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

fashion


Leslie David - Painting Please!

Painting series on Please! Magazine, for the special birthday Issue that Leslie David art directed.

Photos by Nagi Sakai for Please! Magazine - Issue 11. (via)

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  • Suzanne Stumpf: Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10

    I am yet to meet a woman who does not smile knowingly or even laugh out loud when viewing “Spike.” “Für die Schönheit muß man leiden” — “For beauty, one must suffer.”

    The fashion industry only seduced me into wearing too-high heels for a short time in my life. It was a long time ago, yet I do have a strong physical memory of how my feet felt after walking an unplanned distance or standing longer than anticipated in them.

    “Spike” has innumerable permutations for viewing. When all of the black, orange, yellow, and white “pins” are removed, Spike is somewhat of a trompe l’oeil with the raised black dots disguising its holes. The pins at first glance seem to be playful pain indicators. Yet, because the pins are pointed on both ends, when we place them into Spike, can we feel also a wee bit of revenge?

  • 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.

    Read More

  • Jorie Johnson (Joi Rae): Jorie Johnson Spring Collection 2011 (beret, vest, skirt, neck wraps), wool, novelty yarn, silk fabric, linen lace fabric, silk cord. Photo by Toyoda Yuzo.
    / Keiko Gallery - Japanese artists

  • Jorie Johnson (Joi Rae): Olympia Series Jacket 2006, wool, leather. Photo by Kobayashi You.
    I love making asymmetrical collars and also working the edge of a piece to produce a soft “washi” paper effect rather than a hard cut edge. Here also, the bits of color were laid between the black wool base and the white top layer before the felting process began to help emphasize the collars and jacket edges. My influence came from the Central Asian nomadic herders coats but with a little Joi Rae Textiles twist. Stitched pocket flap and felt rope closure.
    / Keiko Gallery - Japanese artists

  • Takeda Asayo: Sculpturesque Purse, 2008, Cotton, leather, lacquer, 15” x 20” x 3”
    / Keiko Gallery - Japanese artists

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