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

Niisato Akio: Luminous Form, 2008, Glazed porcelain, 12” x 8 1/2”
/ Keiko Gallery - Japanese artists

  • Niisato Akio: Luminous Vessel, 2007, Glazed porcelain, 8 1/2” x 8 1/2 ”x  9”
    / Keiko Gallery - Japanese artists

  • Niisato Akio: Black Tea Bowl , 2008, Glazed porcelain, 5” x 4 3/4”
    / Keiko Gallery - Japanese artists

  • Mariko Husain: Earrings, 2011, Sterling silver, 18K gold, 3/4” x 3/4” x 1/2”
    / Keiko Gallery - Japanese artists

  • Mariko Husain: Necklace, 2011, Sterling silver, 18” (L)
    / Keiko Gallery - Japanese artists

  • Takeda Asayo: Sculpturesque Purse, 2008, Cotton, leather. 23” x 13” x 4”, Photo: Kano, Zenji
    / Keiko Gallery - Japanese artists

  • Takeda Asayo: Sculpturesque Purse, 2008, Cotton, leather, 24” x 9” x 4”, Photo: Kano, Zenji
    / Keiko Gallery - Japanese artists

  • Interview with Fujita Toshiaki - Japanese lacquer artist, Keiko Gallery

    Interview with Fujita Toshiaki - Japanese lacquer artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → This interview is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.

    Ceramics Now Magazine
    : Not many people know that lacquer is used to make art pieces. Can you tell us more about this material and how do you use it?

    Fujita Toshiaki: The Urushi tree (Rhus Vernicifera) is a member of the sumac family of trees, found in various parts of Asia. The trees produce the sap which has been used as the coating and the adhesive material in Japan more than 9000 years. A poisonous substance when in liquid form (causing skin irritation), it becomes non-toxic on hardening and is waterproof and acid-proof. There are some examples that Native American use the sap of sumac, poison ivy or oak with the same purposes.

    Fujita Toshiaki Japanese Lacquer art - Ceramics NowThe season for harvesting sap is from June to October, and an Urushi tree must be between 8 to 13 years old before it is mature enough to produce only one cup of sap. The sap, an opaque light brown color, oozes from the slashes on the trunk, and it’s carefully scraped with a special tool; after this procces the sap is called Arami-Urushi. The Sap is stirred and carefully heated to equalize its components and remove excess fluid. Those Urushi is called Sugurome-Urushi or Kijiro-Urushi and used as the coating material for the upper layers.

    The drying system of Urushi is very different from other painting materials. Drying Urushi means to be harden. The laccase enzyme reacts in Urusiol which is hardening constituent and initiates a chemical reaction: oxidation polymerization. To increase the activity of the chemical reaction, the ideal temperature is 77F and the moisture set to 80%. That means if the air is too dry, the lacquer never gets dry.

    I focused on this characteristic drying system on Urushi and pursued to create the sculptures called layered forms. I daringly remove other elements in Urushi crafts, because they might interrupt my essential concept for my layered form series. However to understand what is lacquer or lacquer art, I should not deal with only unusual dying systems of Urushi, but also should focus on the traditional techniques, because sometimes we can find the answer in the techniques which were sophisticated and established by our forefathers. For the reason, I worked hard to acquire techniques like woodwork, dry-lacquer, colorings, coatings and decorations.

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  • Interview with Kawabata Kentaro - Japanese ceramic artist, Keiko Gallery

    Interview with Kawabata Kentaro - Japanese ceramic artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → This interview is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.

    Ceramics Now Magazine
    : You were among the first contemporary Japanese artists to combine ceramics and glass when constructing a new work. How did you start to connect these materials?

    Kawabata Kentaro: I wanted to to extract the ingredients from the glaze and embed them into the clay. For example, I tried to use fragments of smashed glass bottles, feldspar, silica stone and beachsand in my white porcelain works, and I did that by mixing these fragments with the glaze. I also wanted to observe the chemical reactions between those materials and the clear glaze after the firing. Throughout these experiences, I was fascinated about the harmony of the different kinds of translucency between glass and white porcelain. I also love touching the unfired clay with bits of glass inserted into it, and I want to get the similar feeling after the firing. I want to constantly develop my work, so I am still looking for new glazes and new kinds of glass as well as interesting materials which go well with my style of work.

    Kawabata Kentaro Japanese Ceramics - Contemporary Ceramics Magazine

    Batista, 2011, Glazed clay, glass, silver, 26” x 18” x 12 1/2”. Photo by Taku Saiki - View his works


    What is your present project and how do you make the pieces? Tell us more about the process.

    Now I am trying to construct a few sculptures using slip casting. After making several different kinds of plaster casts, I connect them. I use my original technique in my newest works, which consists in applying small clay balls and sand on the surface.

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  • Interview with Jorie Johnson - Textile artist, Keiko Gallery

    Interview with Jorie Johnson (Joi Rae) - Textile artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → This interview is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.

    Ceramics Now Magazine
    : From functional, to decorative or aesthetical, your works also vary in techniques and materials. Tell us about your woolen felt creations.

