Photo by Mel Bergman.


  • Michal Fargo: Else, 2012, Porcelain, metal ring, fired models technique, fired to cone 6 electric, 11x7 and 13x8 cm. Photo by Mel Bergman. The second work is sold to the collection of Holon’s Design Museum.

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