DAN ANDERSON
Coca-Cola Teaset 2014, Stoneware, soda & decal fired
$4,000
ARTIST STATEMENT Since clay became a medium of expression over 10,000 years ago, it has allowed archeologists the ability to ascertain much about a given society/culture. As a young, undergraduate art student, my art advisors enrolled me in several studio classes before I took a clay class. Many observers of my clay work are unaware of my background in printmaking before I ever touched clay. One of my favorite techniques in my print classes was photo silkscreen. It did not take me long to combine silkscreened ceramic enamel decals on my ceramic surfaces once I "caught the clay bug." I have been utilizing decals - both "ho-made" screened decals in my studio and laser printed decals that I have printed for me - for over four decades. The decal images on my work give viewers important information and insight into my background and experiences. In addition they are a "road-map" as to how my brain ticks. I enjoy how the decal imagery contemporizes my ceramics. The words humor, nostalgia and satire do not escape me.
ARTIST BIO Dan Anderson was born in St. Paul, Minnesota on November 2, 1945. He grew up in a typical middle-class family that operated a family-run corner grocery store in Hudson, Wisconsin. Dan attended the nearby University of Wisconsin-River Falls where he received a Bachelor of Science degree in Art Education. At the time, he had every belief that he was going to be a high school art teacher. During his junior year, he traveled to Italy through the university studies abroad program.
This serendipitous experience, apprenticing for Renato Bassoli (a Renaissance artist who lived and operated a studio in Milan) turned Dan’s life topsy-turvy. When he returned to the United States, with a new mission, he finished his undergraduate degree (1968) and immediately applied to graduate school at the Cranbrook Academy of Art, in Bloomfield Hills, Michigan. Dan graduated with his MFA degree from Cranbrook in 1970. He received several job offers to teach college level ceramics and began his teaching career at Southern Illinois University Edwardsville (SIUE). Located 20 miles from St. Louis, Missouri, Dan chose SIUE because the campus was relatively new and he knew that if he worked hard, he could build the program from the ground up and leave his mark. Thirty-two years later, in 2002, he retired from university life. Over these three plus decades, Dan positioned SIUE as one of the top 10 graduate ceramic programs in the country (US News & World Report). A frequent workshop presenter, Anderson has lectured and demonstrated at over 150 venues over the past four decades. Major galleries represent Dan across the United States and his work is in numerous private and permanent collections. His “mounds’ anagama wood kiln is fired at his rural Edwardsville studio, Old Poag Road Clay & Glass, twice a year.
BEN BATES
Whiskey Bottle 11 x 5 x 5 Wood fired porcelain
$125
Jar Wood fired stoneware
$800
ARTIST STATEMENT
ARTIST BIO
I am interested in the functional format as a realm of exploration, but I strive for my pieces to transcend their utilitarian boundaries and function as sculptural elements. I use the ideals of the vessel to clarify design and explore form as it relates to space. I want to manipulate the plasticity of the material and accentuate its softness to heighten the viewer’s awareness of the forms interior volume. My hope is to make pieces that are able to communicate feelings and ideas without recalling specific objects. I intend for these compositions to be mysterious and open-ended enough to evoke multiple interpretations.
Ben Bates, a resident of Libertyville, IL, was born and raised in Southern California, earned his BFA at Kansas City Art Institute (1995) and his MFA at Southern Illinois University Edwardsville (2000). After graduate school Ben established himself as the head Resident Ceramic Artist at Crabtree Farm a living museum in Lake Bluff Illinois (1998 – 2003). He was also the Lead Consultant for the construction of the Sterling Hall Ceramics Center (1999 – 2001) and Art Department Chair at Woodlands Academy (2003 – 2005) both in Lake Forest, IL. His work has been featured in Feats of Clay, NCECA Clay National, Strictly Functional, 30 x 5 at AKAR Gallery, History in the Making, Lillstreet International, American Studio Ceramics, George Ohr Challenge, Platters and Pourers, Burnt, Yunomi Invitational, Linearity and as a solo Featured Artist at AKAR gallery. Ben was Personal Studio Assistant to Ken Ferguson (1993 – 1995) and to Ruth Duckworth (2004). He is currently a Ceramics Studio Artist, Ceramics Instructor and Ceramics Studio Technician at the College of Lake County in Grayslake, Illinois.
DAVID BOLTON
A Few Drops More Wood-fired porcelain Bottle: 8.25 x 5.5 x 2 Cup: 3.5 x 2.25 x 2.25
ARTIST STATEMENT I come from a working class family in rural, southern Indiana. My father is a retired factory worker, who produced “Faultless” casters. His father was a carpenter and a cabinetmaker. My mother works as a seamstress who learned sewing from her mother. So I have a respect for the trades and working with ones hands. I see my family as my first teachers with their strong work ethic, sense of craftsmanship, and their ingenuity with working with available materials. I had my first experience with ceramics in high school with my teacher, Don Crane, who encouraged me to study at the University of Evansville (UE). I strongly resonate with the metaphor of the ceramic vessel and the human body. My undergraduate teacher, Les Miley at UE, made me well aware of the references of the human body to pottery. His simple and eloquent use of the words “the foot,” “the lip”,” the shoulder,” and “the belly” taught me how to look at a pot. Jim Lawton, my teacher at The School of the Art Institute of Chicago, compared altering his pots with the process of darting clothes. Instead of altering a garment around the human body, the vessel is altered around a conceived volume.
$250 set
In my work I reference textile patterns and patterns from other sources and apply them to the “fabric” of the clay. Often these patterns are tessellations, patterns that repeat and go on and on, only to be met with a seam, a lip, a foot and then continue on in the next panel in a different direction. Many of these patterns are nostalgic to me, such as paisleys, plaids, checkerboard, hound’s-tooth, and other loud patterns found on American 70s clothing. The patterns are created digitally and then wood fired. The idea of new and old process fascinates me, but in the end it is the variation in color and soft flowing kiln atmosphere that blurs the tight edge designs that pleases me most. The firing gives the “fabric” a sense of time and wear like an old work shirt, albeit a fancy work shirt.
ARTIST BIO David Bolton is the Head of Ceramics at the College of Lake County. He received a BFA from the University of Evansville, and a MFA from the School of the Art Institute of Chicago. David has work published in Ceramics Monthly, Clay Times, and the book, 500 Teapots.
WILLIAM BROUILLARD
Single Place Setting $185 Stoneware, wheel thrown and altered, cone 10 reduction fired with A Shino type glaze/Chopstick rest & Chopsticks, porcelain and black walnut
ARTIST STATEMENT
ARTIST BIO
My current works are built on the foundations of my early work and are fuelled by the desire to follow both old and new paths. I work in earthenware in the majolica tradition of 16th century Italy but use the local industrial background of my Cleveland Studio as a source of images and subject matter. I also work in a more traditional manner with stoneware and porcelain to make dinnerware and domestic pottery.
I began my Art education studying with John Perri at the State University of Wisconsin, at Menomonie, Wisconsin. After serving in the armed forces I returned to Wisconsin to study with Don Reitz at The university of Wisconsin, Madison. I applied to Alfred University in 1973 and graduated in 1976. After leaving Alfred, I traveled to North Carolina and was a resident craftsman at the Penland School. After several years as a studio potter I taught ceramics at ETSU for a year and then returned to Penland School where I worked and taught till 1980.
