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

contemporary artist

Interview with Jim Kraft - Ceramic Technique, June-July 2011

Interview with ceramic artist Jim Kraft - Ceramic Technique, June-July 2011

→ Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.

Ceramics Now Magazine
: What was the starting point in your investigation (research) with earthenware clay?

Jim Kraft: When I set up my studio I bought an electric kiln which satisfied  my needs as I was interested in making objects that were not meant to be functional or to be displayed outdoors.  I did not want to cover the clay with a glaze, I wanted the earthen colors of the clay to be prominent.

In what techniques do you usually work and what materials do you use?

My work is solely hand-built. I roll  25# slabs of clay by hand. I use a clay extruder to make my coils .I imbed dry colorants in both the slabs and the coils. I throw dry colorants on the ware boards as I roll the slabs, the moist clay picks up the dry materials.  Depending on what series I’m working on I build the vessel forms using cut up or torn slab pieces and twisted off sections of coils. I use earthenware clay in either a buff or a red color.  After the piece is bisqued I brush on a black/brown slip, I let that dry and the next day I wipe it off.  It stays in the cracks and crevasses.  Then I brush on a clear glaze.  I let that dry and wipe it off the next day.  I leave enough to give it life but not shine.  I want the surface of the clay to absorb light not reflect it. This is a building up of the surface, layering, as you might do in print making or painting. Then I fire it a final time.

Cord 5 - View Jim Kraft’s works

What is your present project, what’s its history and how do you make the pieces? Tell us more about the process.

Currently I’m building vessel forms using short torn pieces of clay coils and stacking them, like cord wood.  The end of each torn piece faces the viewer.  It’s like building with wine bottle corks or cigar butts, but end up looking more like natural, organic objects such as bird nests, bee hives or tree stumps.  The trick is finding the place where they don’t look like any of those things but allude to any and all of them. However I always want them to read as vessel forms, something that contains.

Read More

  • Debbie Quick

    Debbie Quick's profile on Ceramics Now Magazine - View her works

    “I am a storyteller. Or at least I’ve wanted to be one for as long as I can remember; yet, the verbal telling of situations is not how my mind works. Instead, I physically construct my stories which speak of emotional interactions and reactions experienced during intense social exchanges. Just as social interactions are layered, having a number of interpretations, visual information leads to a multitude of possible understandings as well.  This is why the idiom “A picture is worth a thousand words” describes how I choose to create narratives. Having more than one interpretation of an experience is why I desire to pack multilayered thoughts into every thing I make. Through exploring these concerns I attempt to communicate the numerous nuances of emotion weathered during awkward social exchanges.

    I watch. I love to watch. I draw inspiration from the watching. I collect awkward exchanges between people and then sculpt them into stories. My narratives visually speak of uncomfortable social interactions and the intensity of feeling born out of them. The pieces I build depict the slippery quality of emotional intelligence and how it seems to elude explanation. Since there is often more than one side to a story and no singular truth to a situation, my pieces are stuck at the point of experiencing and contemplating uncomfortable and irresolvable situations. I explore the pain and discomfort of social interactions through the visual narratives I make.” Debbie Quick

    Read More

  • Ian F. Thomas

    Ian F. Thomas' profile on Ceramics Now Magazine - View his works

    “I have been making art objects for most of my life and I have found that I have a greater understanding of my work after making it.  There is a mystery to things that people make.  I choose the process of art-making as a medium to pose questions about my relationships with (art) objects, people and myself.  Each time I start a work, regardless of the known impetus, the content of the work changes into something I didn’t previously know.  I have been enjoying this unpredictability, lending my creative process to my intuition.

    In the spectrum of communication I find making objects to be an efficient vehicle. I find myself engaged with object making in a similar way a writer is engaged with text. For me, objects and their relationship with their surroundings manifest into a language in itself. As in the installation  “Weather Underground” I was interested in the site-specificity of the space I was working in, which used to be a classroom.  Working in an intuitive mode without an intended outcome, I knew the materials I wanted to use and allowed the piece to develop through me.  It was not until later that I came to the realization that the work was about me revisiting my own experiences of academia. 

    I have considered my work to be a window into my subconscious. After completing this work, it allowed me to question the original idea, the process of making it and the actual outcome, and through the work I am able to gain a better understand of its possible meaning and message.  The practice of art is now a renewed engagement with my personal history.  The visceral understanding that it grants my senses is as pleasurable as the beauty of the produced object.  It is not my intent for the view to grasp these specific notions but to come to the work with their personal histories and to derive a visceral understanding through their senses.” Ian F. Thomas

    Read More

  • Virginie Besengez: Ceramic bowl

    Virginie Besengez: Ceramic bowl

  • Jasmin Rowlandson: Chandelier

  • Chris Wight: Vessel forms

  • Wim Borst: Counterpoint Series #13

  • Rafael Peréz: Untitled #25 (The Skeleton)

  • Rafael Peréz: Untitled #5

  • Guðný Hafsteinsdóttir: Ceramic works - view

  • Cathy Coëz: Wartime (detail) #2

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website design by Thomas Cullen. Powered by Tumblr.