OUTPOUR 2013 CATALOG

Pegasus Pouring Can, 2013Stoneware, wood fired

and decal fired$200

BIOGRAPHICAL INFORMATION

Dan Anderson was born in Ramsey County Hospital in St. Paul, Minnesota on November 2, 1945. He grew up in a typi-cal middle-class family that operated a family run corner gro-cery store in Hudson, Wisconsin. Dan spent the better part of his youth in the out-of-doors, many in the Boy Scouts. He earned the highest scouting award, the Eagle Scout award. Dan attended the University of Wisconsin-River Falls where he received a Bachelor of Science degree in Art Education in 1968. 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 he finished his undergraduate degree in 1968 and im-mediately applied to graduate school at the Cranbrook Acad-emy 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 col-lege level teaching at Southern Illinois University-Edwards-ville (SIUE). L11School of Crafts, Penland School, Anderson Ranch, Peters Valley Craft Center, Watershed and Arrowmont School. A multiple grant/award recipient, he has received a NEA Artist Fellowship, twelve Illinois Arts Council grants (in-cluding six Artist Fellowships) and a Ford Foundation Grant. 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 Ed-wardsville studio, Old Poag Road Clay & Glass, twice a year. He has been wood firing for over thirty years. Dan is married to Caroline Bottom Anderson, a glass/metal artist. They have two adult daughters, Sarah and Molly, both living in Portland, Oregon and three grandchildren, Penny, Loretta and Archer.

ARTIST STATEMENT

For more the twenty years, the bulk of my ceramic work has been inspired by the ubiquitous water tower. While browsing through second hand and antique stores, I not-ed with interest how my favorite “rocket ship” shaped wa-ter towers were amazingly similar to the oil and gas cans that occupied many of the filing stations of my youth. As a result, over the past two decades, I have been waf-fling back and forth between making clay water tanks and clay gasoline and oil cans. The decals that are fired on the ceramic cans feature logos of oil companies from for-eign countries as well as from the USA, past and present.My ceramics, an amalgam of vessel and industrial arti-fact, is full of irony - handmade replicas of man-made ob-jects, soft clay renderings of hard metal objects, aged and impotent reminders of a once-powerful age. The oil and gasoline cans represent the machinery that once threatened to devalue the work of human beings. Now, they seem like the hard-working humans they served - stoic, dignified, straightforward, but plumb wore out.The usefulness of machines (objects) in their original states is limited - as the products of progress, they’re doomed to obsolescence - but by recreating the cans in a “primitive” medium (clay), I believe they will endure through the ages. They have been transformed for eternity into art. In this way, too, I feel I have taken the aesthetic and political ugli-ness out of industry, reminding everyone that change can be both hurtful/traumatic and positive/healing. Once again underscoring the power of art to uplift the human condition.By firing the miniature water tanks - and in this show an oil can - in an atmospheric wood kiln, I am convinced that instead of merely heating the clay, the flame and ash have the capacity to alter and enhance my clay oil can. The glazed surface, created by flame and fly ash from the sustained firing, imbue a “poetic” richness. What an interesting conspiracy: artist, clay and wood firing.

D A N A N D E R S O N

Gulf Pouring Can, 2013Soda fired stoneware,

Sandblasted, Decal$300


Dan Anderson was born in Ramsey County Hospital in St. Paul, Minnesota on November 2, 1945. He grew up in a typi-cal middle-class family that operated a family run corner gro-cery store in Hudson, Wisconsin. Dan spent the better part of his youth in the out-of-doors, many in the Boy Scouts. He earned the highest scouting award, the Eagle Scout award. Dan attended the University of Wisconsin-River Falls where he received a Bachelor of Science degree in Art Education in 1968. 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 he finished his undergraduate degree in 1968 and im-mediately applied to graduate school at the Cranbrook Acad-emy 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 col-lege level teaching at Southern Illinois University-Edwards-ville (SIUE). L11School of Crafts, Penland School, Anderson Ranch, Peters Valley Craft Center, Watershed and Arrowmont School. A multiple grant/award recipient, he has received a NEA Artist Fellowship, twelve Illinois Arts Council grants (in-cluding six Artist Fellowships) and a Ford Foundation Grant. 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 Ed-wardsville studio, Old Poag Road Clay & Glass, twice a year. He has been wood firing for over thirty years. Dan is married to Caroline Bottom Anderson, a glass/metal artist. They have two adult daughters, Sarah and Molly, both living in Portland, Oregon and three grandchildren, Penny, Loretta and Archer.

