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 ceramics

Marie Torbensdatter Hermann exhibition / Galerie Nec, Paris

Marie Torbensdatter Hermann exhibition Galerie Nec, Paris

Marie Torbensdatter Hermann exhibition / Galerie Nec, Paris
October 26 - November 24, 2012

"The work reflects on some kind of strange family of domestic objects, they are bound together by a form of action, something undefinable but with a hint of a purpose. As if they are there for one very specific reason, each with a small specific individual function, but on their own they are un-significant, it is as a group how they become useful and self-sufficient. It is in the choice of grouping certain objects with each other and in the spacing of them, that they come into existence. I also see a big part of my practice as an arranger. Someone arranges objects and creates small details, small shots taken from a lager scenario. As if we have the time line in constant flux, I make the decision on where to cut out one image and create that as a memory of what ones was, before it moved on to become something else." Marie T. Hermann

“Looking around Marie T. Hermann’s most recent exhibition of work, we may well have a similar feeling: that we are in the presence of pots that don’t quite need us. They are just fine on their own, thank you. Poised atop their handmade clay shelves, microcosms like the implacably calm still life paintings of Morandi, or set out in a neat ring on the gallery floor, these ceramic sculptures have a quiet assurance, an ease that belies the difficulty of their own making.

You almost have to remind yourself that it’s by no means easy to create this sense of completeness. The usual way of doing it is to make objects that are resolutely alien to everyday experience: the abstract geometries of De Stijl, the weird and hermetic object-poems of the Surrealists, the industrial quality of Minimalist sculpture, or the unearthly light and space created by artist James Turrell. While Hermann’s work is influenced by all of these art historical references, she appeals to something more humble and humane than any of them. As is true of most potters, even those working in the manner of installation artists, daily use is constantly at issue for her – either as a haunting presence or a conspicuous absence. The inclusion of two plates, one sunk into its shelf and the other just emerging, gratifies our expectations on this score, even as the closing off of vases at the mouth refuses it.

While her commitment to achieving a unified aesthetic impression is total, it seems to me that her greatest interest as an artist comes at the level of the detail. Yes, she knows she must (according to some modernist logic) ‘earn’ the right to create an interesting shape, like a sharp break in the profile of a vase, or a gentle curve in the rim of a plate. For her, these subtle touches have to make sense within an overriding context.

Read More

  • Francesca DiMattio: Bloemenhouder and Kandelaar / Pippy Houldsworth, London

    Francesca DiMattio: Bloemenhouder and Kandelaar exhibition Pippy Houldsworth Gallery London

    Francesca DiMattio: Bloemenhouder and Kandelaar / Pippy Houldsworth Gallery, London
    October 10 - November 17, 2012

    Pippy Houldsworth Gallery is delighted to present young New York artist Francesca DiMattio’s first solo exhibition in Europe from 10 October to 17 November 2012, and her first showing in London since her large scale canvases were seen in Saatchi Gallery’s Abstract America in 2009. Bloemenhouder and Kandelaar offers us the opportunity to see DiMattio’s vibrant and painterly sculptures standing on their own, showing the vitality and eccentricity of the large-scale ceramic pieces she has been developing over the past two years.

    DiMattio’s paintings have often made reference to feminine craft techniques such as sewing, weaving or quilt making. In an attempt to shift the assumption that these crafts are most often delicate or small-scale domestic creations, she scales them up and uses a rougher, more masculine hand. Keeping with an interest in domestic craft, it is fitting that her sculptures are formed from ceramic. Using a material deeply ingrained in rules, craft and history, she turns it on its head by irreverently pulling from its history and pairing extravagant reference with crude slabs marked by fingers and punch marks.

