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: Jaunty Pouring Vessel II, 9” x 7”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Glaze Decoration, Cone Ten, 2011
Deborah Britt: Jaunty Pouring Vessel, 9” x 9”, Wheel-Thrown and Altered, Salt-Fired Porcelain with Slip and Glaze Decoration, Cone Ten, 2011
“My art forms are created from red earthenware using hand built processes of stretching, altering and joining slabs of clay. While the clay is still workable, shapes, coils and other features are incorporated. My vessels use a three-sided form as a consistent point of departure and I challenge myself by creating each piece uniquely, developing patterns or referencing nature or an historical style. Faux forms such as pitchers give the viewer an added delight where distinct surface treatments distinguish two views. The contrast of clay and glaze is important to my expression as it draws attention to shapes, patterns and rich textures. I enjoy creating works that can be appreciated visually as well used functionally.” Barbara Fehrs
Barbara Fehrs: Vessel with Arched Handle
Barbara Fehrs: Ewer with Tray
Barbara Fehrs: Vessel with Leaves
Barbara Fehrs: Faux Greek Vessel (back view)
Barbara Fehrs: White Faux Pitcher
Barbara Fehrs: Vessel with Circles
Barbara Fehrs: Vessel with Intersecting Circles
“The flowers of the woodlands and gardens of my upstate New York home are the subjects of my work. The intricate beauty in nature compels me to employ a complex process to translate this to the surface of my pots. I choose to use porcelain because it is the most pure of clays and when left unglazed and polished , an enticingly smooth rich surface is revealed. I began carving my porcelain forms during graduate studies at Skidmore College with Leslie Ferst and Regis Brodie. I continued my exploration of floral forms and structures by pursuing postgraduate study in botanical illustration at The New York Botanical Gardens. I create the bas-relief botanical images by carving into the leather hard wheel thrown porcelain pot. It is a process that can take more than one hundred hours. Each piece is hand polished after the first firing, the bisque, and again after the final high temperature firing to achieve the smooth marble like sheen.
My pots are my response to the natural world and my wish for its preservation. I strive to record the resiliency of nature in the bas-relief botanical images. I attempt also to capture the delicacy and fragility of the blossoms that will ironically be outlived by my pots
As objects of contemplation, it is my hope that my pots will celebrate the beauty and strength of nature and encourage its preservation.” JoAnn Axford
In addition to teaching at both the college and community arts levels, JoAnn has exhibited extensively in juried exhibits throughout the United States, including The Strictly Functional Pottery National, Crafts National, and San Angelo National Ceramic Competition. She was recognized as an Emerging Artist by Ceramics Monthly magazine in 2006. Her work has been published In Clay Times Magazine, Surface Design for Ceramics by Maureen Mills, Lark Books, and 500 Raku by Lark Books.