Elizabeth Shriver: Spherical Swirl Lantern, 2010, Ceramic, 12 x 12 x 12 in.
“My work mainly consists of salt-fired Porcelain and Stoneware. The salt-firing process is unique in that salt is introduced into the kiln when it reaches the proper temperature (2345 degrees F for my work). Inside the kiln, the salt vaporizes and settles onto the pieces, forming its own glaze over the clay body. I also use various slips and glazes to further decorate the pots.
In my functional work, my goal is to make the pieces “special”. I hope that everyday users will appreciate being “in the moment” as they sip from their hand-made cup or enjoy soup from their favorite bowl.
My sculptural pieces all have specific meaning for me, but sometimes are just fun! I don’t wish to impose my views of the work upon others, but would rather viewers lend their own interpretation to the pieces within their own contexts and ideas. Most importantly, I hope the sculptures will inspire viewers to pause and consider how the piece relates to their lives.” Deborah Britt
Deborah Britt: Blue Pitcher Set, 8” x 13”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011
Deborah Britt: Basket, 12” x 6”, Wheel-Thrown with Hand-Built and Wire Handle, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011
Deborah Britt: Whisky Flask I, 5.5” x 6” x 4”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip Decoration, Cone Ten, 2011
Deborah Britt: Whisky Flask, 6” x 5.75”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011
Marie T. Hermann: Shades of days #B, 2011. Ceramic and thread. 18 x 12 x 7 in.
Marie T. Hermann: You are my weather #A, 2011. Stoneware. 18, x 7,3 x 7 in.
Barbara Fehrs: Vessel with Arched Handle
Barbara Fehrs: Four Tumblers
“I am inspired by the urban landscapes around me, the architecture of the North and by the austere aesthetic of Flemish still-life. I like plain clay, monochrome compositions. I shape my pieces and accumulate them according to an imaginary plan, to create installations in search of the perfect balance.
I have a feeling for everyday objects, for the physical relationship we have with them (the closeness we have to them) for the way they wear out.
My work on pans enable me to confront the apparent solidity of the piece which hits the collective subconscious, with the fragility of clay.” Virginie Besengez
Virginie Besengez draws her inspiration from nature. She is interested in the movement, repetition in the landscapes that are constantly changing with the wind and the light. ‘Like a photographer I would like to capture a moment in time by creating forms and curves similar to those found in nature. The texture of the surfaces of my vessels achieved by polishing, grinding and also raku firing is very important to me.’