    In this exhibition, DiMattio investigates the history of porcelain to examine the ways in which visual iconography moves through culture. She looks at how porcelain’s visual history is one of copies, fakes and re-makes; how a revered technique such as the blue and white design found on a Ming Vase was copied by the English, Dutch and French, morphing and changing slightly through each iteration, and can now be found on a kitsch object in a gift shop. Like her paintings, the sculptures here juxtapose conflicting historical references, from 18th century English Wedgwood, French Rococo and Ming Dynasty to kitsch animal figurines. These are grafted objects, fusing disparate elements into a curious new whole. Each piece is made completely as one, rather than from found forms put together after the firing. The different passages affect one another, with glaze from one element interrupting, transforming and connecting multiple facets of the same sculpture.

    DiMattio’s new work incorporates bases and handles of various forms, from gilded heaps of clay to delicately sculpted adorning flowers. Bases of piled up clay are reminiscent of Chris Ofili’s elephant dung, whilst a slumping torso-like coil pot seems on the verge of collapse. Debris made by sculpting animalia has been collected and put on the adjacent surface, creating a rough texture made of dust, chunks and trimmings, and elements in high gloss sit next to bright matte colour. DiMattio creates unstable and shifting objects that are a combination of various logics of taste. In Cuvette à Tombeau, one moment the china-painted landscape is beautiful and the bright rough-textured yellow feels broken, crude or flawed, and on a second look, the texture becomes vibrant and rich, whilst the landscape becomes something you might find in a thrift shop. The changeability of taste is heightened and examined through DiMattio’s uncanny pairings that ask the viewer to look closely at and interrogate these new abstract and de-hierarchised forms.

    Read More

  • The Open West 2012 Award Winners exhibition / Gardens Gallery, Cheltenham, UK

    The Open West 2012 Award Winners exhibition Cheltenham

    The Open West 2012 Award Winners exhibition / Gardens Gallery, Cheltenham, UK
    November 15-20, 2012

    Private view: Thursday, November 15, 6 pm.

    Artists: James P. Graham, Haruka Miyamoto, Koji Shiraya.

    Following the open west’s acclaimed exhibition at Gloucester Cathedral earlier this year, curators Lyn Cluer Coleman and Sarah Goodwin are now presenting an exhibition of the three award winners, James P Graham (University of Gloucestershire Award) Haruka Miyamoto (Ecotricity Award) and Koji Shiraya (Curators Award).
    This year’s award winning artists are connected by their concerns for the environment, showing acute awareness of the origins of the materials they use, from base metals to volcanic rock, leather, waste rubber and plastic, porcelain and feldspar.

    James P Graham lives and works in Italy and London and exhibits internationally. Originally trained in film and photography, James’ recent sculptural work is informed by landscape and nature. His new sculpture, Golden Cage, coming to Cheltenham directly from the Chelsea Physic Garden, uses volcanic rocks from the active crater on Stromboli, which have been wound and suspended with gold thread. The work “symbolises man’s attempts to imprison and control nature,” (CNN, Eco Solutions, 20.7.12).

    Haruka Miyamoto lives and works in London. Her training is in textiles (recently graduated from Chelsea College of Art & Design) and she works as a fashion, shoe and product designer as well as an artist. “The idea of my work is based on lifecycles in nature. I rescue materials from the bin and give them a second life, so they don’t end up in landfill. The impact that humans have on nature can be devastating. The dodo, which became extinct due to human activities, is a symbol of extinction.” Haruka showed in British-ish, the best of the UAL design graduates at the V&A for London Design Festival, and auctioned her work ‘Extraordinary Rubbish’ in the Faberge Egg Hunt 2011.

    Koji Shiraya who works in London and is soon to return to Japan, is an artist who completed his MA in Ceramics and Glass in 2010 at the Royal College of Art. His work After the Dream shown in the darkened crypt at Gloucester Cathedral captured an intriguing ambiguity, using porcelain spheres as metaphors for the mind, and its Gardens Gallery setting will stimulate a new language. In his sculpture Trinary 2011 all of the samples in the jars are filled with some of the main components of the earth’s crust. Koji has shown work at Einfall: Beyond Spontaneity at the Freud Museum and at Designers & Makers at Somerset House.

