The Boneyard Object Guide

THE BONEYARD 14

13

1

27

26

2

44

28

45

46

12 15

16

17

30

18

29

48

47

49

50

31 19

3

20

32

4

33

34

39

5

6

21

7

9

10

53

54

56

57

58 59

18 JASON BIGE BURNETT cup / earthenware

26 TIP TOLAND sculpture / stoneware

TJ ERDAHL sculpture / earthenware

19 KRISTEN KIEFFER 11 JOHN GILL vase / porcelain handle study / stoneware

3

MATT TOWERS teapot / porcelain

12 MATT TOWERS vase / porcelain

20 KENSUKE YAMADA sculpture / stoneware

28 J EN ALLEN sauce boat / porcelain

4

SAM CHUNG teapot / porcelain

13 MIKE JABBUR lidded vessel / porcelain

29 M IKE JABBUR teapot / porcelain

5

KENSUKE YAMADA sculpture / stoneware

14 JASON BIGE BURNETT plate / earthenware

21 J EN ALLEN salt & pepper shakers / porcelain

6

LISA ORR teapot / earthenware

15 ADAM POSNAK cup / earthenware with white slip

9

55

11

2

8

41

43

10 DOUG PELTZMAN handle study / porcelain

16 AYUMI HORIE tile / earthenware JOHN GILL with white slip handle study / stoneware 17 AYUMI HORIE DOUG PELTZMAN mug / earthenware handle study / porcelain with white slip

40

42

24

KIM DICKEY vessel / stoneware

ADAM POSNAK teapot / earthenware

38

22

1

7

37

25 23

8

36

35

22 ANDY BRAYMAN salt & pepper shakers / porcelain 23 KARI RADASCH cup & saucer / earthenware 24 LAUREN GALLASPY sculpture vase / porcelain 25 JOHN GILL ewer / stoneware

27 LISA ORR pitcher / earthenware

30 JEN ALLEN scoop / porcelain 31 JEREMY BROOKS process model / plaster 32 KARI RADASCH dish / earthenware 33 A NDREW MARTIN teacup / porcelain 34 MATT MITROS cup / 3D printed porcelain

61

52

51

35 MATT MITROS cup / 3D printed porcelain 36 MATT MITROS cup / 3d printed porcelain 37 MATT MITROS sculpture / slipcast & 3D printed porcelain 38 MATT MITROS cup / 3D printed porcelain 39 RYAN WILSON KELLY

sculpture / paper mâché and glazed earthenware

42 JASON BIGE BURNETT

cup / earthenware 43 JOE BOVA sculpture / stoneware 44 MATT TOWERS plate / porcelain 45 MIKE HELKE pouring vessel / stoneware 46 AYUMI HORIE plate / earthenware 47 KRISTEN KIEFFER mug / porcelain 48 JEN ALLEN mug / porcelain

40 KARI RADASCH cake plate / earthenware 49 MIKE JABBUR mug / porcelain 41 DOUG PELTZMAN 50 JOHN GILL mug / porcelain mug / stoneware

60

51 JOHN GILL square vessel / stoneware 52 AYUMI HORIE matchstriker / earthenware 53 AYUMI HORIE mug / earthenware with white slip

58 DOUG PELTZMAN mug / porcelain 59 MARY LOUISE CARTER cup / porcelain 60 JASON BIGE BURNETT cup / earthenware 61 K ENSUKE YAMADA sculpture / stoneware

54 ADAM POSNAK cup / earthenware with white slip 55 JEN ALLEN flower vase / porcelain 56 ANDREW MARTIN teacup and dish / porcelain 57 MATT MITROS cup / slipcast & 3d printed porcelain

HIGHLIGHTED WORKS FLIP PAGE FOR EXTENDED LABELS

2 TJ ERDAHL / sculpture Modeled on a wooden figurehead from a ship, TJ Erdahl’s exacting methods transform clay to appear as weather-worn wood, complete with clay imitations of metal nails. Erdahl uses hand-building techniques of coil and pinch to shape the clay.

6 LISA ORR / teapot Lisa Orr’s work consists of layers of color and texture. As finished functional forms, the vibrant glaze colors pop and sparkle. Bisque works proved a rare opportunity to view Orr’s work without the color, focusing more on the build-up of texture through stamps, clay sprigs, and a red-iron wash that will later interact with the glazes for greater color variation.

16 & 52 AYUMI HORIE / tile and matchstriker Ayumi Horie applies white slip over red earthenware and then carves through the white slip to create drawings—here a rabbit on the tile (16).

This method is called sgraffito. Ayumi Horie is known for innovation. Horie innovated a technique called “dry throwing” in which no water is added.