ARTIST STATEMENT

For more the twenty years, the bulk of my ceramic work has been inspired by the ubiquitous water tower. While browsing through second hand and antique stores, I not-ed with interest how my favorite “rocket ship” shaped wa-ter towers were amazingly similar to the oil and gas cans that occupied many of the filing stations of my youth. As a result, over the past two decades, I have been waf-fling back and forth between making clay water tanks and clay gasoline and oil cans. The decals that are fired on the ceramic cans feature logos of oil companies from for-eign countries as well as from the USA, past and present.My ceramics, an amalgam of vessel and industrial arti-fact, is full of irony - handmade replicas of man-made ob-jects, soft clay renderings of hard metal objects, aged and impotent reminders of a once-powerful age. The oil and gasoline cans represent the machinery that once threatened to devalue the work of human beings. Now, they seem like the hard-working humans they served - stoic, dignified, straightforward, but plumb wore out.The usefulness of machines (objects) in their original states is limited - as the products of progress, they’re doomed to obsolescence - but by recreating the cans in a “primitive” medium (clay), I believe they will endure through the ages. They have been transformed for eternity into art. In this way, too, I feel I have taken the aesthetic and political ugli-ness out of industry, reminding everyone that change can be both hurtful/traumatic and positive/healing. Once again underscoring the power of art to uplift the human condition.By firing the miniature water tanks - and in this show an oil can - in an atmospheric wood kiln, I am convinced that instead of merely heating the clay, the flame and ash have the capacity to alter and enhance my clay oil can. The glazed surface, created by flame and fly ash from the sustained firing, imbue a “poetic” richness. What an interesting conspiracy: artist, clay and wood firing.

D A N A N D E R S O N

B O B A R C H A M B E A U

Ewer, 2012Stoneware, soda fired

$350


Robert Archambeau is a Canadian studio potter from Winnipeg and Bissett, Manitoba. He received his MFA from Alfred University and taught at RISD (4 years) and the University of Manitoba (23 years), retiring in 1991. Robert is the recipient of a Gover-nor General’s Award in Visual and Media Arts and a Manitoba Arts Council Senior Grant. His pottery is represented by Akar Gallery (Iowa City, Iowa, USA) and David Kaye Gallery (Toronto, Ontario, CANADA).

ARTIST STATEMENT

My aim in creating is not the decoration or didactic or clay as visual entertainment, it is not political. In-stead, I hope my crockery is, in some measure, a dis-tillation of the magic and mystery that surrounds me on this, my part of the Canadian Pre-Cambrian Shield. I strive for, at its best, pottery that is serene, rich in detail, detached from the mundane and time-less. The ewer in this Ben Bates curated OutPOUR show is made out of stoneware clay. It has been glazed with a combination of Suzy Lindsey’s Yel-low Shino glaze under Wayne Higby’s Water Blue sprayed glaze. Once removed from the cooled soda firing, the teapot was sandblasted, oiled and washed.

B E N B A T E S

Cruet with Funnel and Tray, 2012Wood fired stoneware

$150


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 Nation-al, 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 Fea-tured 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 Techni-cian at the College of Lake County in Grayslake, Illinois.

ARTIST STATEMENT

I am interested in the functional format as a realm of exploration, but I strive for my pieces to tran-scend 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 mate-rial 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.