    Applications for the open west 2013 will be received from December. See theopenwest.org.uk for full details.

    Read More

  • Caroline Andrin and Francois Ruegg / Puls Ceramics, Brussels

    Caroline Andrin and Francois Ruegg / Puls Ceramics, Brussels
    October 13 - November 17, 2012

    Caroline Andrin exhibition Puls Ceramics, Brussels

    Caroline Andrin
    Swiss ceramist Caroline Andrin maintains her studio in Brussels as well as holding the Ceramics Department chair at La Cambre. Widely traveled and exhibited, this is her second Puls exhibition. Andrin has entitled this series of work Skin Game.

    Much of Andrin’s art has been inspired by the examination of the intimate relationship that we have with the objects in our everyday environment, objects that we wear or use. Throughout her career, Andrin’s work has developed from one object to the next, sometimes by taking into consideration the function of the original object and sometimes by a larger context. She has been inspired by the principle that every form hides another form within it and that through a process of her own using clay, both the inside and the outside of an object can be made visible.

    The title of this series is particularly apt. It asks many questions. Skin: what is it, when and where do we encounter it, and what deeper consequences does it hold for us as individuals and our values. We seldom pause to remember that the skin of a mammal—and specifically humans—is the largest organ in the body. As for game, is it the mere entertainment of stalking and bringing back a trophy to hang on a wall or the hides that kept our prehistoric ancestors alive through the Ice Ages?

    The series consists of an ensemble of Trophies and Accessories. Game here of course assumes its double meaning, referring to play as well as hunting.

    Andrin pits our visual perception against our sense of touch. She has captured the visual qualities of skin and then assaults the innate coordination of our sense with entirely the wrong texture. The work certainly has the look but not feel. She is challenging the very essence of the materiality we expect.

    Each Trophy originates from a pair of leather gloves. The gloves are turned inside out, cut up and sewn back together in order to make a mold into which clay is poured. This process involves the casting of clay slip. Traditionally clay is cast in plaster molds. Since 1996 however, she has used material for molds that leave a trace on the final object. This is a verification of the idea that one form contains another.

    The manipulation of the original object (the leather glove) creates an imaginary bestiary which speaks of the skin. Andrin examines our emotional relationship with objects and in this case, all that the objects represent.

    Francois Ruegg exhibition Puls Ceramics, Brussels

    Francois Ruegg
    Francois Ruegg is an award winning Swiss ceramist exhibited at Puls for the first time. Ruegg intentionally uses allegory to color the figurative presence of his objects and their complex allusions. He plays with our innermost expectations, our stereotypes, and sends us on strange trains of thought. Ruegg deliberately leads us astray as he challenges our internalized landmarks and creates confusion in our perceptions. This is work that provokes, destabilizes, and opens up only enough to give up a few clues to understanding.

    Read More

  • Melissa Stern: The Talking Cure / Smart Clothes Gallery, New York

    Melissa Stern: The Talking Cure exhibition Smart Clothes Gallery, New York

    Melissa Stern: The Talking Cure / Smart Clothes Gallery, New York

    Opening Reception: November 8, 6-9 PM.

    Smart Clothes Gallery and its founder Paul Bridgewater are pleased to present “The Talking Cure,” by Melissa Stern, a multi-media art exhibition integrating sculpture, original contemporary literature, and audio technology.

    The Talking Cure, takes its name from Sigmund Freud’s original description of psychoanalysis. The exhibition consists of twelve mixed material sculptures by Melissa Stern, each accompanied by an interactive audio track created by a literary collaborator. Stern asked twelve writers- poets, novelists, screenwriters, and playwrights- to each chose a sculpture to which they relate most intimately. Each has written his or her imagined monologue of the goings on in the sculpture’s mind. The written work was then transformed into audio recordings by actors. A QR tag accompanies each sculpture. When the viewer points a Smartphone, Blackberry or iPhone reading device at the QR tag it triggers audio to hear the inner voice of the sculpture.