The variety of work keeps things interesting in the studio and allows me an outlet for ideas that might otherwise go unfulfilled. For the last three years I have been working on dinnerware and the tables on which they are used. I am making dishes for the tables and making tables for the dishes. These new works are the most difficult and the most rewarding things that I have ever attempted.
I currently live and work in Cleveland Ohio. I have a studio in the old steel making district and have taught ceramics at The Cleveland Institute of Art for the last 31 years. In 2002 I was awarded a McKnight grant and travel to Minneapolis MN where I was a resident artist at the Northern Clay Center. At the end of my residency I returned to Cleveland and resumed teaching at CIA. I spend three days each week teaching at the Art Institute and the rest making pots and doing commission work in my Tremont studio.
RICHARD BURKETT
Industrial Rolled Taco Server Soda-fired white stoneware, wheel thrown, extruded & hand built parts 2015, approx. 4 x 14 x 8
$300
ARTIST STATEMENT
ARTIST BIO
My work hovers between pottery and sculpture. Some pieces move in a sculptural direction, yet still derive some of their form from vestiges of my more functional work. I find this a fascinating interplay, with one body of work informing the other and making both stronger for their interaction. I make porcelain and stoneware pieces that are part a long line of work that I have made, most of them soda or salt fired, other just glazed and fired, and an occasional wood-fired piece or two. Atmospheric firing is the way that I think when I’m making work after 40-plus years of soda and salt firing my work. I love the complex surfaces that result from creating forms that will react to the movement of sodium through the kiln.
Richard Burkett, Professor of Art at San Diego State University for the past 25 years, has traveled extensively in Ecuador many times over the last fifteen years with Joe Molinaro, researching and photographing Ecuadorian potters, with a focus on documenting indigenous pottery cultures in the Amazon basin. He recently designed and co-authored a book on Ecuadorian Kichwa pottery with Joe Molinaro, Mythical Figures & Mucawas: Ceramics from the Ecuadorian Amazon, available from lulu.com. One of the first ceramists to make extensive use of computers and the Internet, Burkett has lectured internationally on ceramics and the Internet at events in Stockholm, Sweden; Eskeshihir, Turkey; and Helsinki, Finland. He has traveled to Jingdezhen, China to study porcelain making in this city near the original source of porcelain clays. He is the author of HyperGlaze, educational glaze calculation software for artists, students and teachers, and the co-author of the sixth edition of Ceramics: A Potter’s Handbook, one of the most widely used ceramics textbooks, and curated an international group of forty porcelain artists and wrote essays for the Lark book Porcelain Masters: major works by leading artists.
LINDA CHRISTIANSON
Gratin Dish 12” x 12” x 4.5“
$115
ARTIST STATEMENT
ARTIST BIO
My work revolves around making pots that can do their duty yet stand alone as visual objects. I admire a pot’s ability to step forward during a meal, and then step aside during conversation, much like a stage set. Motivated to make things that I would like to use and look at myself, I begin each day in the studio by making 4 cups. The pots are eventually fired in a two chambered wood kiln.
Linda Christianson is an independent studio potter who lives and works in rural Minnesota. She studied at Hamline University (St Paul, Minnesota), and the Banff Centre School of Fine Arts (Banff, Alberta, Canada). She exhibits nationally and internationally, including one person exhibits in London and St. Louis. Her pieces are in numerous public and private collections, including the American Museum of Ceramic Art and the Glenboe Museum. An itinerate educator, Linda has taught at colleges and universities, including Carleton College and the Hartford Art School. She received fellowships from the National Endowment for the Arts and the McKnight Foundation. Her recent writing appeared in Studio Potter and The Log Book. One of her goals is to make a better cup each day.
SAM CHUNG
Cloud Bowl Slip Cast Porcelain, Glaze, China paint 4 x 16 x 7
$450
ARTIST STATEMENT
ARTIST BIO
I work within the context of traditional pottery and the language of form, function and design. The ceramic vessel has its own identity throughout most cultures, and I am interested in its universal familiarity to provide an accessible entry point into my work. Aside from utilitarian function, my work explores relationships between aspects of art, identity, traditional craft, contemporary design and architecture.
Sam Chung received his MFA from Arizona State University and his BA from St. Olaf College. He taught at Northern Michigan University from 1998-2007 and has been teaching at Arizona State University since 2007 where he is an Associate Professor of Ceramics. He has exhibited at Harvey Meadows, Ann Linnemann Gallery, AKAR, Greenwich House Pottery, Sherry Leedy and Lacoste Gallery. Sam’s work is included in the collections of The Crocker Art Museum (CA), Incheon World Ceramic Center (Korea), Guldagergaard (Denmark) and San Angelo Museum (TX).
Over the last several years, I have become increasingly interested in using the cultural identity in ceramic objects to not only specify a sense of origin, but also push up against it. My recent work references cloud imagery and pottery forms originating from traditional Korean art and design. These references serve as the anchor to point towards my own ethnic lineage, but also question my sense of belonging within or outside of it. The clouds are a surrogate for this floating sense of belonging, and also represent a source of aesthetic, formal and personal freedom within these timeless, traditional pottery forms.
BEDE CLARKE
Cream Earthenware
$240
Sugar Earthenware
$240
ARTIST STATEMENT
ARTIST BIO
For me, good pots spring from compassion. My "technique" amounts to wishing the work well as it moves through the process of forming, articulation of the surface and firing. I try to find ways of working that respond to the only ability I have ever had, wishing the work well and silently encouraging it to "be good, be good." I keep returning to the studio simply trying to bring as much sincerity as I can muster to bear upon the work.
Bede Clarke has been a Professor of Art at the University of Missouri since 1992. He received his Master of Fine Arts from The University of Iowa (1990) and a BFA from Eckerd College (1982). Bede’s work is found in public and private collections in the U.S. and abroad. Bede maintains a studio in Columbia, Missouri where he produces his ceramic art work and continues to exhibit worldwide, recently at: Yingge Ceramics Museum 2012 Taiwan Ceramics Biennale, Ogden Museum of Southern Art, New Orleans, LA, and, Arvada Center for Fine Arts and Humanities, Arvada, CO.
Web Site: http://www.bedeclarkestudio.com
BRUCE COCHRANE
Covered Serving Dish & Stand Wood fired stoneware, press molded with thrown elements
$275
ARTIST STATEMENT
ARTIST BIO
After 30 years of working in clay, utility continues to serve as the foundation for my ideas. The pots I make, no matter how simple or complex, are meant to be experienced on a physical and contemplative level. The way an object carries, lifts, cradles, pours and contains are properties which I strive to make engaging for the user, offering more than just convenience. Pottery has the potential to affect peoples lives in a very real way. The challenge is to go beyond the mundane and purely technical solutions which only compete with a vast industrial market. The pottery I find most compelling in terms of its vitality and its reflection of the maker are those who reach back into the traditions of vessel making not simply in reproduction but rather how these historical models are reinterpreted and revitalized to have more relevance to contemporary society.
Bruce Cochrane is an internationally acclaimed ceramic artist and recently retired Professor Emeritus of Ceramics at Sheridan College. During his 30 plus years of teaching at Sheridan he was instrumental in developing the Ceramic Program’s reputation as one of the best in Canada. He is himself one of Canada’s pre-eminent ceramic artists with work featured in public and private collections around the world.
