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

installation art


Tristan Stamm: Collections, 2014, Work in progress

Originally a collection of 26 seedlings/penises, with the tallest being 29 inches and the smallest at 3 inches.

I had a hard time finding a way to show this collection of seedlings/penises, and eventually found their space when surrounded by my other work.

I am now working on finding their place in other environments while exploring the idea of collecting and obsessions.


  • Seth Czaplewski: Onsite Sculpture, 2013-2014

    While researching North St. Louis I have uncovered a history of production and self-sufficiency pushed to the periphery, which today is so prevalent in American society that we barely notice. In the early 1800’s the area just North of downtown St. Louis was a communal farmland for residents. There was also a 15-acre plot along the Mississippi river open to residents to use as they wanted.  Both ideas were very progressive for their time and still are, although neither is still in place today. European immigrants once flocked to this area due to failed farming in their homeland. In the case of Henry Overstolz, originally from Germany, once in America his fortune changed when he opened grocery stores. Since then the rapid development of infrastructure has led to a society of convenience. And once again, like in Overstolz’ time of the mid 1800’s, people have fled, as the site cannot meet the needs of the people. My works are inspired by and situated on sites like these.

    With the agricultural and technological revolutions of the mid-twentieth century, skills were traded for convenience in the United States with the implementation of the assembly line, mechanization, and mass production. Skilled craftspeople traded their skills in to work in a factory. The factory did provide some benefits, but within a generation, previous skills were lost. As a result, people no longer know how to construct goods, arrange living space, or grow food needed to sustain life. In my work, I attempt to understand and teach myself all three skills on a small scale in relation to the sites former production. The chain of passed-down knowledge has been broken and a relearning of these skills is essential to understand where we stand today.

    How people live in relation to agriculture throughout recent history is influential to my work. As society is becoming increasingly disconnected from food production we are losing the most basic and necessary skills. These works re-incorporate food production in direct proximity to dwelling, as it is a necessary step backwards to move forwards. Today the average distance it takes food to get to our homes in the U.S. is 1500 to 2500 miles. Although convenient, “progress  is sometimes deceiving and makes us more vulnerable than we once were.  Likewise my structures are precarious, permanently placed outdoors, and vulnerable to the whim of the passerby.

    I rapidly construct these minature dwellings in relation to food production on a scale reminiscent of the anthropological diorama. They are made out of necessity and use past fragments of mass production related to site as material in creating non-linear historically based sculptural markers. I draw upon past people, industry, patterns, and site uses in the creation of new fragments that anticipate, dedicate, and monumentalize the site. Once constructed, the physical objects are situated outdoors entering the strata. They are then documented digitally as the primary ‘art object’.

    Infrastructural changes since the electrification and gassing up of the United States have been influential to my work. In the making of industry, we often lose culture and community, and there has been a considerable amount of unmaking. This unmaking is not isolated to North St. Louis where I currently work. As my needs change and I move to new locations, my work will respond to local histories.

  • Edmund de Waal: Atmosphere / Turner Contemporary, Margate, Kent

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    Edmund de Waal: Atmosphere / Turner Contemporary, Margate, Kent
    March 29, 2014 - February 8, 2015

    Edmund de Waal: Atmosphere presents a new installation by the renowned ceramic artist and author.
    De Waal, who grew up in Canterbury and is best known for his large installations of porcelain vessels and the international bestselling book Hare with the Amber Eyes, showcases a major new commission for Turner Contemporary’s Sunley Gallery. This is the third commission produced for the Sunley Gallery following those by Maria Nepomuceno in 2012 and Daniel Buren in 2011.

    For this ambitious project the artist has created an installation in response to the space, light and architecture of the Sunley Gallery with its double height windows and spectacular views over the North Sea. Atmosphere (2014) comprises of a series of 9 large, suspended vitrines that are in conversation with the mutable light from the sea.

    Suspended at different heights, the lines of the 20-40 vessels within each of the vitrines offer the viewer an array of horizons as they move through the space both on the gallery’s ground floor and from the overlooking balcony. In Atmosphere De Waal brings the changing weather into Turner Contemporary and echoes the ways in which artists as diverse as Gerhard Richter, Hiroshi Sugimoto and JMW Turner have thought about clouds and horizons.