    "I have long been fascinated by what goes on in people’s minds when they look at art," said Stern. "What stories do they tell themselves? What emotions and memories are triggered?" In this project we will have a chance to hear what others think goes on in the minds of these sculptural people. Viewers will also have the opportunity to record their own imagined interior monologue for each sculpture.

    The exhibition will also feature twelve drawings to accompany the sculptures. These pieces address psychological states and experiences in a non- narrative, image based way. They are the dreams that accompany the sculptures.

    Read More

  • Anne Tophøj and Marianne Nielsen: Elitist Folklore / Copenhagen Ceramics

    Anne Tophøj and Marianne Nielsen: Elitist Folklore exhibition Copenhagen Ceramics

    Anne Tophøj and Marianne Nielsen: Elitist Folklore / Copenhagen Ceramics
    October 25 – November 17, 2012

    Artist talk: Saturday, October 27, at 2 pm.

    The dish, the plate, the table and the flower. These common everyday objects and the most beloved iconic shapes from nature are framing in the lives of most people. For their shared exhibition at Copenhagen Ceramics Marianne Nielsen and Anne Tophøj are investigating why and how we value these universal expressions of culture and nature. But what is elitist folklore? What does it look like from their point of view?

    Marianne Nielsen occupies a very special position in Danish Ceramics. She takes interest, in an almost nerdy way, in the role of nature in our culture. In recent years her work often has concluded in definite renderings of natural subjects: mountains, feathers, leaves and now flowers and plants. As a kind of souvenir they refer to something beyond ourselves, being continuous, universal and something which, through its authenticity, contains an essential beauty. Yet, the representations of nature are about ourselves, since they only acquire their meaning through our very own gaze.

    Marianne Nielsen articulates this: ’Flowers hold a modest position in the arts as something banal, soft, often assigned the subordinate part. For these pieces I have let the flower be on its own, allowing it to make up the entire work. The works are about what is not directly present – the references linked to flowers, both as representatives of beauty and natural souvenirs. But they also deal with that particular application that has worn down the flower-motif and turned it into a cliché.’

    In a similar way Anne Tophøj is working with the values and inherent meanings of things. Either because the artifacts contain specific images or symbols that pass on a story or message, or by suggesting a particular use or way of handling.

    Characteristic of her work she investigates the dish and the plate, objects that we are all very familiar with and make daily use of. As she herself puts it:The plate and the dish are signs of human culture and how we raise ourselves above the animals; they are pivotal in all eating rituals and our daily meals. Artefacts that we all have in common – universal, banal, indispensable tools helping us to sustain life. They are beloved and treasured objects that different cultures and times have shaped endlessly for use and for ornamentation, for the table and for the wall.”

    Read More

  • Ceramics Now Exhibition, 3rd edition / Galateea Gallery, Bucharest, Romania

    Ceramics Now Exhibition - International contemporary ceramics exhibition, third edition

    Ceramics Now Exhibition, 3rd edition / Galateea Gallery, Bucharest, Romania
    November 8-26, 2012

    Opening Reception: Thursday, November 8, 6:00 PM.

    The international Ceramics Now Exhibition is an itinerary exhibition of contemporary ceramics which presents works of artists that are featured in Ceramics Now Magazine’s platforms or are invited. The exhibition reunites artists from different countries and communities, and facilitates contact between them and the public. Ceramics Now Magazine and Exhibition operate as an exchange platform between artists, galleries, museums, collectors and people passionate about art.