My current work is made with stoneware clay and gas fired in a reduction kiln or a soda or wood fired atmosphere. I am also working with similar forms in earthenware with terra sigillata in a reducing atmosphere. The pots are constructed from thrown sections which allows for greater articulation of form and facilitates the application of pattern and texture through the use of carved roulettes
Bruce’s studies began at the Nova Scotia College of Art and Design and continued in Alfred, New York at the New York State College of Ceramics where he received his Masters of Fine Art. Since his graduation in 1978 Bruce has participated in over 300 exhibitions, and shares his knowledge through lectures and workshops throughout North America. His work can be found in the permanent collections of the Royal Ontario Museum in Toronto, Gardiner Museum of Ceramic Art in Toronto, Victoria and Albert Museum in London, England and the Canadian Museum of Civilization in Ottawa to name a few. Bruce resides in Toronto and maintains his studio practice in Grey Highlands, Ontario
JIM CONNELL
$175
Green Carved Pitcher Stoneware
ARTIST STATEMENT I strive for beauty and elegance in my pieces. On my very best days in the studio I get glimpses of it and it keeps me going. It is all about that eternal elusive quest for beauty.
ARTIST BIO Born in Woodstock, Illinois. M.F.A. University of Illinois (Urbana, IL), 1984. B.F.A. Kansas City Art Institute (K.C., MO), 1982. B.A. Loyola University (Chicago, IL), 1976.
Working in ceramic since 1975. Currently Professor of Ceramics, Winthrop University, Rock Hill, SC since 1987. National Council on the Education for the Ceramic Arts (NCECA) On-Site Conference Liaison for the 2001 Charlotte, NC, NCECA Conference. National K-12 Ceramic Exhibition Foundation board member since 2001. NCECA International Residency Award 2004, China. 15 Museum Acquisitions 53 Publications. 498 total exhibitions. 81 awards and honors. 50 Workshops/lectures. Juried into 6 out of the last 10 NCECA Clay National Exhibitions. Juried into 19 out of 20 Strictly Functional Pottery Nationals.
JOSH DeWEESE
$300
Liquor Set Wood fired salt/soda glazed stoneware, 2014
ARTIST STATEMENT I am inspired and challenged by the art of pottery and strive to make work that is successful on multiple levels. I want my pots to be well designed and comfortable to use; to be rich with ceramic wonder, and seductive to behold; and to have reference to history and the field of ceramic art to spark the imagination. I’m drawn to the beauty and mystery of high temperature ceramics and the element of chance that occurs in atmospheric firings. Wood firing and salt/soda firing are processes where extreme surfaces can be achieved, in the subtle qualities of raw clays and the vibrant depths of a running glaze. I have a passion for painting with ceramic materials on a threedimensional form, having the drawing unfold as it moves around the pot. I enjoy the phenomenon of the melt and the element of gravity that enters the image through running glaze. The loss of control is important, blurring the lines made with the hand. The viscosity and movement of the glaze becomes an important element in the final image. The drawings often disappear among the layers of information that become the final surface, creating depth and a sense of curiosity.
Perhaps pottery’s greatest power lies in its association with the human body. The language of pottery is the language of the body, with necks and feet, bellies and shoulders, and lips to touch our lips. The intimate relationship that develops with use strengthens this association. A personality develops, and the pots become our friends. In this friendship they become reflections of our humanness, and help give meaning to our lives.
ARTIST BIO Josh DeWeese is a ceramic artist and educator. He is currently an Associate Professor of Art teaching ceramics at Montana State University in Bozeman, where he and his wife Rosalie Wynkoop have a home and studio. DeWeese served as Resident Director of the Archie Bray Foundation for the Ceramic Arts in Helena, Montana from 1992-2006. He holds an MFA from the New York State College of Ceramics at Alfred, and a BFA from the Kansas City Art Institute. DeWeese has exhibited and taught workshops internationally and his work is included in numerous public and private collections.
SUSAN DEWSNAP
#1 Table Condiment Set Stoneware, slips and glaze, soda fired
#3
#2
sold separately for $110 each or $300/set
ARTIST STATEMENT
ARTIST BIO
My work draws from my passion for the visual in art history as an eternal source and presence. I consider each pot as presenting a particular issue or problem to be solved and brought to fruition where interior meets exterior. Recent passions are how to evoke the gesture of a pot by merging the structure of the three-dimensional form with a surface of composed drawing. The pot is the setting for the active and contemplative to work together to create beautiful objects.
Susan grew up in Peterborough, New Hampshire. Her ceramic study began at a community clay studio in Boulder, Colorado and matured through intensive summer workshops at Haystack Mountain School in Maine and The Penland School in North Carolina. She received a BFA in painting from the University of New Hampshire and a MFA in ceramics from the University of Nebraska-Lincoln, where she also taught from 2008 through 2012. Susan currently teaches ceramics at Bates College in Lewiston, Maine. Her work is represented in galleries across the United States. Susan exhibits her ceramic work nationally and internationally with awards from the National Council on Education for the Ceramic Arts Biennial, the World Ceramic Biennale Korea International Competition, and Best of Show in the Strictly Functional Pottery National Exhibition.
NEIL ESTRICK
Oil Bottle Trio Wheel thrown and assembled porcelain, fired to cone 6 in oxidation 13 x 5 x 8
$150
ARTIST STATEMENT
ARTIST BIO
There is a cupboard full of hand made mugs in my kitchen. Over the years my wife and I have decided which of the mugs are our favorites, and those pieces have migrated to the front of the cupboard. The rest of the mugs rarely see the light of day, unless we have a large party. All of the mugs in our cupboard have some level of visual appeal, but what sets our favorites apart from the rest is that they are a pleasure to use. There is something about the quality of their construction and design that makes us want them to be a part of our daily lives. I want every pot I make to have that same appeal.
Neil Estrick holds a Bachelor of Fine Arts in Visual Art with an emphasis in ceramics and photography, and a Master of Fine Arts in Ceramics. He has been making pottery for 20 years,and specializes in wheel thrown porcelain. Neil was born and raised in Colorado, but currently resides in Grayslake, IL with his wife Sara, a veterinarian, and his two young sons, Jack and Henry.
I demand from myself a high level of craftsmanship. My pots must be light enough to be handled comfortably, but not so thin as to make them too fragile for daily use. The walls must be of consistent thickness for good balance, and the glaze application must be clean and even. This attention to detail helps to ensure that my pots will be used for their intended purpose. Functional pieces that are aesthetically pleasing but do not successfully perform their intended function will not be used, and will be destined to sit in the back of the cupboard.
For the past 10 years he has been the owner of Neil Estrick Gallery, LLC, in Grayslake. In addition to being a working studio and gallery, the business has a large classroom studio space where Neil holds pottery classes for kids and adults. Neil also offers workshops for teachers,sells kilns and other pottery equipment, and repairs pottery kilns and wheels in the Chicago-Milwaukee area. Neil’s pottery features smooth forms covered with visual textures created with incised and layered glazes. He primarily works in porcelain, fired to cone 6 in oxidation.
ADAM FIELD
#1
#2
#3
Late Night Ramen with Good Friends Set, 2015 9.25W x 3.25H Porcelain with Carved Pattern and Celadon glazes
Each $160
ARTIST STATEMENT
ARTIST BIO
I am fascinated with antique artifacts, the way they can speak of mastery of lost peoples, places, and cultures. This inspires me to create works that both radiate history and capture my own place and time. I work toward a clean aesthetic that celebrates the masterful simplicity of antique Far Eastern pottery, while retaining the modest utility of colonial American wares. The surface of my pottery is meticulously carved with intricate designs that borrow from nature and incorporate the human touch. Much of the carving on my work is informed by pattern languages found in indigenous fiber art, such as Hawaiian tapa, Incan cordage, and Zulu basketry.