Instead, solid blocks of clay are carved into a centered orientation. Then she scoops out the volume using trimming loop tools. With the remaining rough cylindrical form, Horie uses her hands and pottery rib tools to press the inside volume out. With this motion, she gives fullness and vibrancy to her form. Once each piece reaches the leatherhard stage, Horie then uses loop tools to trim the bottoms for the final finish (52).

19 KRISTEN KIEFFER / vase Kristen Kieffer designs her own plaster stamps. Used once, a stamp will press a design into clay. Kieffer uses stamps repeatedly, flipping and alternating the stamps to create intricate patterns. With each stamping, Kieffer presses the stamp firmly into the clay while also pressing the clay firmly into the stamp. The second part of that process leads to undulating forms that expand where finger pressure alters the cylindrical wheelthrown starting form.

23 KARI RADASCH / cup & saucer Kari Radasch decorates her forms with applique sprigs, which are small pieces of clay that are added to the surface of pottery. Radasch cuts shapes from thin slabs and then applies them directly onto her work. The term appliqué is more appropriate for Radasch as her sprigs do not derive from a mold.

24 LAUREN GALLASPY / sculpture vase This modeled and slipcast squirrel merges two methods bridging two separate ways of work: slipcasting and hand-building. First, Lauren Gallaspy poured liquid clay (slip) into a plaster mold to cast a squirrel form. After removing the still-wet clay squirrel from the mold, she took two innovative steps: First she reoriented the squirrel from standing to a position on its belly. She then used hand-building to pinch a clay construction onto the squirrel’s back. What is the intended orientation of the finished object?

Gallaspy’s simple turning of one object creates the opportunity to invent form and suggest previously unseen possibilities.

25 J OHN GILL / ewer

In this large pouring ewer, John Gill folds, bends, cuts, and assembles clay shapes to invent a volumetric body intended to hold water. By adding an elongated spout and a twisting neck, the form becomes recognizable as a pouring vessel while remaining something that we have never seen before.

As a maker and as a teacher, Gill’s creative innovations flow quickly. When discussing the profile of cups and bowls, Gill often picks up paper and scissors. He folds paper and cuts a profile while discussing the movement of the cut line to shape the rim, body, and foot of the form. When he opens the folded paper, the form is clearly visible. He is looking always to create something of a surprise, something that might prompt a problem to solve, and finished forms that add to the long history of pouring vessels within ceramics.

31 JEREMY BROOKS / process model Jeremy Brooks innovates by applying familiar modeling techniques in unfamiliar ways. Most often in slipcasting, the form produced—what we see—is the detailed ceramic shell. Brooks inverts this process. He took a found, glaze-fired cast figurine and instead of casting its exterior details, he poured plaster inside the figurine. Once the plaster inside set and hardened, Brooks broke the figurine to reveal its interior form. In the resulting form on view, the cloak and hood are suggested but the hands and face are lost.

This lack of detail holds poetic potential. The viewer’s imagination must create the overall impression. Imagine Brooks’ slipcasting the figure on view—this would result in yet another loss of detail. If he repeated these process, each duplication would show progressive poetic de-formation.

32 KARI RADASCH / dish Kari Radasch decorates her forms with applique sprigs, which are small pieces of clay that are added to the surface of pottery. Radasch cuts shapes from thin slabs and then applies them directly onto her work. The term appliqué is more appropriate for Radasch as her sprigs do not derive from a mold.

33 & 56 ANDREW MARTIN / teacups and dish Andrew Martin’s designs are driven by duplication through moldmaking and slipcasting. The multiples created are then used to develop further variation. In these works, Martin incorporates patches of marbled slabs to bring variation to the dish and the teacups and saucers. The dish as well as a teacup and saucer (56) have black stain marbled into the wet porcelain casting slip. In another teacup (33), Martin drizzled white casting slip onto the surface adding a sculptural quality.

34–38 MATT MITROS / cups and sculpture Matt Mitros is a master of innovation. These cups and sculptures include 3D printed, slipcast, handbuilt, and wheel-thrown elements. Each one of these techniques carries with it a particular visual vocabulary stemming from the tools used. Through assemblage Mitros forces these vocabularies to interact, creating a dialogue across traditional techniques.

39 RYAN WILSON KELLY / sculpture Ryan Wilson Kelly models clay into large heads, creatures, and historical figures and then casts paper mâché over the clay form. These casts then become objects on their own or Kelly uses them as props for photography and short films in which he performs. The eyes of the Swamp Monster are the only fired ceramic components.

42 & 60 JASON BIGE BURNETT / cup Jason Bige Burnett uses screenprinting techniques to layer images of horses and dots onto a sheet of newsprint. The technique requires that Burnett print the most visible layers first, followed by background colors.