J O E B E N N I O N

JugWheel thrown, woodfired

stoneware. Cone 11$120


Joseph Bennion is a native of Utah. For the past 36 years he has lived and worked in Spring City, Utah with his wife Lee Udall Bennion who is a painter. Joseph at-tended Tuscarora Pottery School and Brigham Young University where he earned a MFA in Ceramics. He has lectured and taught workshops in Japan, Europe, Can-ada, Jamaica and through out the United States. His work, which is widely published, appears in numerous private and public collections in the US and abroad. He currently operates Horseshoe Mountain Pottery and works seasonally as a Grand Canyon river guide.

ARTIST STATEMENT

II enjoy making pottery by hand on a foot powered treadle wheel. The physical involvement places me deeper in the process. The gentle sound of the wheel and the soft resistance of the clay in my hand are at once comforting and pleasant. Pleasure is an important element of our life in this world. It gives meaning and balance to the confu-sion, pain and sorrow we encounter here. I hope that as people take my pottery in hand and raise it to their lips they will recognize some of the experience I have had in making it and will find pleasure of their own in daily use.

ARTIST STATEMENT CONTINUED

The influences that most powerfully shape who we are located in the household and family. I want my pottery to be there and to promote and influence that growth, however small its part may be. The family dinner table is sacred space and the venue of first choice for my pottery. I prefer domestic pottery that is plain, quiet and un-derstated. I try to make pots that will play in the background, that speak gently but carry a great deal of information to those willing to wait and listen. I love the kinds of surfaces derived from wood fir-ing and salt glazing processes. In the case of the wood fired kiln I also enjoy the deeper involvement with process that the stoking of the kiln affords me. I love to sit with a kiln late at night and listen to the wood popping and the quiet sounds of the draft. Because of my decision to make intentionally quiet pottery I have had to leave the more public sales venues of street fairs, shops and galleries and sell my pottery at home where it is made. Somehow that environment shows my work to best advan-tage. I live and work in a small Mormon farming vil-lage in the mountains of central Utah. Over the past ten years I have shifted my marketing to bring people to my door rather than sending the work out. This seems to work best and it feels right to me.

B E N B A T E S

Sauceboat, 2012Wood fired stoneware,

NiChrome wire$125


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 Nation-al, 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 Fea-tured 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 Techni-cian at the College of Lake County in Grayslake, Illinois.

ARTIST STATEMENT

I am interested in the functional format as a realm of exploration, but I strive for my pieces to tran-scend 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 mate-rial 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.

M A R G A R E T B O H L S

Blue Leaf Tea Set, 2011Porcelain and Earthenware

$600


Margaret Bohls teaches ceramics at the University of Nebraska in Lincoln. She previously taught ceramics at the University of Minnesota in Minneapolis and at Sam Houston State University in Texas. She has also taught as visiting faculty at Penn State University, Ohio Univer-sity, and NSCAD University in Halifax. She received a BFA from Rhode Island School of Design in 1989. She was an artist-in-residence at the Archie Bray Foundation for the Ceramic Arts in Helen, Montana from 1990 to 1992. She then received an MFA from Louisiana State University in 1995. She has given lectures at universities across the U.S. and has taught hands-on workshops at art centers such as Greenwich House Pottery in New York, Ander-son Ranch Arts Center in Aspen, Colorado and Penland School of Crafts in North Carolina. Bohls’ work has been shown in over 100 group and solo exhibitions since 1995 and is included in the permanent collections of the Min-nesota Museum of American Art, the American Museum of Ceramic Art (AMOCA), and in the Sonny and Gloria Kamm Teapot Foundation Collection. She has written articles for the Journal of the National Council for Edu-cation on Ceramic Arts and Pottery Making Illustrated, and her ceramic work has been featured in periodicals such as Ceramics Monthly and Studio Potter Magazine.