Born and raised in Colorado, Adam earned his BA in Art from Fort Lewis College. For two years he immersed himself in the culturally rich art scene of the San Francisco bay area, where he began his full time studio practice. From there, he relocated to Maui, where he established a thriving studio business. He spent most of 2008 in Icheon, South Korea, studying traditional Korean pottery making techniques under 6th generation Onggi master Kim Il Mahn. In 2013 he cre- ated and debuted HIDE-N-SEEKAH at the NCECA conference in Houston, TX. After maintaining his studio in Durango, CO for 5 years, Adam recently moved to Helena, MT where he is currently a long-term artist in residence at The Archie Bray Foundation. His works are included in private collections and kitchen cabinets internationally.
JULIA GALLOWAY
Stacked Serving Cloud Plates and Bowl Cone ten porcelain with white gold luster
$170
ARTIST STATEMENT
ARTIST BIO
I always wonder, how am I nourished by where I live? I find utilitarian pottery the best method to express my ideas. Handmade pottery is naturally rich in ideas and metaphor; pottery seeps into our houses, our kitchens, and enriches our lives. Pottery weaves into our daily lives through use and decorates our living
Julia Galloway is a utilitarian potter, professor and the director of the School of Art at The University of Montana. She exhibits, lectures, and teaches workshops across the United States and Canada. Julia recently moved to Missoula from New England.
spaces with character and elegance; pottery is joyous. Pottery is a reflection of our reality, our fantasy and ourselves. I make pottery out of porcelain clay. It is extremely sensitive and responsive to the human touch when it's soft; when fired it becomes dense and strong. It is this responsive nature of clay that continues to interest me. It responds to your touch, then you respond to it. The same happens in the firing process with glaze materials and the atmosphere of the kiln. Clay is a supportive and demanding medium for the creative journey of making. I am insistent about making things with my hands. The need for beautiful domestic objects and the instinctual drive to create things are tremendous dance partners for idea and desire. Utilitarian pottery supports and represents our intimate rituals of nourishment and celebration.
Julia currently serves on the Board of the Archie Bray Foundation and served on the Board of Haystack Mountain School for Crafts for nine years. She has demonstrated at the Utilitarian Clay Conference, and National Conference for the Education of Ceramic Arts. Julia has exhibited across the United States and Canada, including solo exhibitions at Lill Street in Chicago, the Clay Arts Center in New York, and Trax Gallery in California. Her work has been featured in Ceramics Monthly, Studio Potter, Art and Perception and Clay Times. Julia work has also been featured in the “The Ceramic Spectrum” by Robin Hopper and “The Art of Contemporary Pottery” by Kevin Hulch. Julia’s pottery is in the collections of the College of William and Mary, the Archie Bray Foundation, the Long Beach Museum of Art, the Huntington Art Museum, The Crocker Art Museum and the Renwick Gallery at the Smithsonian. She developed the "Montana Clay" (www.montanaclay.org) and the "Field Guide for Ceramics Artisans" (http://juliagalloway.com/field-guide) websites.
STEVEN HILL
Whiskey Set/Bottle and 2 cups $500 Thrown and altered, slip trailing, multiple sprayed and layered glazes, electric single fired, ^8 Porcelain, 2014
ARTIST STATEMENT I simply have to make pots! While making pottery nourishes my soul, selling it puts food on my table. When I am sitting at the potters’ wheel with music reverberating through my studio, life is good! The dance that is born of clay spinning through my fingers is the place in my life where magic happens. I’ve always had a relatively narrow focus, making wheel thrown, single-fired functional pottery. My work never stands still, however… It has been a slow evolution of form and surface. Function is what keeps me rooted, but I don’t mind stretching the boundaries of usefulness just a little as I explore my tiny vision. A trip to Italy in 1995 profoundly influenced my direction with glazing. It wasn't the Majolica pottery that Italy is famous for, but the colors and textures of Tuscany that spoke to me. The weatherworn painted wood and stucco surfaces, which highlight architectural form by stripping away surface embellishment, exerted their influence on my pottery. Sometimes I wonder what direction my life would have taken if I had not discovered clay. The only thing I know for certain is that I lead a privileged life making my living doing something I love as much as making pottery.
ARTIST BIO Steven Hill has been a functional potter since 1974, originally working out of a backyard studio and selling his work mostly at art festivals.
By the mid 1990’s he was looking for a way to expand his studio, to begin a resident artist program for aspiring potters, and to provide space for other ceramic artists to work. In 1998 Steven co-founded Red Star Studios Ceramic Center in Kansas City, MO and co-founded Center Street Clay in Sandwich, IL in 2006. Currently Steven is doing what he does best… Making pots, writing about ceramics, teaching workshops and letting someone else take care of business! His new home is 323 Clay in Independence, MO Steven Hill received his BFA from Kansas State University in 1973. His work is featured in nationally juried shows and in many ceramics books. Steven has taught over 250 workshops throughout the United States and Canada and has written ten ceramic articles. – "An Approach To Single-Firing", (January 1986, Ceramics Monthly), "Long Distance Runner", (December 1989, Studio Potter), "Don't Put The Flames Out", (February 1994, Ceramics Monthly), “Pulling Handles”, (Spring 1998, Pottery Making Illustrated), “Where You’ve Been Is Good and Gone, All You Keep Is The Gettin’ There”, (April 1998, Ceramics Monthly), “Spraying Glazes”, (March 2002, Pottery Making Illustrated), “An Approach to Single Firing – Further On”, (January 2006, Ceramics Monthly), “Rethinking Ceramic Workshops”, (Comment, May 2007, Ceramics Monthly), “The Eight Month Workshop – A Journey of Discovery”, (June 2008, Ceramics Monthly), “AtmosphericLike Effects for Electric Firing”, (March 2012, Ceramics Monthly). stevenhillpottery.com
CATHI JEFFERSON Arbutus Yunomi $50
Arbutus Bowl $50
Arbutus Side Plate $65
Arbutus Dinner Plate $80
Or Purchase Whole Set
$220
ARTIST STATEMENT
ARTIST BIO
I first heard this amazing poem by the late potter/poet M.C. Richards (from ‘Imagine Inventing Yellow’) recited years ago by her dear friend, Paulus Berensohn. I understand that for years Paulus recited this poem to his clay students with his big hands and body moving with the rhythm of each word mesmerizing them just as they did me.
Cathi’s work is altered wheel thrown and hand-built functional and sculptural salt/soda fired stoneware. Her work is influenced by the natural environment that surrounds her living on the Cowichan River near Duncan on Vancouver Island, British Columbia, Canada.
Potter This flat plate. This ladle and bowl. Clay whirled on a wheel, raised slowly to the table. Straight and curved, our primal gestures Take and give --- speak out about The way we stand and breathe. Every leaf is saucer for the bread. Every falling drop prepares its cup. Always we are eating and drinking earth’s body, Making her dishes. Potters like sun and stars perform their art --endowed with myth, they make the meal holy. Thank you M.C.