    In the context of the globalization of arts and of rapid exchange of information, it is more and more necessary to make a serious coagulation of what is contemporary ceramics. The incorporation of many diverse subjects, working techniques and mediums in creating a ceramic object, are more and more frequent, risking if not counterbalanced, to take this domain back to crafts. The harmony between the compositional elements and concept can be realized through exercise, and this exercise is a reference point for contemporary artists. In creating a contemporary ceramic object, an equilibrium can be reached by those who feel the need to create and who create with depth. Originating either from Australia, Africa, Europe, Asia or America, practice, delicacy and accuracy are characteristics that unite them. The Ceramics Now Exhibition reunites these artists and brings their work together aiming to create an open platform between them and the public. The third edition of our main event will be held between 8-26th of November 2012, at Galateea Gallery, Bucharest, and will present the works of 22 world-renowned contemporary ceramic artists.

    EXHIBITING ARTISTS: Steve Belz (USA), Gherghina Costea (Romania), Kimberly Cook (USA), Ossama Mahmoud Emam (Egypt), Nato Eristavi (Georgia), Jason Hackett (USA), Teresa and Helena Jané (Portugal), Brian Kakas (USA), Yoichiro Kamei (Japan), Kentaro Kawabata (Japan), Allison Luce (USA), Nicolae Moldovan (Romania), Akio Niisato (Japan), Heide Nonnenmacher (Germany), Szilvia Ortlieb (Austria), Barbara Schmid (Austria), Avital Sheffer (Australia), Suzanne Stumpf (USA), Kouzo Takeuchi (Japan), Shinya Tanoue (Japan), Kwok-Pong Bobby Tso (China), Gavril Zmicală (Romania).

    Curator: Vasi Hîrdo
    Coordinator: Cristina Popescu Russu

    Ceramics Now Magazine is a comprehensive and innovative publication & online art platform specialized in contemporary ceramics. Founded in 2011, the magazine celebrates the creative field of ceramics through publishing interviews, reviews and works of new and world-renowned ceramic artists, and providing information on contemporary ceramic art exhibitions.

    Read More

  • Duet: Mark Goudy and Liza Riddle / SMAart Gallery & Studio, San Francisco

    Mark Goudy and Liza Riddle exhibition SMAart Gallery Studio, San Francisco

    Duet: Mark Goudy and Liza Riddle / SMAart Gallery & Studio, San Francisco
    November 1-30, 2012

    Opening Reception: November 1st, 6-10 pm.

    Mark Goudy and Liza Riddle (Thundercloud studio) present a collection of their beautiful recent works. Both artists use metal salts that permeate the surface of their burnished vessels. The results are an incredible watercolor like surfaces reminiscent of galaxies, the deep ocean weathered stone, frosted glass or microorganisms.

    "My approach is to combine ancient methods of stone-burnishing and earthenware firing with computer-aided shape design to produce talismans that fuse traditional and modern aesthetics. Surface markings are created by painting water-soluble metal salts on bisque-fired clay. These watercolors permeate the clay body, and become a permanent part of the surface when fired. I have a strong affinity for intricate abstract patterns, ones that can’t be fully comprehended with a single glance, an invitation to in-depth exploration." Mark Goudy

    "I seek to create a work which evokes a sense of wonder and mystery, forms that beckon to be held and admired. I find delight in closely observing and then interpreting natural objects and events – weathered boulders on a mountain slope, wind ripples on a gray blue sea, complex designs on a delicate bird egg – their rhythms, patterns and forces have greatly inspired my work." Liza Riddle

    SMAart Gallery & Studio was founded in September 2012 and opened its doors at 1045 Sutter Street in San Francisco.

    SMAart offers gallery exhibits, studio rentals and ceramic classes. Founder Steven M Allen opened SMAart to fulfill a longtime dream of having a gallery, a place to teach art to the community, and a place to create art in a creative open environment surrounded by other inspiring artists.

    Read More

  • Cynthia Lahti exhibition / Zentrum für Keramik, Berlin

    Cynthia Lahti exhibition Zentrum für Keramik Residency for Ceramics Berlin

    Cynthia Lahti exhibition / Zentrum für Keramik, Berlin
    November 4-11, 2012

    Opening reception: November 4th, 2-5 PM.