ARTIST STATEMENT

Interior volume is a key element in functional forms. It defines the potential for containment. This body of work combines a strong sense of interior volume with a net- or grid-like surface of textural lines that contains and shapes that volume, creating buoyant, full, yet architectural forms. These seemingly uphol-stered forms are draped with a series of rich, complex glaze surfaces, many of them crystalline, lustrous, or having deep visual texture. These surfaces are sometimes further adorned with sprigs, floral glaze decals or metallic lustres. Porcelain forms are often placed in or on earthenware baskets or trays. The re-sult is a layering of disparate and complex elements that become integral. These pieces, in form and in the details of form, are created to visually commu-nicate their use or function. Their complex shapes and rich surfaces embellish and enhance this use.

D A V I D B O L T O N

TeapotWood-fired porcelain

$300


David Bolton is the Head of Ceramics at the College of Lake County.

I come from a working class family in rural, southern Indiana. My father is a retired factory worker, who pro-duced “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 ceram-ics in high school with my teacher, Don Crane, who en-couraged 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.

ARTIST STATEMENT

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 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.

D A V I D B O L T O N

Coffee-potWood-fired porcelain

$300


David Bolton is the Head of the Ceramics at the College of Lake County.

I come from a working class family in rural, southern Indiana. My father is a retired factory worker, who pro-duced “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 ceram-ics in high school with my teacher, Don Crane, who en-couraged 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.

ARTIST STATEMENT

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 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.

C H R I S C A M P B E L LBIOGRAPHICAL INFORMATION

Chris Campbell is a potter living in Austin, Texas. Since earning his Master of Fine Arts from Southern Illinois University Edwardsville in 2000 Campbell has focused on unglazed, wood fired pottery. His work is exhib-ited nationally. Currently Campbell is the ceramics lab technician at the University of Texas at Austin.

ARTIST STATEMENT

My choice to make functional pottery is a way to en-gage individuals through all their senses, something that sets this art form apart from others. Referencing the vast history of ceramics I focus on those cultures that place a deep significance on functional objects and at times have elevated a mundane pot to sublime status. Forms developed from these sources tend to-ward the understated and the familiar. I typically use unglazed clay fired in a wood-burning kiln as the fin-ish on a piece. Occasionally an austere glaze may be used to cover the form. In either case these pots will probably challenge the definition of beauty. These surface choices help to hold the users attention and perhaps discover something new and unexpected about the pot in particular and the experience of us-ing a functional object. My pots contain ideas lying somewhere between comfortable and uncomfortable, familiar and unfamiliar, ugly and beautiful. This mid-dle ground has the potential to interact with the indi-vidual on levels more closely associated with fine art such as feelings of spirituality or of personal reflection.

Pouring PotsWhite slip, clear glaze, $40Unglazed, wood-fired, $40Unglazed, wood-fired, $60

L I N DA C H R I S T E N S E N

Cooking Oil Can$250


Linda Christianson is an independent studio potter who lives and works in rural Minnesota. She studied at Ham-line University (St Paul, Minnesota), and the Banff Centre School of Fine Arts (Banff, Alberta, Canada). She exhibits nationally and internationally, including one person ex-hibits in London and St. Louis. Her pieces are in numer-ous public and private collections, including the Ameri-can 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.

ARTIST STATEMENT

The qualities that I search for in my work are fairly straightforward. I am interested in a pot that does its duty well yet can stand on its own as a visual object. These pots are not sculpture, and they are not art. They seem to act more like engaging tools than anything else.

S A M C H U N G

Cloud Teapot, 2013 Porcelain, China painted

6” x 8” x 6.5” $650


Sam Chung received his MFA from Arizona State Uni-versity (1997) and his B.A. degree from St. Olaf College in Northfield, Minnesota (1992). He taught at North-ern Michigan University from 1998-2007 and has been teaching at Arizona State University in Tempe since 2007. Sam’s work is inspired by pottery form, function, history, and contemporary design. His work is both hand-built and wheel-thrown/altered. He has exhibited at Harvey Meadows, Cervini Haas, AKAR, Dubuque Mu-seum of Fine Art, Sherry Leedy, Santa Fe Clay, Lacoste, Taipei County Yingge Museum and Incheon World Ce-ramic Center. Sam’s work is included in the collections of The Crocker Art Museum (CA), Incheon World Ceramic Center (Korea), Guldagergaard (Denmark), San Angelo Museum (TX) and ASU Ceramics Research Center (AZ).