NICK JOERLING
Serving dish, Footed Wheel thrown altered 5.5 x 8.5 x 13.5
$150
ARTIST STATEMENT
ARTIST BIO
I like blue collar pots, that do the everyday work of carrying, containing, delivering, but at the same time "step out" and are active in the mind and imagination. I like pots that make good use of the constraints of utility and push against those boundaries too. Pots that entertain some dicey possibilities. In my own studio I hope for pots that have qualities of sensuality, empathy, humor and risk.
Nick Joerling is a full-time studio potter who has maintained a studio in Penland, North Carolina since the mid-1980's. He received a B.A. in History from the University of Dayton, Ohio, and an M.F.A. in Ceramics from Louisiana State University in 1986. He has taught in craft programs in the United States and abroad, been widely reviewed and exhibited, and is represented in public and private collections.
DOUG JEPPESEN
$450 Three of a Perfect Pair
ARTIST STATEMENT
ARTIST BIO
Today we live in a world of convenience rather than one of necessity, and to make functional pottery is a reaction against this convenience. From a solitary morning cup of coffee, a noisy family dinner, or sipping a cup of whiskey with a friend, pots are used every day by millions of people as they record and discuss their ideas, activities and experiences. For me, this opens a door to a part of our society that wishes to rekindle a relationship with our past and push beyond the industrialized object of contemporary society.
Doug Jeppesen holds a BA in Art History and a BFA in Art with an emphasis in ceramics from the University of Tulsa, and a MFA from Northern Illinois University. Doug is an Associate Professor of Art/Ceramics at Waubonsee Community College in Sugar Grove, Illinois where he has taught full time since 1998. He specializes in wood firing and has built a number of different styled wood fired kilns at the college. The latest was an Anagama, which was completed during the fall of 2006 and is one of only three in the state of Illinois. His work has appeared in numerous national juried and invitational exhibitions across the United States. Doug has presented workshops at area colleges and universities, he was a panel member during the International Wood Firing Conference at Northern Arizona University and most recently he was a presenter at the 2nd European Wood Fire Conference hosted by Guladagergaard International Ceramic Research Center in Skaelskor Denmark.
MATT KELLEHER
Bean Hand built Cone 3 Soda-fired Red Clay 3 x 12 x 8
$100
ARTIST STATEMENT
ARTIST BIO
Pottery is a continuous curiosity; how it’s made, how it feels, its shape, its surface, how it exists in a home as an object, or a tool, or maybe an image. When making pottery, I search for poised forms that suggest sculpture, respect utility and perform well; they should be confident and handsome.
Matt Kelleher is a studio potter in the mountains of western North Carolina. In 2005, he made the decision to leave University teaching and pursue full-time studio work through a three-year residency at Penland School of Crafts. Matt has also been artist in residence at Archie Bray Foundation in Helena, MT (1999-2001) and Shigaraki Ceramic Cultural Park in Shigaraki, Japan (2003). While Matt continues to investigate soda-fired tableware, he has broadened his interests to include sculptural vessels, bird inspired forms, and collaborative work with Shoko Teruyama. You can learn more at www.mattkelleher.com.
I create my surfaces for contemplation. Moods are suggested with warmth, fluidity, and translucency. Atmospheres are veiled with fog and cool mist. Pouring and layering slip, I respond intuitively to the qualities of liquid. Slip warms up during the firing, the surface dampens and layering is revealed. The relationship between form, firing, and my hand is complete. Each piece is ready for a conversation and willing to be part of a greater surrounding. Aware of the tendency to put parameters around my work, of what should and should not be made, I do my best to get out of the way. It is important for me to pursue the ideas that linger around my pottery, which are often sculptural and beyond the scale of tableware. The process each new idea reveals drives me forward.
BEN KRUPKA
$90
$80 Hors d’oeuvre Dish 1” tall walls
Serving Bowl
$60
Olive Dish Two Compartments & handle
ARTIST STATEMENT
ARTIST BIO
In discussing his work Krupka states, “I’m interested in how aesthetic ideals and both intentional and unintentional selfimposed parameters lead to a body of work. Most recently this question has driven me to ease my parameters, allowing for the exploration of ideas to take form outside of a prescribed “style.” This pursuit has opened the doors for investigation into both functional and sculptural work.
A native of Maryland, Ben Krupka is now Associate Professor at Bard College at Simon’s Rock in the Berkshire Mountains in Southwestern Massachusetts where he’s been since 2005. Before moving to the Berkshires he completed a two year residency at the Archie Bray Foundation as well as completed his MFA at Utah State University.
I see the stabilizing practice of making pots as a language in which I as maker, remain dedicated to the evolving conversation with material, aesthetic ideals and function. I work within the parameters of aesthetic functionalism while striving to build pots that look and feel soft and fresh, tell a story and maintain a historical reference. My most recent pots reference Oribe style ceramics but through a contemporary lens; both in pattern and narrative themes, as well as in form which is influenced by my lifestyle and how I eat and drink.” In his free time he can usually be found on his bike, the trail, or in the kitchen.
Ben has taught many workshops nationally and internationally, most recently at King Mongkut’s University of Technology and Chulalongkorn University in Bangkok, Thailand where he was resident artist and visiting faculty. His work has been exhibited in over 150 exhibitions; at galleries, art centers, colleges and museums and is held in a number of public and private collections. His work has been featured in a number of books as well as the periodicals, Ceramics Art & Perception, Ceramics Monthly, and Clay Times.
JAYSON LAWFER
Sake Set kaolin clay with silica sand, soda fired 2013 stamped "JL" 7.5 x 5 x 5" (pourer)
$225
ARTIST STATEMENT
ARTIST BIO
It is important for a teapot, bowl or cup to engage with the user a sense of existence and duty. I feel that in the world we live today, where many objects are mass produced and without thought, a handmade ceramic pot reveals something more. It reveals a sense of dedication and determination by the creator to release artistic thought and meet the demands of practical purpose.
Jayson Lawfer is an artist and the Director of the contemporary fine art gallery and consulting business entitled The Nevica Project (www.thenevicaproject.com). After graduating from the University of Montana with a fine arts degree, Jayson completed an artist residency at Guldagergard (2002) in Denmark, The Archie Bray Foundation (2004), A.I.R. Vallauris in Vallauris, France (2006), and Lillstreet Art Center (2007). His personal work has been featured in prestige American exhibitions at the Lancaster Museum of Art (Pennsylvania), Missoula Art Museum (Montana), Cedar Rapids Museum of Art (Iowa), New Hampshire Institute of Art, as well as venues in England, Italy, Germany and Australia.
Passion lives within everybody. Mine is in the momentum of clay.
From 2002-2006, Jayson was the Executive Director of the nonprofit 501(c)(3) The Clay Studio of Missoula, Gallery Director of its exhibition space and Resident Director of its artist-in-residence program. After his position in Montana, he was a Resident Artist and Guest Curator at Lillstreet Art Center in Chicago, Illinois from 2006-2007. Later, he was appointed the position of Executive Director of the nonprofit sector of Lillstreet Art Center(ArtReach) from 2010 - 2011. Jayson’s talents of being an artist and holding positions of directorship have granted him the opportunity to present lectures and lead workshops in Denmark, Mexico, Italy and in the USA.
