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contemporary ceramics

Virginie Besengez - Spotlight, November 2012

SPOTLIGHT, November 2012: Virginie Besengez

Virginie Besengez Contemporary Ceramics - Featured on Ceramics Now Magazine

Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two

Your body of work consists in reinterpretations in stoneware and porcelain of everyday objects. What sparked your interest for ceramics?

Firstly, an attraction toward the household objects led me to ceramic. I am deeply fascinated by clay and the gesture of the hand cupping the bowl.
Beyond the objects, my interest for this art was aroused by a strong link with the origin of humankind, the ancestral tradition of making household objects out of that universal and natural clay. Finally, meeting with ceramists and contemplating their work was a strong incentive to become part of that story.

The refinement and suaveness of your ceramic pieces are given by your attention to detail. Tell us about your educational background and other related experiences.

I had numerous trainings in France and Belgium with ceramists, during which I learned, observed and appreciated the simplicity of the gesture of the first movement. Permanently, I think of the first gestures man performed in order to create a clay or stoneware object.
I love the primitive aspect of this job whose rules have not changed for thousands of years.

How did the architecture of the North of France and the austere aesthetic of the Flemish still-life affected your work?

I am of Flemish origins, I have always lived in the North of France. I don’t believe in plain inspiration, it comes through our environment and culture. In my region and in the near Belgium country more particularly, the black color is omnipresent: in my ancestors clothes, in the colors of the walls, in Flemish paintings. When I walk around cities like Amsterdam or Gand, or along the enbankment in Anvers Harbor, or wandering in Bruxelles, what strikes me is the simplicity and efficiency of architecture, either XVIth century and ultra-contemporary. Streamlined shapes, huge openings to catch maximum light in spite of often grey skies.
My country is also a landscape of industrial wasteland. Former silos, unused steel factories, traces of a bygone industry in which concrete and rusty steel beams are the ghosts of that prosperous era.

Virginie Besengez Ceramics - Featured on Ceramics Now Magazine
Virginie Besengez, Brimming Over, 2012, Stoneware and porcelain, Diam. 50 cm x H. 40 cm. - View Virginie Besengez’s works

The monochrome compositions that you create give the viewer a subtle remembrance of the object design of the 60’s. Why did you choose not to use color in your works?

Color makes no sense to me, for me it takes too much space and leaves no room for subtlety and details. You need to have a poetic mind to be moved by the grey sea of the North, by the dull skies of Flanders.
Grey and black change according to the light, they are not permanent, thus the object has several lives in one day. I am particularly interested in the numerous shades of grey that light can enhance in a monochrome composition, depending on the clay, its closeness to an immaculate porcelain and the way pieces are laid out.
I have been influenced and inspired by Morandi, but also by urban wastelands, steel compression ready for recycling, odds and ends piled up at the back of an old scottish shop.

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  • Aniela Ovadiuc - Romanian ceramic artist, November 2012

    ROMANIAN CONTEMPORARY CERAMICS, November 2012: Aniela Ovadiuc

    Aniela Ovadiuc Romanian contemporary ceramics featured on Ceramics Now Magazine

    Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two
    Translation by Andra Baban

    How did you discover the passion for ceramics?

    By accident! When I was in high school I studied painting and I believed that nothing could rise to its value; that painting is part of my soul and the only way of expression for me as an artist. But this had changed when in university I have met ceramics, felt in loved and couldn’t separate since. This is mainly due to my professor, Ernest Budeş, the person which showed us all the ways of expressing through this medium, using clay, stoneware, earthenware or porcelain, each with its specific techniques. He taught us that ceramics is made with a lot of patience, dedication and most of all, love. He also educated us to love what we do because an object made with all these “ingredients” cannot be otherwise than good: it lives, vibrates, transmits.

    Is ceramics for you an opportunity for introspection?

    Art in general is an opportunity for introspection. Ceramics is a material that allows many possibilities of transposing artistic ideas, therefore can be both two-dimensional (decorative tiles, painting, graphic, photography) and three-dimensional (sculpture, installation). In conclusion, clay has a wide range of artistic expressions that can help you translate almost any idea. Unlike other mediums, ceramics implies using all the primordial elements -earth, water, air, fire- to get the final result; this gives you a lot to think about. To give shape to earth you need water, to dry it you need air, but then, giving it to fire (and I say giving because from this point the fire detains most of the control and often is the best adviser and critic that reveals your mistakes and never forgives them) for objectification, fixing, vitrifying, finality.

    Tell us more about your creative process. Is there a balance between concept and execution?

    The important thing is to have the idea; the rest will follow naturally. When you master the ceramic techniques, you automatically consider the idea in connection with the execution possibilities; it is like the relation thought – word – grammar. You own the concept, the idea, the thought, and can transpose them using a grammatical structure. The same is with ceramics: you visualize the whole process to the ending, and you start to work, meanwhile transposing your thoughts.