Once he has the transfer image completed onto the paper, he then covers that image in white slip and he also covers the cylinder or plate (#14) in white slip. The slip acts to bind the image onto the cylinder. He wraps the paper around the cylinder, smoothing the paper onto the form and pressing out any air bubbles. A wooden roller helps adhere the slip from the paper onto the cylinder. Given a few moments to dry, all the pigmented transfer and slip from the paper adheres to the cylinder. The paper is gently removed and the image is transferred completely. If you look closely, some of the imagery did not transfer—a tell-tale sign of this process. This adds to the intended aesthetic of this method.

44 MATT TOWERS / plate Matt Towers formed this plate by draping a porcelain slab over a bisqued or plaster hump mold. A hump mold is a convex shaped form that allows a potter to press a slab of clay over the top. Hump molds often produce plates, platters, and shallow bowls. The hump mold used by Towers contains finely carved details. When Towers presses the clay into the mold, the soft clay takes on the impression of those details. This method for multiple production can also be seen in Sung Dynasty (960–1279) Chinese celadon bowls. With a hump mold, the detail will be revealed in the face of the plate, on the inside of the vessel. In a related method found in Roman ceramics, Samian Ware is shaped within a detail-carved slump mold, resulting in bowls and cups with details on the outside of the form.

61 KENSUKE YAMADA / sculpture Kensuke Yamada’s figures convey character and personality through gestures and features. Stories are suggested through tense and straight fingers, closed eyes, or hair bows and a curious unfinished game of tictac-toe. Yamada constructs his figures by pinching one coil of clay onto the next, slowly building the walls of the form until the full figure or head is complete. As with most ceramic objects, the inside is hollow to allow the clay to dry and fire without cracking.

THE BONEYARD

ROTATING FEATURES

2

FEATURE ROTATION

FEATURE ROTATION 1

AUGUST 9–SEPTEMBER 19, 2021 ARTIST: ANDREW MARTIN THEME: INNOVATIVE FORM

FEATURE ROTATION 2

SEPTEMBER 21–DECEMBER 5, 2021 ARTIST: JOANNA POWELL THEME: PUSHING MATERIAL BOUNDARIES

FEATURE ROTATION 3

DECEMBER 7, 2021–FEBRUARY 13, 2022 ARTIST: KARI RADASCH THEME: SURFACE DESIGN

NEW ARTWORKS EACH MONTH

ARTIST FEATURE

JOANNA POWELL SEPTEMBER 21–DECEMBER 5, 2021 Joanna Powell’s amphoras demonstrate a reverence for classical jars, but her clunky aesthetic offers a joyous, contemporary reimagining of these ancient forms.

The physicality of her marks emphasizes tactile qualities and the depth of Powell’s connection to the soft clay.

Powell is an innovator. Potters balance visual and tactile qualities to complement functional design. Riffing on traditional loop handles, these cut-out and extended, pointed mug handles seem to exaggerate form for visual effect. But, upon handling, one would find their thumb snuggly fit into the small cut out or find the long pointed tip nestling into one’s grip with unexpected comfort. Powell inventively merges visual and tactile elements to enhance overall function and joy in use.

THEMATIC FEATURE

PUSHING MATERIAL BOUNDARIES SEPTEMBER 21–DECEMBER 5, 2021

1–2 JEREMY HATCH Jeremy Hatch pushes material boundaries by taking the exacting properties of plaster and porcelain to replicate fine details of form. These porcelain styrofoam forms are examples of the process he applies to create large-scale works such as a full-size porcelain swing set.

Hatch used plaster to cast the form of styrofoam. Later he poured liquid porcelain (slip) into the plaster mold to create a porcelain styrofoam block. On view is one bisqued porcelain block and one finished porcelain block including gold luster–a playful high-end finish for a humble chunk of styrofoam.

3–5

JEREMY BROOKS Brooks is a creative tinkerer. Through process he develops creative insights to find new potential. In these pieces, Brooks was demonstrating the use of a folding template to create plaster models. Brooks drew a pattern on paper backed with duct tape. He used a razor blade to score the paper, allowing it to fold along the cut edges.

Brooks then folded the paper template (left) into a faceted cylinder and filled it with plaster. When the plaster dried, it captured the folds in the paper to create dimensional form (middle). The resulting plaster serves as a model for future design stages.

6–7 LAUREN GALLASPY By adhering clay at various stages of dryness Lauren Gallaspy defies many accepted techniques to push material boundaries. Gallaspy combines bone-dry sticks of porcelain with liquid clay, and then adds all those pieces onto wet clay.

Normally, bone-dry clay will not adhere to moist clays without cracking apart due to shrinkage caused by water loss. Through intense study of methods and material, her works withstand the shrinkage.

Where rules can be helpful for predictable outcomes, freedom from rules has its own benefits. Gallaspy’s work displays and suggests methods that liberate and innovate material and practice.

2 1 7

6

3

4

5

LOOK FOR THESE DETAILS