SIMON LEVIN
Whiskey Set 1 platter, 4 cups, 1 flask
$240
ARTIST STATEMENT
ARTIST BIO
Several years ago I stood back and looked at my work, taking stock of what I saw I decided where I wanted it to go. Being overly ambitious, and seeking an ideal rather than the practical I aimed high. I decided I wanted my work to reach past the contemporary, beyond style and taste, touching something primal in all of us. I wanted to make work that reaches that which is first in the human experience, pottery that draws from tradition but resonates regardless of when it might be experienced.
In 1993 I fell in love with the movement of flame through a wood-kiln. Its sensuous quality is something I seek to capture in my work with soft forms, sensuous full curves and flame paths etched into the surface. This quest led me to an M.F.A. from the University of Iowa. I now own Mill Creek Pottery in Wisconsin, where my apprentices and I work to advance the cause of wood-fired pottery. In 2013 I was a Fulbright Senior Scholar in Taiwan exploring the potential of local materials. Clay is central to my life.
In the 6th century a monk named Dorotheus of Gaza wrote a beautiful metaphor for God. Dorotheus spoke of God as the hub on a wheel, and we are all spokes around that center. In order for us to move closer to God we must move closer to everyone else on that wheel, and in the center is oneness. Anything that is divisive and exclusionary moves us away from all other people and thus moves us away from God. In Judaism we have a core prayer called the Sh'ma. The Sh'ma says "Listen of Israel, the lord is God. The lord is one." The concept of unity, togetherness, oneness, center as divine permeates almost all religions, and spiritual disciplines. It is root theology. For my own pottery I want it to speak to a broad audience but to do this by reaching core ideas rather than dilution and syncretism. The spokes on the wheel that I use to approach the center are, clay, elemental processes, simple drawings and line, functional pottery, and community objects.
BETH LO
What Is Passed On Small Serving Plate Porcelain, cone 10, 2015
$170
ARTIST STATEMENT
ARTIST BIO
My work in ceramics and mixed media collage revolves primarily around issues of family and my Asian-American background. Cultural marginality and blending, tradition and Westernization, language and translation are key elements in my work. Since the birth of my son in 1987, I have been drawing inspiration from major events in my family’s history, the day-to-day challenges of parenting, and my own childhood memories of being raised in a minority culture in the United States. I also enjoy investigating, celebrating and sometimes satirizing traditional Asian aesthetics, including calligraphy, origami, scrolls, Socialist Realist artwork, Chinese souvenirs and toys, the game of mahjong, as well as Ming and Tang dynasty ceramics.
Beth Lo was born on October 11, 1949 in Lafayette, Indiana, to parents who had recently immigrated from China. She received a Bachelor of General Studies from the University of Michigan in 1971, and then studied Ceramics with Rudy Autio at the University of Montana receiving her MFA in 1974. She assumed his job as Professor of Ceramics there when he retired in 1985, and was honored with the University of Montana Provost’s Distinguished Lecturer Award in 2006 and 2010. Much of Beth’s ceramic and mixed media artwork revolves around issues of family and ethnicity. She has exhibited her work internationally, and was recently commissioned to make a new work for the Main Exhibition of the 7th Gyeonggi International Ceramics Biennale in Korea, 2013. She has received numerous honors including the $50,000 United States Artists Hoi Fellowship in 2009, a $20,000 National Endowment for the Arts Visual Artist Fellowship Grant in 1994, a Montana Arts Council Individual Artist Fellowship in 1989 and an American Craft Museum Design Award in 1986. She has recently collaborated with her sister, author Ginnie Lo, on two children’s picture books, Auntie Yang’s Great Soybean Picnic (2012) and Mahjong All Day Long which won the 2005 Marion Vannett Ridgeway Award. Beth is also active as a bass player and vocalist for several musical ensembles including The Big Sky Mudflaps and Salsa Loca.
LORNA MEADEN
Sipping Cups Wood/Soda Fired Porcelain, Stainless Steel Wire 6”L x 6”W x 5” H 2014
$225
ARTIST STATEMENT
ARTIST BIO
My work is soda fired porcelain. It begins with the consideration of function, and the goal is for the form and surface of the pots to be interdependent. Making the work starts with a three dimensional division of space, continues with drawing on the surface, and finishes with the addition of color.
Lorna Meaden grew up in the western suburb of Chicago, La Grange. After receiving a B.A. from Fort Lewis College in 1994, she established a studio in Durango, Colorado where she worked as a studio potter for the next eight years. She received an MFA in ceramics from Ohio University in June of 2005. She has recently been a resident artist at the Archie Bray Foundation in Helena, Montana, and at the Anderson Ranch Arts Center in Snowmass Village, Colorado. She was featured as a demonstrator and lecturer at the National Council on Education in Ceramic Arts, as well as Utilitarian Clay V: Celebrate the Object. Her work is represented my several national galleries. She is currently a studio potter in Durango, as well as Adjunct Professor of Art at Fort Lewis College.
New ideas are gradually incorporated into previous bodies of work through making. Source information for my work can be as simple as looking at the patterns in the stacked bricks of my kiln, to something as complex as forms from 18th century European manufactured silver. I experience the evolution of my work through creative repetition in the studio. I am interested in having my work display both practical and extravagant attributes. I am drawn to work that is rich in ornamentation, with lavish use of materials- both scarce in a culture of mass production. Functional pottery, in its connection to sustenance, closely relates to the human body, revealing what it means to be human. Handmade pots are potent in their power to reveal the extraordinary, within the ordinary. I am driven by the insatiable pursuit of the “good pot”. Successful in terms of tactile, visual, and functional attributes; lastingly significant when packed with the passion of the maker- reflecting humanity, and contributing to the craft.
TED NEAL
Double Silo Jar Stoneware with iron bearing slips Wood fired to cone 9, reduction cooled Cast concrete, fabricated steel, 2014
$900
ARTIST STATEMENT
ARTIST BIO
In all of my work one constant is my use of the vessel as a framework upon which to hang concepts of utility and selfexpression. Specifically, my utilitarian work is most satisfactory when a single object occupies space as both a useful object and one that also embodies loftier ideas such as beauty, connectedness and shared kinesthetic experiences. I explore consumption and the use of natural resources as themes in my work. I choose the ceramic vessel as a means to marry industrial form and surfaces with my thoughts about our consumer culture. I enjoy the interplay of roles between the utilitarian form as an object for eating and that of a conceptual vehicle for expression about global consumption. The objects serve as subtle reminders of the cost of the things that we use. The concept of pure function is to me a misnomer, and I challenge the notion than any object can really fit this description. If I envision the work as a truly useful object then it can really only be complete when it is employed in that role daily. It is my hope that the object is not passive, but participates by elevating awareness during the experience. All of these vessels are thrown using an iron rich stoneware clay body. While no glaze has been applied to the surfaces, I do utilize high iron slips and clays on the bisque surfaces. Each is then fired in a train style wood kiln in a process called reduction cooling. This process creates natural ash glazes common to most wood fired forms, but also promotes the dark metallic surfaces by a controlled reduction of oxides (primarily iron) in the cooling cycle.
Born and raised in rural upstate New York, Ted has received degrees from Southern Illinois University Edwardsville (MFA 1998), Utah State University (BFA 1995), and Brigham Young University Idaho (AAS 1991). After graduate school Ted taught as an Adjunct Assistant Professor at Southern Illinois University Edwardsville. He moved back to Logan Utah in 2001 to take the position of technology instructor and studio coordinator for the ceramics area at Utah State University. (2001 – 2006) His work has been featured in numerous exhibitions including: Earth Matters NCECA 2010 Invitational in Philadelphia, PA, Strictly Functional Pottery National in East Petersburg PA, Forms and Shapes: The Useful Teapot at AKAR Gallery in Iowa City, IA, NCECA Clay National in Columbus, OH, 2013 NCECA Biennial “Earth/Energy” Houston, TX, and Feats of Clay XXIII at Lincoln Arts in Lincoln, CA. Ted is currently a studio artist and Associate Professor of Ceramics in the School of Art at Ball State University in Muncie Indiana.