    It may happen to change the idea in the process – mainly because the difference of time between thought and action is longer than in other artistic media - for example in painting everything happens almost simultaneously (thought, gesture, action and result) but in ceramics, the execution time is slower and the mind begins to work - the reason why changes can occur in the initial idea but also in technique. Usually, I try not to diverge too far from the main idea, but I have to be very careful because if I let myself flow in experiments, I can easily derail and fail to reach the destination, in other words to  what I wanted to convey. Ceramics doesn’t give you much opportunity to step back in the process, instead it forces you to take it again from beginning.

    Aniela Ovadiuc Romanian contemporary ceramics featured on Ceramics Now Magazine
    Aniela Ovadiuc, The book, 2011, Stoneware, Metalic oxides, 15 x 38 x 3 cm.

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

    The book is a recurrent element in your creation. What are the origins of this passion?

    During Master degree studies I had as research the theme of the Library (Bookcase), concluding that it is the sum of human preoccupations. If Schopenhauer names the book “the paper memory of mankind”, my work “The Library” (Bookcase) wants to put in light the human – library relationship. The library has the meaning of a book depository where the books reflect the man himself. To understand this I had to ask myself: What is a library? - A book depository; What is the book? - The memory of mankind in the shape of words, images and signs; What are the words? -  Language, signs, symbols, gesture. And still, what is the library? – Is purely a human product, which stores all its history and emphasizes the development path, all thoughts, feelings and human desires. All these are in the Universal Library, and man carries it with himself all the way. The library and the man go together, have a common, inseparable route, like a carried and projected shadow. So from now on, I remained faithful to this theme, because it is very complex and inexhaustible, because we are in constant motion and evolution, but especially because the book as an art object is as Daniela Frumuşeanu said - “an exhibition itself!”

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  • Ryan Blackwell: Spick-and-Span, 2012, Ceramic, Variable upon size of room. Each dustpan 2.25 x 2.25 x 0.25 in.

  • Ryan Blackwell: Mother’s Bad Dreams, 2011, Ceramic, Human Teeth, Resin, Metal, Wood 3 x 7 x 6 in.

  • Ryan Blackwell: Mother’s Bad Dreams, detail, 2011


  • Ryan Blackwell: Untitled (Red Rectangle), details, 2012, Table Top, Clay, Oil, Acrylic, Curtain Wire, 41 x 28 x 2 in.


  • Ryan Blackwell: Yellow, Table, Curtain Wire and Trowel, 2012, Table Top, Clay, Curtain Wire, Trowel, Oil, Resin, Wood Glue, 72 x 40 x 15 in.

  • Ryan Blackwell: Untitled (Red Rectangle), 2012, Table Top, Clay, Oil, Acrylic, Curtain Wire, 41 x 28 x 2 in.


  • Ryan Blackwell: Thirteen Days or Ten Miles per Gallon, 2010, Ceramic (Stoneware and Native), Paper Rope, Wood Glue, 156 x 60 (variable) x 12 in.


  • Ryan Blackwell: Untitled (White Shelf), 2012, Shelf, Clay, Oil, Acrylic, Resin, Wood Glue, Hardware, 43.25 x 10.25 x 2 in.

  • Ryan Blackwell: Self Portrait: Spring 2010, Animal Bones, Clay, Resin, Wood, 18 x 11 x 2 in.

  • Month in Review: October 2012

    Month in Review on Ceramics Now Magazine: October 2012, Courtesy Tanoue Shinya

    Hello friends. Welcome to Month in Review, a summary of the last month of activity here at Ceramics Now.
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    This month’s featured interviews (view list):

    Patricia Sannit - Artist of the month
    Annie Woodford - Spotlight
    Kwok-Pong Bobby Tso - Spotlight
    Anti-Utopias / Sabin Borş - EXTRA!

    This month’s special feature (ongoing - interviews):

    Romanian Contemporary Ceramics
    Eugenia Pop - In memoriam
    Arina Ailincăi
    Marta Jakobovits
    Cristina Popescu Russu
    Bogdan Teodorescu

    This month’s featured exhibitions:

    Ceramics Now Exhibition 3rd / Galateea Gallery, Bucharest
    Francesca DiMattio / Pippy Houldsworth Gallery, London
    The Open West 2012 Award Winners exhibition / England
    Caroline Andrin & Francois Ruegg / Puls Ceramics, Brussels
    Melissa Stern: The Talking Cure / Smart Clothes, New York
    Anne Tophøj and Marianne Nielsen / Copenhagen Ceramics
    Cynthia Lahti exhibition / Zentrum für Keramik, Berlin
    Kim Simonsson / Galerie Favardin & de Verneuil, Paris
    Mark Goudy & Liza Riddle / SMAart Gallery, San Francisco
    When I Woke / Llantarnam Grange Arts Centre, Wales
    Three exhibitions at The Clay Studio, Philadelphia, PA
    German Op-Art Ceramics / University of Arizona Museum

    This month’s featured connections:

    Jannis Kounellis / Parasol unit foundation, London
    Olaf Breuning: Human Nature / Pippy Houldsworth Gallery
    Yin&Yang Parisienne Mix for Ceramics Now, October 2012
    The reopening of Fabrica de Pensule 2012 / Cluj-Napoca
    Carsten Nicolai - Unidisplay projection wall installation

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