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

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Interview with Debra Fleury - New artist, May 2012

NEW ARTISTS, May 2012: Debra Fleury

/ Read the full interview in Ceramics Now - Issue Two

Ceramics Now Magazine: Growing up near the ocean around natural diversity and continuous change, you have developed a very finite line of work. Do you visualize your work from the very beginning?

Debra Fleury: I spend a lot of time sketching and planning. My sketches can be very specific and architectural, or very loose and gestural. But ultimately, I am an intuitive thinker. I rely on feeling and instinct in my artwork. When I sit down with clay the careful preparation is put aside in favor of the moment. Once I have the clay in my hands, I am often swept away by the possibilities I encounter as the clay begins to express its properties.

Do you remember the first ceramic piece that you created? How did it look like and how do you feel about your evolution as a ceramic artist?

I remember the first piece I created that had an impact on me. It was a little pinch pot, a half sphere and nicely formed. It was so perfect, likely the best I had made to date. I wondered what would happen if I dropped it while it was still malleable. I decided to indulge this impulse and I let my little pinch pot fall. The perfectly round rim became this very interesting, offset elliptical shape in response to the force of the impact. After it was fired it retained the mark of that force. It looked plastic, but it was solid.
 
This experience helped me recognize the approach that I wanted to take with this medium — to enjoy the process and avoid feeling that the work is precious. The visual aspect of the work is compelling to me, but the process is the lure.

Debra Fleury Ceramics - Interview for Ceramics Now Magazine

Tidal, 2011, Dark Stoneware, Porcelain and glass. Fired to cone 6, wall installation. Dimensions variable, average size per individual piece is approximately 10x10x8 cm - View her works

When constructing a new piece, you are using different materials such as clay, glass and glaze. What challenges you the most by combining these materials?

I love the unknown. I love being surprised by the materials and I love experimenting. Combining clay bodies with different shrink rates, adding glass, or using glaze in an unconventional way are a few of the methods I use when courting disaster or looking for insight. I push the materials toward something that I think will be interesting, but I never really know what will happen. Opening the kiln after a firing can be like meeting the work for the first time.
 

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  • Interview with Jenni Ward - Spotlight, April 2012

    SPOTLIGHT, April 2012: Jenni Ward

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are presenting yourself as a sculptor even though you have a BFA in Ceramics. What are you currently working on?

    Jenni Ward: Although I’ve been educated in all aspects of ceramics; pottery, functional hand-building or sculpture, I’ve chosen to focus on abstract sculptural ceramics. I feel that if I say I’m a ceramicist, people either don’t know what I’m talking about or they assume I throw pots, so I feel that introducing myself as a sculptor who works with clay is a more precise description of the work I create. Right now I’m working with organic forms that have holes cut into them and those forms have other ceramics pieces that are trapped inside. This process of trapping forms has manifested itself into multiple series of work. I’m conceptually playing with the balance between trapping and protecting an object and simultaneously exploring abstract ways to express that in clay.

    Jenni Ward Contemporary Ceramics, featured on Ceramics Now Magazine
    Nest Series IV, 2010, ceramic & high temperature, wire, 12” x 10” 8” - View her works

    What triggered the passion for ceramics in you?

    I have always worked with clay, my parents still have the first coil pot I made as a kid and I just never stopped working with clay. I was lucky enough to of had an in depth ceramics program in my high school. That exposure gave me the experience to explore clay and know that it was going to be my focus at the university level. I also really love the process of working with clay; each stage that you go through from a soft malleable material to a fired finished piece offers the chance that everything can go wrong at any step in the process. Having the ability to balance control over the clay and letting what happens happen is always a battle for me that I’m very attracted to. I’m constantly learning new techniques or possibilities with clay whether it’s through taking a workshop or seeing another artist at work. Clay is a very basic, primitive material that can be used in such varied and technological ways; it’s a constant learning process.

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  • David D. Gilbaugh

    David D. Gilbaugh Contemporary Ceramics

    David D. Gilbaugh's profile on Ceramics Now Magazine - View his works

    “Through creating and teaching others how to make “Treepots” and “Tectonic Sculptures,” I have dedicated my artistic efforts in ceramics to exploring life and the irony of renewal through death. Trees are the primary subject of my work and human emergence is its’ theme. Through this creative work I engage the interrelationship between humanity and nature. 

    I focus on trees because I have a natural love of them from my youth. As a child I spent my summers with my brother roaming the woods of northern Illinois, and as an adolescent I spent them backpacking the forests of the Rocky Mountains of Colorado. Observing the tree excites my creative expression because it demonstrates the promise of renewal in the events of birth, the processes of aging, and the inevitability and promise of new life through death and decay. In this way life continuously takes on evolved and more beautiful forms through both creation and evolution. Both are proven simultaneously in the cycle of life. Evidence of this is shown most brilliantly to me in the life cycle of trees and I speak of it most effectively through my art in the medium of clay.” David Gilbaugh

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  • Brian Kakas: Tectonic Perceptions #7, 2010. White stoneware, slab built,  33”H x 26”W x 28”L, Cone 9 Reduction

  • Tanoue Shinya: Shell 11: 10-9, 2010, Glazed clay, 12 1/2” x 13” x 12” (h)
    / Keiko Gallery - Japanese artists

  • Tanoue Shinya: KARA-10 : Fu-1, 2010, Glazed clay, 7” x 7” x 12 1/2”
    / Keiko Gallery - Japanese artists

  • Tanoue Shinya: KARA 11: Fu-b, 2011, Glazed clay, 9” x 9 1/2” x 19” (h)
    / Keiko Gallery - Japanese artists

  • Murata Yoshihiko: Silhouette 05, 2010, Maple wood, lacquer, 7 1/4” x 2 1/2” x 1/2”
    / Keiko Gallery - Japanese artists

  • Jasmin Rowlandson

    Jasmin Rowlandson's profile on Ceramics Now Magazine - View her works

    “The core inspiration of this body of work is a celebration and dedication to the immense beauty and fragility of the natural world.

    My sculptures are explored from a feminine viewpoint and inspired by my relationship and fascination with nature, the land, water, and the environment.

    Current inspirations stem from places that captivate and hold an emotional and visual pull, from certain areas of coast, reef, field, and wood.  To the uninhibited growth of corals, lichens, mosses and fungi. The eroticism of unfurling flowers. The awakening of seeds confident of their purpose. The wild places under log piles housing micro worlds.

    I’m exploring the rare, the everyday, the endangered, the ordinary and the spectacular.

    My work is made from porcelain paperclay and terracotta paperclay. One of the many qualities of clay that I embrace is its capacity to hold movement and energy. By Working with a paper clay of my own mix these qualities continue to resonate once the work becomes ceramic thus enabling me to create my desired delicate, organic, fronded forms. I employ different methodologies of making depending on the requirements of the individual piece. Most of my work is hand built but I also work with paper-thin sheets of clay and some press moulding techniques.” Jasmin Rowlandson

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