    We are very happy to announce the upcoming exhibition of artworks created Cynthia Lahti during her residency at the Zentrum für Keramik - Berlin. Cynthia is from Portland, Oregon, where she has been working as an artist for over 24 years. She is a mixed media artist whose work explores human emotions through the evocative power of the figure. 

    "My goal is to create works of art that resonate with honesty and reflect the beauty and chaos of the world. My art is influenced by human artifacts from ancient times to the present, as well as by my personal experiences and emotions. Like the varied objects I draw on for inspiration - from 1940s knitting catalogs and outsider art, to Native American cedar carvings and Degas’ sculptures of dancers - my artworks force an explanation of reality and compel viewers to connect to a larger human experience. I work in various media, including drawing, collage, and sculpture." Cynthia Lahti

    The Residency for Ceramics-Berlin is located in the neighborhood of Pankow, 3 miles north of Mitte, the center of East Berlin on a spacious lot surrounded by a beautiful old garden.

    The residency is designed for artists working in clay or artists with a background in ceramics who wish to undertake a clay project and it provides an opportunity for them to work in a new context, to experiment and develop new approaches and to explore another culture. The location provides a fantastic opportunity to explore a fascinating city with a thriving local art scene.

    Read More

  • Kim Simonsson exhibition / Galerie Favardin & de Verneuil, Paris

    Kim Simonsson exhibition Galerie Favardin & de Verneuil, Paris

    Kim Simonsson exhibition / Galerie Favardin & de Verneuil, Paris
    October 16 - November 10, 2012

    One of the major artists of the young Finnish art scene, Kim Simonsson epitomizes this new generation of artists working beyond the ideologies of the post-modernism advocates, while his work is deep-rooted in pathos. Japanese manga leave its mark on his sculptures whose empathic dimension imparts them a universal impact.

    "Works by Kim Simonsson come from another world filled with children looking as doleful as well-behaved, as neat as vicious. (…) We find ourselves in stories of hybridisations and transmutations, in the land of hazy identities, sagas where beasts and beauties invert themselves, where innocence plays constantly with violence, purity and perversion, where black and white, gold and silver glaze various forms of anxiety, power struggles and child sexuality." (Elisabeth Védrenne, Connaissance des Arts, November 2009)

    Simonsson was awarded the prestigious “Young Artist of the Year” award in 2004 and the Pro Arte award in 2009. During the same year, he became the first Arabia Art Department Society Guest artist and got a studio at the famous manufactory. More recently he’s been selected for a residency at the Manufactory of Sevres.

    Read More

  • When I Woke / Llantarnam Grange Arts Centre, Cwmbrân, UK

    When I Woke exhibition Llantarnam Grange Arts Centre, Cwmbran, Wales

    When I Woke / Llantarnam Grange Arts Centre, Cwmbrân, Wales, UK
    October 6 - November 18, 2012

    When I Woke – an exploration of the human condition curated by Claire Curneen and Lowri Davies.

    When Llantarnam Grange Arts Centre invited celebrated ceramicists Claire Curneen and Lowri Davies to curate an exhibition as part of the centre’s “Makers to Creators” series both artists relished the opportunity to expand their artistic horizons and provide a completely different perspective to their practice.

    Inspired by Dylan Thomas’ poem ‘When I Woke’, the exhibition is full of questions about life, death and change. Each of the exhibitors examine the gritty questions which surround the human dilemma. The body and the figure are central to these artists and the exhibitors explore issues in relation to beauty, the visceral body, myth, folklore and tradition. The subject matter is complex and in very different ways they strive in search for something hidden or lost.

    Artists: Tamsin van Essen, Sam Bakewell, James Page, Lina Peterson, Audrius Janusonis, Sophie Woodrow.

    Tamsin van Essen explores the cultural obsessions with perfection and beauty. There is a tactile beauty in the objects surface and form yet they talk about the visceral decaying body which leaves us somewhat unsettled.