    Jorie Johnson: I am drawn to the painterly and sculptural characteristics of feltmaking with its broad capabilities as a “hard textile” but which also lends itself to soft, sensual body wraps.  I like the challenge of completing a work that functions in a practical way as well as becoming an object of aesthetic value. Unlike weaving, each felt piece is disconnected from the next,  so in that way, a seamless, three-dimensional vessel, hat or bag may remind us more of a ceramic form than a textile.

    The essential material of wool comes from sheep which grow new fleeces each year and which have served mankind in very isolated regions of the world. I love the natural color of wool, as well as, the possibility to blend it with other fibers, to dye the wool or to over dye a completed piece and manipulate its’ shape through this procedure. Now with years of practice I can approach a work from different angles, theorizing which method works best for an expected results, but while shaping and finishing I am on the alert to pick up on a characteristic born through the process that I never figured on. This spontaneity keeps things very interesting.

    Jorie Johnson Textile works - Joi Rae on Ceramics Now Magazine

    Jorie Johnson Spring Collection 2011 (beret, vest, skirt, neck wraps), wool, novelty yarn, silk fabric, linen lace fabric, silk cord. Photo by Toyoda Yuzo - View her works

    You are using many layering techniques. Can you explain the process of making a new piece? How long does it take?

    The matrix of the work is hard to see by the naked eye but while the selected wool fibers start their migration progress they entangle and actually pierce and consume auxiliary materials such as Japanese Washi, silk organza, cotton gauze, skeletal leaves, lace and so on, into the surface of the fabric and become an integral part of the finished fabric we call as FELT. Under optimal conditions (increase in humidity, higher temperatures, change in pH, application of agitation, etc.) and using a selection of different sheep breeds a variety of fabrics result from dense, coarse carpet weight to silky merino blends for sensual neck wraps.

    In order to achieve fine fabrics I use many thin layers of carded wool but for the loftier carpets I use coarser wool in thicker layers. Once the design and materials are selected and the shrink factor determined I work as swiftly as possible to complete a piece within a few days as not to cause the wet wool and auxiliary materials to begin to break down.  I have to commit to a “work swipe” as I call it, not to damage the wool, silk or other materials by keeping them wet for too long.

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  • Interview with Tanoue Shinya - Japanese ceramic artist, Keiko Gallery

    Interview with Tanoue Shinya - Japanese ceramic artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → The interviews will be published in the first printed issue of Ceramics Now Magazine. Pre-order Issue nr. 1 - Winter 2011-2012 or subscribe for one year.

    Ceramics Now Magazine : What was the starting point in your investigation with ceramics? Do you remember your early works?

    Tanoue Shinya: When I was a student of Theology at the Doshisha University, I also belonged to the ceramic club. I was just absorbed to make something with clay in the club’s room. I worked for some textile company for two years after the graduation, and I entered Kyoto Saga Art College because I wanted to learn more throwing techniques. I remember the pieces I made in the college very well. The pieces I’ve made in my freshman year are the origins of my current series.

    Tanoue Shinya Japanese Ceramics - Contemporary Ceramics Magazine

    KARA-10: Fu- a, 2010, Glazed clay, 7” x 26” x 4 1/2” (h) - View his works

    Your works may be simple, but the details, the lines and curves of your works are very sinuous. Tell us about how do you construct your pieces.

    After creating the vessel or sculpture’s shape with coil techniques, the slip is applied on the surface. And then I groove the surface with needles one by one and at the end I rub iron into those grooves.

    The important theme of my pieces is the shell - egg shells, shells of fruits or seashells, because they are deeply related to the normal circles of life. The cobalt blue in the pieces represent the ocean, which is the origin of life on Earth.  The wombs are consideres to be the shell of human beings, so if I could express in my pieces the memories of leaving the wombs (leaving forever the protective and comfortable feeling), it would be wonderful.

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  • Interview with Murata Yoshihiko - Japanese lacquer artist, Keiko Gallery

    Interview with Murata Yoshihiko - Japanese lacquer artist represented by Keiko Gallery, October 2011

    The special feature in partnership with Keiko Gallery includes interviews with 10 Japanese artists represented by Keiko, and many images with their works.

    → The interviews will be published in the first printed issue of Ceramics Now Magazine. Pre-order Issue nr. 1 - Winter 2011-2012 or subscribe for one year.

    Ceramics Now Magazine : You are a very young and talented artist. What was your first experience with art and with lacquer?

    Murata Yoshihiko: I wasn’t exposed to the arts that much and didn’t know about Japanese lacquer work very well until I entered the art collage. I was interested in design and woodwork working and wanted to make the furniture for our daily life when I was a teenager. When I was a sophomore student, I choose the Urushi department for my major, but it was something uncomfortable for me. At first, I made many chaotic pieces, however those pieces are supposed to be an origin of my work today.

    Murata Yoshihiko Japanese Lacquer art on Ceramics Now Magazine

    Silhouette-02, 2010, Maple wood, lacquer, 8” x 2 3/4” x 1 1/2” - View his works

    Your works have an extraordinary sense of space and light, their shadows contrasting with the colors and the surroundings. How do you make these fantastic lines of dark? It has to do with the slim silhouettes of your works.

    I simulate the three dimensional shapes in my mind, for example, how lines will be flowing or how they are placed on the pedestals or attached on the walls. I believe that only lines which look beautiful from any angles can make the lithe and sharp silhouette.

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