DOUG PELTZMAN
Covered Pitcher High fire glazed porcelain with inlaid slip, 2014
$295
ARTIST STATEMENT
ARTIST BIO
As a potter, I strive to craft a balance between dynamic surface and inviting form. When I began working in clay, the transition from my early studies in painting felt natural as I came to realize the potential in ceramics. I work in cycles, shifting between porcelain and earthenware clay bodies. This practice keeps me engaged and responsive to various material and conceptual developments. The detailed handwork in my pieces serves as a conduit to heighten one’s perception and sensitivity about what a pot can be. Lines, dots, dashes, texture, and color are counterpoised to create structure, movement, and depth. Marks are both blurred and enhanced by the gravitational movement of glaze. Creating utilitarian objects with layered and active surfaces is an outlet for playful yet structured investigation. Essentially, I aim to produce well-crafted functional objects that provide lasting experiences and moments of pause in day-to-day life
Doug Peltzman is a full time studio potter in the Hudson Valley area of New York. After several formative years studying painting, Doug came to earn his Bachelor of Fine Arts in Ceramics at SUNY New Paltz in 2005. From 2006-2008 he served as the ceramic area technician and adjunct instructor at the University of Hartford. In 2010, he received his Master of Fine Arts degree in Ceramics from Penn State. Most recently, he had the honor of presenting and demonstrating at the Arrowmont School of Arts and Crafts for the Utilitarian Clay Symposium. Doug is actively exhibiting his work, as well as teaching workshops both locally and nationally. His work has been featured in many national publications and can be found in homes and kitchens across the country.
LOU PIEROZZI
The Pittsfield Ewer, Wheel-thrown and hand-built Firing: 2340F
$250
ARTIST STATEMENT
ARTIST BIO
I am primarily interested in functional ceramic art that is more than just a utilitarian object. My vessels, although functional, draw upon a unique time in history when machines first became mainstream. The rise of the Industrial Revolution brought trains, boilers, steamships, iron clad warships and other heavy steel machinery. I am particularly interested in the smoke stacks, rivets, gears, and steels plates that made up this early machinery. My ceramic pieces look to emulate the visual weight, and mechanical parts that were present in these historical objects. I want my viewers to be able to make a slight connection to this time period, but also be able to see the stylization that make my pieces unique.
Lou Pierozzi was born and raised in Chicago, Illinois. His interest in ceramics started his first year in college. Pierozzi is deeply interested in making forms that are functional, but the real excitement happens when he alters the form and surface of the piece. He strives to make work that is more sculptural than functional.
The process I use to create these industrially inspired objects involves throwing many of the pieces on the potter’s wheel. I first throw the main body of the piece on the potter’s wheel and alter the shape considerably. Once I have created the main body, I then decide what shapes will work best for the extruding parts. I then throw the extruding parts, cut them and reassemble them into various mechanical forms. Once the vessel is fully assembled I carefully handcraft each rivet and meticulously place them onto the piece. Finally, I carve in the lines to make the piece look metal plated. After each piece is completely assembled and bisqued, glaze is applied and fired to cone 10. This long and evolved process combines to make an industrially inspired vessel that is not only functional, but also sculptural.
Lou Pierozzi received his BFA from De Paul University and his MFA degree in ceramics from Southern Illinois University Carbondale. Pierozzi is currently Chair of Art and Design and Professor of Art at Oakton Community College in Des Plaines, IL. His work has been exhibited in numerous galleries and museums throughout the country, featured in multiple publications and represented in various public and private collections.
ADAM POSNAK
Ogun Platter Terra Cotta, 14”, 2015
$200
ARTIST STATEMENT Having grown up in Macon, Georgia, the culture of the southern United States, whether in terms of pottery, music, or folkreligion has been the basis for much of the investigations of my life, and continues to fascinate me. In terms of inspiration I look to traditional “Folk” (for lack of a better term) artists of The Americas (writ large: North, Central, and South), as well as contemporary artists such as Jose Bedia, Eduard Duval Carrie and Belkis Ayon.
In my investigation of indigenous cultural material I embrace the notion of “Primalism,” a term coined by Yale Art Historian Robert Farris Thompson: “…primalism lets us measure just how far we've traveled -how far we've been pulled forward -- from the devouring primitivism of the past.” Robert Farris Thompson, Art in America, July 1997
I have been greatly inspired by West and Central-African traditions and the various African-inspired, syncretic religiouscultural practices of North, Central and South America, particularly those of Cuba and Haiti. Within the Afro-Cuban cosmological view specifically, the concept of “El Monte,” which in this context roughly translates as “The Wild,” has complex and deep significance. In a nutshell, the natural world is seen to be both the source of spiritual power and the home of various personified embodiments of this power. I have drawn on this concept in approaching the decoration of my work.
In a separate but related endeavor, I also make a limited number of religious vessels for practitioners of African and African-Diaspora religions, including West African YorubaOrisa, Haitian Vodou, Cuban Lukumi (Santeria) and Palo Mayombe, and Brazilian Candomble.
ARTIST BIO I grew up in Macon, Georgia. My mother is a potter, her father was a woodworker, his father was a blacksmith, his father was a blacksmith… Besides Georgia, I have had the good fortune to live in Louisiana, Florida, and Arkansas, where I currently reside in the White River Valley of the Boston Mountains.
LEE REXRODE
Oval Tureen, Wheel thrown, white stoneware, reduction-fired, cone 10 11.5” x 8”h x 7”d
$175
ARTIST STATEMENT
ARTIST BIO
My work has evolved over the past 34 years of making pots. I seek simplicity and clarity in my work. Rather than adding more, I tend to remove elements as I strive to achieve pure and elegant forms. Making pots is truly a challenging and significant endeavor. Our hands play a vital role in our perception of pots and our fingers are extremely receptive to it’s surface, weight, and balance. Ultimately, I hope my work enriches people’s lives on both a tactile and visual level.
Lee Rexrode earned his MFA degree from Rochester Institute of Technology and subsequently became Head of the Ceramics Department at the Worcester Center for Crafts in Massachusetts throughout most of the 1980’s. Lee has been a Professor of Ceramics at Edinboro University of Pennsylvania since 1990. Lee has taught workshops throughout the country at places such as the 92nd Street Y in New York city, Baltimore Clayworks, El Camino College in Los Angeles, and at the Arrowmont School of Arts and Crafts in Tennessee. He received a Fellowship from the Pennsylvania Council on the Arts in 1995. During the spring of 2001, Lee toured China researching contemporary and historical ceramics and attended an International Yixing conference. Lee Rexrode has published images of his work and written articles for Ceramics Monthly Magazine since 1989. In fall of 2010, he had a solo-exhibition at the Holstein Gallery at the Erie Art Museum. In 2009 and 2010, he exhibited his work in the International Onggi Competition in Ulsan Korea, and won awards for his work both years.