    This commission will be accompanied by two other works by the artist. Juxtaposed alongside Atmosphere is Bauspiel, a group of vessels residing on a floor based plinth in a configuration which reflects those in the nearby suspended vitrines. Turner Contemporary’s ground floor corridor is transformed by a new wall-based text installation, which sees De Waal convert the corridor walls into a life-size notebook, drawing on an array of sources from Turner’s letters to the poems of Baudelaire.

    Edmund de Waal states: “When thinking about the changing landscape of clouds, I remember Constable’s beautiful letter about lying on his back and doing ‘a great deal of skying’. There is no more extraordinary place to look at the sky than the Sunley Gallery at Turner Contemporary. Atmosphere is my attempt to make a response to this threshold between a building and the air outside. Suspended in the space are nine vitrines holding 200 small celadon and grey porcelain vessels. I hope they will provoke some skying of their own.”

    The exhibition coincides with a new monograph, Edmund de Waal published by Phaidon Press and featuring contributions from AS Byatt, Peter Carey, and Colm Toíbín amongst others. Edmund de Waal, which will be released on 5 May 2014, will be the first and only complete survey of the artist’s career to date, weaving together both his literary and ceramic practices.

    Edmund de Waal was born in 1964. He studied English at Cambridge University and ceramics in both England and Japan. De Waal is best known for his large scale installations and much of his recent work comes out of a dialogue between minimalism, architecture and music, and is informed by his passion for literature.

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  • Interview with Liliana Folta

    Interview with Liliana Folta / Spotlight
    By Ileana Surducan
    Published in Ceramics Now Magazine Issue 2

    What sparked your interest for ceramics?

    I was in college taking painting classes and I wanted to learn sculpture. One day I stopped by the sculpture lab to ask the instructor if I could audit the class. She agreed and handed me a piece of clay. I was amazed at the work of the students. A retired engineer was making intriguing ceramic sculptures. The forms were powerful and provocative. At that moment I thought of how versatile and expressive clay could be to express both powerful and delicate ideas. It was, for me, the medium of infinite possibilities.
    Immediately my brain had an explosion of ideas. I fell in love. I realized I could create 3D from some ideas of my paintings. In fact, I ended up sculpting so many pieces during the class that The Art Department awarded me a grant to do a whole semester and also the first solo show ever done by a student in the college.

    Liliana Folta Ceramics - An Abstract Poem of Freedom

    Liliana Folta: An Abstract Poem of Freedom (detail), 2009, on going traveling/interaction/installation.
    > View more works by Liliana Folta

    Besides ceramic art, you have also created paintings and murals in order to express your inner universe. How does working in three dimensions change your creative process? Do the processes differ a lot between these mediums?

    When I work in 3D, the process of creativity is more fluent, very spontaneous and I can communicate with feelings that I didn’t know I possessed until I felt them in my hands. I can transform them into something visual for others to see. It is a natural process, born of my subconscious. Back in my childhood, I recall helping my father in the garden and end up making objects with mud.

    In my paintings, it’s me: my surroundings, my past and present, something very personal and intimate expressed through a different tactile experience.
    As with murals, most of them have been collaborative works I’ve done with students at schools. The first one I made came out of the blue. A friend asked me for ideas on what to do with a wall where the tiles had been removed. I had the idea to teach the students about mural making and the importance of recycling material to make art. That’s how the first mural was born.

    You express yourself freely using clay. What are the main materials and ceramic techniques that you use?

    I like to experiment, so I have been using different kind of clay, such as stoneware, low and mid-fire with glazes and oxides. When I do mixed media, especially installations, I like to integrate other materials like metal, found objects and fresh water pearls. I use handmade techniques from slab, clay relief, and impressed texture to carving.


    Your past experience and your personal history seem to be an important source of inspiration for you. Tell us more about the symbolism of your work.

    Maybe that’s why I work in different mediums; I am much better expressing my self visually. Sometimes an image will stay with me and I am compelled to paint or sculpt it. Much later, I will realize that these images have a much deeper significance to me, one that transcends the visual. These images become symbols of social-political issues that are at the core of my world views and concerns. For example in the ceramic chains installation, the chains remain unconnected and loose, which symbolizes the right of freedom of the individual; regardless of religion, race, country, and gender. Freedom of expression is something that we, as humans should never have to give up.

