Debra Fleury: Flow, 2011. Red stoneware, porcelain and glaze. Fired to cone 10 (reduction atmosphere). Dimensions 28 cm x 28 cm x 7 cm

Debra Fleury: Flow, 2011. Red stoneware, porcelain and glaze. Fired to cone 10 (reduction atmosphere). Dimensions 28 cm x 28 cm x 7 cm

Debra Fleury: Glider, 2010. Porcelain. Fired to cone 10 (reduction atmosphere). Dimensions 50 cm x 15 cm x 17 cm

Debra Fleury: Glider, 2010. Porcelain. Fired to cone 10 (reduction atmosphere). Dimensions 50 cm x 15 cm x 17 cm

Debra Fleury: Exopool, 2010. Porcelain, glass and glazes. Multiple firings to cone 10 (reduction atmosphere) and cone 6 (neutral atmosphere). Dimensions 18 cm x 11 cm x  15 cm

Debra Fleury: Exopool, 2010. Porcelain, glass and glazes. Multiple firings to cone 10 (reduction atmosphere) and cone 6 (neutral atmosphere). Dimensions 18 cm x 11 cm x  15 cm

David Gilbaugh: Bearded Ghoul, 2009, sculpted lamp base, 11”(W) x 21”(H), hand-built, B-mix stoneware with grog, cone 10, iron and rutile oxides

David Gilbaugh: Bearded Ghoul, 2009, sculpted lamp base, 11”(W) x 21”(H), hand-built, B-mix stoneware with grog, cone 10, iron and rutile oxides

David Gilbaugh: White Oak Teapot, 2011, sculpted teapot, hand-built slab, B-mix stoneware paper clay with grog, cone 10 reduction, black stain brushed in crevices, water washed iron and rutile stain with Whynokur Yellow on the bark

David Gilbaugh: White Oak Teapot, 2011, sculpted teapot, hand-built slab, B-mix stoneware paper clay with grog, cone 10 reduction, black stain brushed in crevices, water washed iron and rutile stain with Whynokur Yellow on the bark

David Gilbaugh: A Man At Ten, 2008, statuette, 4”(W) x 8”(H), hand-built coil, B-mix stoneware with grog, cone 10 reduction, Babu Porcelain, iron, rutile, and cobalt oxide stains

David Gilbaugh: A Man At Ten, 2008, statuette, 4”(W) x 8”(H), hand-built coil, B-mix stoneware with grog, cone 10 reduction, Babu Porcelain, iron, rutile, and cobalt oxide stains

David Gilbaugh: Family Tree, 2007, sculpture, 6.5”(W) x 11.5”(H), hand-built coil, B-mix stoneware with grog, cone 10 reduction, iron, rutile, chrome and cobalt oxide stains

David Gilbaugh: Family Tree, 2007, sculpture, 6.5”(W) x 11.5”(H), hand-built coil, B-mix stoneware with grog, cone 10 reduction, iron, rutile, chrome and cobalt oxide stains

Suzanne Stumpf: Nest with Eggs III, 2011, 10”w x 2.5”h, altered wheelthrown with handbuilt components; porcelain and porcelain paperclay; oxidation fired to cone 10
Both nests and eggs hold important concepts for reflection and meditation for me. Eggs represent new beginnings, promise, mystery, and fragility. Nests signify “home,” with the intention of comfort and protection, and in the case of wildlife, camouflage. As an avid birdwatcher, amateur naturalist, and sculptor, I am intrigued by the variety of nests found in nature for both their architectural inspiration and symbolism. These three works are from a series of nest sculptures I am making.

Suzanne Stumpf: Nest with Eggs III, 2011, 10”w x 2.5”h, altered wheelthrown with handbuilt components; porcelain and porcelain paperclay; oxidation fired to cone 10

Both nests and eggs hold important concepts for reflection and meditation for me. Eggs represent new beginnings, promise, mystery, and fragility. Nests signify “home,” with the intention of comfort and protection, and in the case of wildlife, camouflage. As an avid birdwatcher, amateur naturalist, and sculptor, I am intrigued by the variety of nests found in nature for both their architectural inspiration and symbolism. These three works are from a series of nest sculptures I am making.

Suzanne Stumpf: Nest with Eggs V, 2011, 9”w x 2”h, wheelthrown with handbuilt components; porcelain; oxidation fired to cone 10

Suzanne Stumpf: Nest with Eggs V, 2011, 9”w x 2”h, wheelthrown with handbuilt components; porcelain; oxidation fired to cone 10

Suzanne Stumpf: Egg Shell Nest, 2011, 16”w x 9.5”h x 10”d, handbuilt with porcelain paperclay; oxidation fired to cone 10Both nests and eggs hold important concepts for reflection and meditation for me. Eggs represent new beginnings, promise, mystery, and fragility. Nests signify “home,” with the intention of comfort and protection, and in the case of wildlife, camouflage. As an avid birdwatcher, amateur naturalist, and sculptor, I am intrigued by the variety of nests found in nature for both their architectural inspiration and symbolism. These three works are from a series of nest sculptures I am making.

Suzanne Stumpf: Egg Shell Nest, 2011, 16”w x 9.5”h x 10”d, handbuilt with porcelain paperclay; oxidation fired to cone 10

Both nests and eggs hold important concepts for reflection and meditation for me. Eggs represent new beginnings, promise, mystery, and fragility. Nests signify “home,” with the intention of comfort and protection, and in the case of wildlife, camouflage. As an avid birdwatcher, amateur naturalist, and sculptor, I am intrigued by the variety of nests found in nature for both their architectural inspiration and symbolism. These three works are from a series of nest sculptures I am making.

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: Urchin, 2010, 3”h x 11” w x 11” d, handbuilt porcelain with wheelthrown components; oxidation fired to cone 10Urchin is an interactive sculpture as well as a puzzle. There are 13 barnacle-like components that have been attached (through firing) to the perimeter of Urchin, and there are 10 others that are removable. The movable “barnacles” can be used to make multiple arrangements (on and off Urchin). However, Urchin is also a puzzle: there is only one way that the free “barnacles” can all be fit securely and comfortably into the center space.

Suzanne Stumpf: Urchin, 2010, 3”h x 11” w x 11” d, handbuilt porcelain with wheelthrown components; oxidation fired to cone 10

Urchin is an interactive sculpture as well as a puzzle. There are 13 barnacle-like components that have been attached (through firing) to the perimeter of Urchin, and there are 10 others that are removable. The movable “barnacles” can be used to make multiple arrangements (on and off Urchin). However, Urchin is also a puzzle: there is only one way that the free “barnacles” can all be fit securely and comfortably into the center space.

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: 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.