BRAD SCHWIEGER
Bottle With Two Cups
$150
ARTIST STATEMENT
ARTIST BIO
In the past few years my work has addressed my interests in architectural landscapes, usually cityscapes and the surrounding industrial areas. I’ve tried to synthesize these interests and produce work that is sculptural as well as vessel oriented. While my work is primarily wheel thrown, a recent interest in mold making and slip casting has helped me identify more specific forms I find interesting within the industrial landscape such as metal cylinders, perforated steel sheathing and drainage pipe.
Brad Schwieger has been teaching at Ohio University since 1990 and is presently a Professor of Art. Brad received his MFA degree from Utah State University and his BFA degree from the University of Iowa. Brad’s work has been shown nationally and internationally. His work has been in multiple exhibitions throughout the USA, Japan, Korea, Taiwan, England, Germany, Czech Republic, Lithuania and Spain. He has presented workshops and lectures at more than 80 Universities, Colleges and Art Centers. His work has been published in Ceramics Monthly, American Craft, Clay Times, Ceramics Art and Perception as well as several textbooks.
I find an interesting parallel between architecture and pottery. Like architecture, pottery deals with elements of form and structure, interior/exterior, utility or containment, surface detail and adornment. I have attempted to produce work that shares the minimal and complex, the miniature and monumental, the formal elements of design, the implied and the possibility of actual function.
JANE SHELLENBARGER
Tray
$475
ARTIST STATEMENT Culture accumulates in layers upon our objects of use, ritual and prosaic, my own intentions are to shed light and perhaps even give reverence to this cultural dynamic. The most relevant, influential and culturally potent objects fraternize with an edge, exploring the moment where an expected beauty becomes deconstructed, and familiar objects are reconsidered. The tipping point between elegance and awkwardness, questioning conventional beauty within historical forms, is where the familiar object becomes the artifact, speaking of multiple histories and the nuanced and complex relationship we have with objects in our everyday lives.
ARTIST BIO Jane Shellenbarger was born in Detroit, Michigan. She was a CORE student at Penland School of Crafts in Penland, North Carolina from 1987-1989. Jane received her B.F.A. degree from the Kansas City Art Institute, and her M.F.A. from Southern Illinois University Edwardsville. Following graduate school, she worked as a resident artist at the Archie Bray Foundation for the Ceramic Arts in Helena, MT, 1996-97. She established her studio pottery, Mill Station Pottery, in rural Hale, Michigan in 1997.
She has held teaching positions at multiple academic institutions, Kansas City Art Institute and Northern Michigan University and currently, she is an Assistant Professor in The School for American Crafts at Rochester Institute of Technology. She has taught at many craft schools around the country, among them, Penland School of Crafts, Arrowmont School of Crafts, and Haystack Mountain School of Crafts. Shellenbarger has exhibited her work in several prominent galleries around the country including: Leslie Ferrin Gallery, Lacoste Gallery, Lill Street, AKAR Gallery, Santa Fe Clay, Philadelphia Clay Studio, Red Lodge Clay Center and Baltimore Clayworks. Her work is also in the public collections of the Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington D.C., San Angelo Museum of Fine Art, University of Arkansas, Fayetteville, AR, The Archie Bray Foundation for the Ceramic Arts, and The University Museum, Southern Illinois University at Edwardsville. Jane recently bought a house and studio in rural western New York. She is anxious to build some atmospheric kilns and establish a new studio pottery on Buck Run Creek.
GERTRUDE SMITH
Ruffled Teapot Porcelain clay, soda fired 2014
$145
ARTIST STATEMENT
ARTIST BIO
These days, I contemplate the relevance of living as a practicing artist with our planet facing extraordinary shifts. I imagine how the work of my hands and heart may be of benefit. Perhaps, working as a potter develops beneficial qualities: caring attention, commitment, honesty, courage, passion, hard work, love of beauty, and a willingness to get one’s hands dirty. Engaging daily in the primordial, mysterious act of creation with earth, water, fire, air, the essential raw materials of which we and the pots are made, links us with all earthly life.
Gertrude Graham Smith, nicknamed Gay, is a studio potter and teaching artist single firing porcelain ware in a soda kiln near Penland, NC. She held artist-in-residencies at the Archie Bray Foundation in Helena, Montana and at Penland School in Penland, NC. Her teaching credits include workshops at Penland, Haystack, Harvard, and Findhorn, Scotland. Her work is represented inter- nationally, is in collections such as the Mint Museum in Charlotte, NC, and Yingge Ceramics Museum in Taiwan. She’s been featured on the cover of Ceramics Monthly magazine, and her work is in numerous publications such as Making Marks and Functional Pottery by Robin Hopper, and Working with Clay by Susan Peterson. Grant awards include a North Carolina Arts Council Visual Artist Fellowship and two Regional Artist Project Grants. She currently serves on the Board of Trustees of Penland School of Crafts.
Simple pottery, like cups, are made to hold and serve nourishment. Do consciously made pots car- ry some ineffable ability to transform and heal? What may be embedded in the stone of fired clay by the alchemical bond between material, process, and person. What is conveyed through use or enjoyment? I’m intending a reality where compassion arises in the heart when hand embraces handle.
SHOKOTERUYAMA
Watering Can Coil Built, sgraffito decorated, glazed earthenware
ARTIST STATEMENT Growing up in Japan, I remember tradition being part of daily life. Temples and shrines were everywhere, even inside our home. I was drawn to these sacred spaces and ceremonial objects because they were decorated with texture and pattern contrasted by areas of calm and stillness. These memories inspire my current work. I make boxes, intimate bowls, and small plates for precious objects, vases for flower arranging and a variety of serving pieces. Many of the forms allude to function and would serve food well, but are more comfortable being placed in sacred spaces of the home like the center of a formal dining room table, a hope chest, or a bedside stand. The making begins with bisque molds, slab construction, and coil building to make thick, heavy forms. I carve, shave, and sand excess clay away to slowly reveal the final shape. Puff handles and other elements are added for physical decoration. White slip is brushed over the red earthenware to create depth and motion. Then I carve back through the slip exposing the red clay. Shiny translucent glazes are applied over the decorated areas and opaque matte glazes over the calm areas. Ornamentation is important to my ideas. I have created motifs called vine patterns to lead your eye around the work. Patterns run continuously to create narrow borders or to fill large amounts of space. They can flow into tight curves just as easily as they can bend around the belly of a form. The patterns create visual movement representing water, wind, and clouds.
$165
I create characters based on human relations and things I have experienced. To me it is much easier to draw owls than humans. I don't want to tell specific stories to people, I want people to create their own. Sometimes you feel like the weight of a turtle standing on top of you and sometimes you feel like an owl standing on top of the world. Some of my characters have a dark nature. I think that is life. Sometimes dark things happen. Overall, I want my work to have a sense of hope and a sense of humor because life goes on.
ARTIST BIO Shoko Teruyama grew up in Mishima, Japan. She earned a BA in education and taught elementary school two years before coming to the United States to study art at the University of Nebraska-Lincoln in 1997. Shoko received her MFA in ceramics in the fall of 2005 from Wichita State University. She finished a three-year residency at the Penland School of Crafts in 2008 and is now a studio artist in Marshall, NC. Shoko's handbuilt work is made of earthenware with white slip and sgraffito decoration. She has developed a cast of characters based on experience with human relations. As the characters interact, Shoko wants the viewer to find their own stories. The work is seemingly whimsical, but reveals itself to be something more devious and interesting.