    Many of your works have an intrinsic femininity. How does being a female artist influence the themes and the ideas you choose to represent?

    My themes and ideas begin with personal experiences, past, present, as well as everything that surrounds me: people, places and objects. Sometimes stories interact with different characters in different circumstances. I also like to create surreal landscapes for them.

    The white flowers I used in the “Warrior’s Series”, are images from my bank of memories of my father’s garden; he used to mix the flowers in the vegetable garden, which was my play yard during my childhood. “After Chaos”, a woman sleeps peacefully. She is able to find tranquility because she is surrounded by “white warrior flowers” - deceptively frail, and yet possessing all of the strength of memories, nature and the power of womanhood. These flowers guard her as she rests before facing whatever trials the day may bring to her.

    You come from Argentina, and you define yourself as a Latin American artist. How does your cultural heritage reflects in your creative experience?

    My Latin American roots inform my work. I was born in Argentina, my parents were immigrants of the World War II, and so my back ground tradition at home had a strong European flavor. Even so, I grew up proud for the country that welcomed my parents and the country they taught me to love. Moreover, I am also married to a Puerto Rican man, my son was born on the island too and we spent many years there. This is yet another passage in my life, where the colors and details are reflected more in my paintings than in my ceramics. So you see, my cultural heritage is a potpourri of different tradition and experiences, and everything is reflected in my art.

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  • 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.

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  • David Gallagher

    David Gallagher Contemporary ceramic installations

    David Gallagher's profile on Ceramics Now Magazine - View his works

    David Gallagher is a ceramic artist from Philadelphia who completed his undergraduate work at the Tyler School of Art-Temple University. He is currently pursuing his Masters of Fine Arts at Kansas State University in Manhattan, Kansas.

    Research Statement
    In our current epoch of ever more rapid invention it becomes paramount to analyze our relationships to the technology we produce. Systems are created on the foundations of existing technology and are tied to the accepted modes of history and the present.  These technologies mediate our experiences with the physical world. We no longer have hundreds of years to determine appropriate uses for the technology we create. In many cases this time frame can be compressed to months or even weeks, with the only criteria for its evaluation being its novelty. These tools we create enter our perception with singularity of purpose, and yet cause repercussions though out our whole cultural existence.

    The primary focus of my artistic practice is the systems we create to manage our society. I am constantly investigating our understanding of the physical and psychological environments we construct. Humanity is driven to invent; to create tools that aid in the managing of society’s existence. Our instinctual proclivity to transcend what exists, to constantly refine and redefine our own existence is the central idea that drives my research. My work is a simulation and examination of systems that function within the constructs of social environments. These systems provide a framework for the investigation of the possibilities of context, specific iterations of conventional relationships.

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  • David Gallagher: Neo Directional Night Light, 2011, Translucent Cast Porcelain, Digital Processor, LEDs, Acrylic Rod, Wood


  • David Gallagher: Twitter, 2011, Porcelain, Wood, Digital Processor, Motion Sensor, Servo Motors


  • Mimicry Chairs by Nendo

    Japanese design studio Nendo has conceived a collection of ‘Mimicry Chairs’ composed of pressed and punched metal and lacquered white to give it a ghost-like aesthetic. The project’s philosophy is generated through reinterpreting and multiplying a single white chair in ten different ways, where the series will then appear in ten varying locations throughout the V&A Victoria & Albert Museum. During 2012 London Design Festival - the experience beginning in the main entrance of the museum. The journey then carries on throughout the space - positioning the chairs in galleries, staircases and corridors. each design has been carefully created to reflect and ‘mimic’ the location in which it is placed - poetically communicating the relationship an object shares with its environment. (via designboom)

    Photos by Daici Ano.

    More connections »

    (Source: arpeggia)

  • Bharti Kher / Parasol unit foundation for contemporary art, London

    Bharti Kher exhibition Parasol unit foundation for contemporary art, London

    Bharti Kher / Parasol unit foundation for contemporary art, London
    September 14 – November 11, 2012

    Preview: 13 September 2012, 6.30 – 9 pm.

    Parasol unit foundation for contemporary art is delighted to present works by Bharti Kher in her first solo exhibition held in a public art institution in London. The exhibition is composed of a selection of works from the recent past, with an emphasis on the artist’s sculptural works.

