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

stoneware

Bente Skjøttgaard: Clouds, Pink yellow cumulonimbus no 1035, 2010, Stoneware and glaze, hand built, 43 x 27 x 26 cm. Photo: Ole Akhøj

  • Bente Skjøttgaard: Pink Clouds field no 1036, 2010, Stoneware and glaze, hand built, 30 clouds, total 42 x 165 x 75 cm. Photo: Ole Akhøj

  • Bente Skjøttgaard: Clouds no 1037-2, 2010, Stoneware and glaze, hand built, 45 x 42 x 28 cm. Photo: Ole Akhøj

  • Bente Skjøttgaard: Clouds field no 1037, detail, 2010, Stoneware and glaze, hand built. Photo: Ole Akhøj

  • Kimberly Cook: Superstition of Security, 33.5” x 23” x 16”, stoneware, glaze, mason stain, gold luster, 2011

  • Kimberly Cook: Superstition of Security, detail

  • Jean-François Fouilhoux / Galerie Capazza, Nançay, France

    Jean-François Fouilhoux, stoneware sculpture exhibition Galerie Capazza, Nançay, France

    Jean-François Fouilhoux, stoneware sculpture / Galerie Capazza, Nançay, France
    17th March - 17th June 2012

    Opening reception: Saturday, March 17th, 5.00pm

    I love clay.
    I’m always moved to see the mark made by my fingers in soil.
    Clay remembers their lightest touch and retains the slightest motion transmitted to it.
    The mildest inflection – or even hesitation – leaves its trace.
    It is a recorder of emotions. Hasn’t a scientist said that given the right tools, one could hear the sounds generated in the studio when a pot is being thrown because they are etched into its surface, like the first recordings of voices on wax cylinders? This highly singular property of clay is all the richer because the firing sets these marks and preserves their traces.
    Like the wall of a cave and pigment, or paper and pencil, clay engages with the hands and the body.
    I write in the soil.
    My pencil? A flexible blade that I bend at will. My medium? A wall of clay.
    I sketch in space by drawing the blade through the wall and slicing into its thickness.
    The line is a continuous one, just as with writing, and the volume takes form blindly, as imagined by the gesture.
    The form is then composed of two interlocking elements, separated by a small gap.
    We could say that each is a mould or an impression of the other, with a space that Marcel Duchamp defined as being ‘infra-thin’. They are born of the same gesture: the trace left by the motion of the flexible blade is all that ultimately interests me.
    I then sacrifice one of the two parts, which I destroy to allow the impression of the gesture to appear.
    Traces of energy, of tension… Like a calligrapher, I have meditated on the gesture before executing it. It is a sort of dance or ritual in which the movement is expansive, dynamic, continuous and without regrets.The goal is freeing up the sensitive impression, after a privileged moment, by emptying its material content and reducing it to a skin,
    then bringing it to life as if suspended in the void… and simply capturing the energy of the gesture expressed in space…
    This is yet another story of fullness and emptiness, which is recurrent in ceramics. It is also the story of celadon – translucent – another symbol for completeness and void: both matter and light.

    Jean-François Fouilhoux

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  • Debra Fleury: Tidal 2011. Dark Stoneware, Porcelain and glass. Fired to cone 6 (neutral atmosphere), (wall installation). Dimensions variable, average size per individual piece is approximately 10 cm x 10 cm x  8 cm

  • Debra Fleury: Tidal (detail), 2011. Dark Stoneware, Porcelain, and glass.

  • Debra Fleury: Flow, 2011. Red stoneware, porcelain and glaze. Fired to cone 10 (reduction atmosphere). Dimensions 28 cm x 28 cm x 7 cm

  • Debra Fleury: Husk, 2010. White Stoneware and underglaze. Fired to Cone 1 (neutral atmosphere). Dimensions 13 cm x 10 cm x 10 cm

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