    The visceral is also evident in Sam Bakewell and James Page’s work. Bakewell uses solid masses of clay to suggest the body, the objects are dense and immediately physical. These objects are not static forms, they are in a state of flux and are bursting with life.

    James Page asks us to reassess our perception of our own bodies. His work is a celebration of the physical nature of the human body with an affirmation of our earthly connection.

    Lina Peterson is a jeweller that tells a human story. Her work has a sense of the ritual, in some instances drawing inspiration from Roman artifacts. Peterson response to ancient artifacts is to ‘fill the gap’ and to put back what is missing, in turn creating a new and original narrative.

    Audrius Janusonis and Sophie Woodrow use traditional figurative modes of practice. They explore a sense of place, often mythical and sometimes untangible. Janusonis is Lithuanian whose work is known across Europe but has never before been shown in  UK. His figures have a strong allegorical message often referencing the texts of Ovid’s Metamorphoses. His understanding of the human form is extraordinary.

    Sophie Woodrow entices us in to a strange world where the relationship between animal and human are blurred. Her figures stare out at us revealing some sinister folk story. They are reminisent of staffordshire flatbacks, domestic in scale yet subversive in nature.

    Read More

  • Three exhibitions at The Clay Studio, Philadelphia, PA

    Three exhibitions at The Clay Studio, Philadelphia, PA
    October 4-28, 2012

    Peter Morgan exhibition The Clay Studio Philadelphia

    Peter Morgan: All Aboard at Harrison Gallery
    The 2011-2012 Evelyn Shapiro Foundation Fellowship Exhibition

    All Aboard includes work that Morgan made this past year, while serving as the Evelyn Shapiro Foundation Fellow. This fellowship afforded him a monthly living stipend, materials and firing stipend, free studio space, this solo exhibition and a tri-fold publication produced in support. A representational sculptor, Morgan received a BA in fine arts from Roanoke College, Salem, VA, a BFA from the California College of Arts and Crafts, Oakland, CA and his MFA in 2005 from the New York State College of Ceramics at Alfred University, Alfred NY. His work builds on a tradition in ceramics that began in the 1960’s and emerged out of California’s Bay Area. The artists working within this tradition created representational sculpture, oftentimes humorous and/or tongue in cheek, irreverent and anti-establishment, their inspiration drawn from the beat movement, Pop Art, and the then burgeoning counter culture revolution. 

    Morgan employs many of the practices of his Funk predecessors using word puns and humor, to create surreal narrative compositions, layered in meaning. His sculptures may grow out of a childhood memory, his love of a specific food item, history or a perplexing current event. With All Aboard, Morgan takes the viewer on a train ride like none other they’ve had. As in all his work, the train cars are skillfully and sensitively sculpted, Morgan’s interest in and love for his subject matter evident and felt. 

    His sculptures are real and unreal, familiar yet foreign. Morgan states, “The work is an investigation and celebration of cultural mythologies. I think of my sculptures as being platonic ideals in physical form. They focus on our ideal understandings and desires of these objects in our minds, yet they often bear very little in common with the actuality of these concerns.” Jeff Guido, Artistic Director

    Blue and White exhibition The Clay Studio Philadelphia
    Blue and White at Reed Smith Gallery

    The field of ceramics is laden with numerous traditions of technique, material, style, and form specific to a given culture and or specific time period. Few traditions moved beyond borders or lasted through time to become significant to multiple cultures. The tradition of Blue & White is one that has; a white clay body serving as ground for blue decoration applied by hand, stenciling, or screen transfer. Islamic tin-glazed tile of the 9th century, pinyin or blue flowers drawn on 14th century Chinese porcelain pots, the narrative hand-painted Delft pots of the 16th century Dutch, to the English and American traditions of Willowware, the process of cobalt blue decoration on fine, translucent, and white porcelain is a deeply rooted tradition, crossing cultures and spanning great lengths of time.

    Read More

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website powered by Tumblr.