    Known for her extensive use of everyday, found objects and imaginatively transforming their identity, Kher empowers her often otherworldly creations to present themselves unabashedly as if they were a natural part of our culture and environment. Kher’s work often explores the notion of the self as a multiple, open to interpretation and shape-shifting. Her art practice is intimately intertwined with her life, not only because she borrows motifs and artifacts for her work, but also because she has an inquisitive mind and a strong desire to understand sociological issues. Such characteristics endow Kher’s work with a narrative quality and fascinating interiority of things that frequently contradict her practice of addressing more global and collective concerns. This tension is precisely what leads us more deeply into Kher’s work and world and prompts us to reposition our own relationship to her individual pieces.

    Kher is perhaps best known for her elaborate and stunning bindi dot paintings: abstract, swirling constellations of colourful bindis glued to flat surfaces that create unique imagery somewhere between being illusory and hyper-realistic. But in recent years her artistic creations have become increasingly bold and unrestrained, several examples of which are on show in the exhibition. The phenomenal, life-size elephant that is The skin speaks a language not its own, 2006, made of fibreglass and covered with serpent - or sperm-shaped white bindis, bears a symbolism that leaves viewers uncertain about the animal’s condition. The title of the work, always an important component of Kher’s works, suggests that physical appearance and inner values are often in conflict.

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  • Rosemarie Trockel: A Cosmos / NEW MUSEUM, New York

    Rosemarie Trockel: A Cosmos exhibition NEW MUSEUM, New York

    Rosemarie Trockel: A Cosmos / NEW MUSEUM, New York
    October 24, 2012 - January 13, 2013

    Co-curated by Rosemarie Trockel and Lynne Cooke for the Museo Centro de Arte Reina Sofía, “Rosemarie Trockel: A Cosmos”—encompassing all three main gallery floors of the New Museum building on the Bowery—will present a world shaped by Trockel’s ideas, interests, and affinities. Instead of a traditional retrospective, this exhibition takes the form of an artistic self-portrait in which Trockel’s work shares space with objects that have influenced her thinking and her practice. Spanning different eras and cultures, “A Cosmos” brings together objects from disparate fields to compose a cartography of Trockel’s influences.

    Since the early 1970s, Rosemarie Trockel has produced an impressive body of work that includes drawing, collage, installation, “knit paintings,” ceramics, videos, furniture, clothing, and books. She brings together a range of associations and references from art history, philosophy, theology, and the natural sciences. For “A Cosmos,” the dense field of Trockel’s influences will be articulated in installations that illuminate the intellectual and formal connections between her practice and that of a range of historical figures including self-taught artists James Castle and Morton Bartlett, and the botanist/mathematician José Celestino Mutis. Objects whose impetus was primarily aesthetic will be juxtaposed with pieces that more conventionally belong to the realm of science. Trockel’s roughhewn glazed ceramics from the past several years will be displayed in conjunction with Leopold and Rudolph Blaschka’s delicate glass models of sea creatures created in the nineteenth century. A selection of new drawings by Trockel can be examined along with watercolors by the seventeenth-century artist Maria Sybilla Merian, whose impeccably precise yet beautiful renderings of flora and fauna proved invaluable to scientific study.

    Trockel’s well-known disregard for the conventional hierarchies in the visual arts, together with her longstanding appreciation of media and materials once categorized as crafts or vernacular art forms, is demonstrated throughout the exhibition. She has adopted a fluid and radical approach to gender, combining activities typically considered feminine in terms of production with aggressive mechanical and industrial forms. This facet of her practice is emphasized through the inclusion of Judith Scott’s obsessively wrapped yarn sculptures alongside Ruth Francken’s plastic and metal assemblages from the 1970s. In addition, Trockel’s celebrated “knit paintings” will be integrated into the exhibition, along with new works made of glass.

    Rosemarie Trockel was born in 1952 in Schwerte, Germany. She studied at the Kölner Werkschulen in Cologne, Germany. Since 1998, she has been a professor at the Staatliche Kunstakademie Düsseldorf. She lives and works in Cologne.

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  • Patricia Sannit: Citadel - close up, 2011, found and reclaimed clays, slip and stain

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