ARTIST STATEMENT

My most recent work draws imagery from cloud motifs originating from Korean art and design. I am interest-ed in these clouds’ reference to my own cultural back-ground, but also their representation of a phenomenon that is constantly in flux. Its nature to morph and adapt is similar to the way in which I relate to my own vacillat-ing sense of identity. The clouds also suggest a fluid-ity and freedom in their physical form, and inspire me to introduce shapes that are less bound by a tradition.

B E D E C L A R K E

PitcherWood Fired Stoneware

$260


Bede Clarke has been a Professor of Art at the Univer-sity 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 Mu-seum 2012 Taiwan Ceramics Biennale, Ogden Mu-seum of Southern Art, New Orleans, LA, and, Arvada Center for Fine Arts and Humanities, Arvada, CO.

www.bedeclarkestudio.com

ARTIST STATEMENT

My goal in making this work has been to create quiet, simple pots, which like a good meal, leaves a healthy, full feeling. Pots like these have been my constant companions for over forty years. They are forms and surfaces that I never grow tired of. They are rooted in ceramic history, yet, I hope they reflect a personal and individual quality. Above all, these pots are in-tended to be good to live with and interact with on a daily basis. They are made with others in mind.

For me, good pots spring from compassion. My “tech-nique” amounts to wishing the work well as it moves through the process of forming, articulation of the sur-face 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.

CHARITYDAVIS-WOODARD

Pitcher, 2012Porcelain, wood/soda-fired

$150


Charity has been a full-time studio potter since earn-ing her MFA in 1997 from Southern Illinois University Edwardsville. In her home-based rural studio she fo-cuses on limited production porcelain functional pots which she fires in a Bourry-box style wood kiln. A part-time community college instructor, Charity is also a frequent workshop presenter for clay guilds, univer-sities and craft schools such as Anderson Ranch and Arrowmont School of Arts and Crafts. Her work can be seen in numerous professional publications and at exhibitions and gallery events around the country.

ARTIST STATEMENT

To express what I find moving and beautiful through the making of functional ceramics is a great privi-lege. The life of a potter demands something from all aspects of one’s being and is a wonderful dance of routine and experimentation, hard work and soul-ful searching. I am most interested in making pots that can be held in the hand and enjoyed visually and tactically, and every work session in the studio is an opportunity to explore new variations on famil-iar themes, keeping them fresh and recharged. I am deeply influenced by the environment I grew up in as well as by the natural world, architecture, functional objects of many types and historical decorative arts. Through my work I hope to contribute something to people’s lives that may help them pause and reflect on a bit of beauty or on a memory that brings plea-sure during their daily routines or ritual celebrations.

J O S H D E W E E S E

Pitcher, 2012Salt/soda fired stoneware

$180


Josh DeWeese is a ceramic artist and educator. He is an Assistant Professor of Art teaching ceramics at Mon-tana State University in Bozeman, where he and his wife Rosalie Wynkoop have recently built a home and studio. DeWeese served as Resident Director of the Ar-chie 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 exhib-ited and taught workshops internationally and his work is included in numerous public and private collections.

ARTIST STATEMENT

I am interested in how pots can be used to bring art into our lives, enhancing our experience with food, adorning our homes, and providing a necessary ritual to nourish our soul and mind as well as our bodies. I enjoy the per-sonality a pouring form takes on, and am challenged by the engineering involved to make them actually work.

P A U L D R E S A N G

Covered Pitcher Wood fired Stoneware

9H x 9W x 7D$80


M.F.A. in Ceramics, University of Minnesota, 1974

Currently Distinguished Research Professor, Department of Art and DesignSouthern Illinois University at Edwardsville Ceramics and Glassblowing

Paul has also published several books, served as a juror in ex-hibitions, lectured around the nation, been widely exhib-ited and presented with distinguished grants, fellowships and awards, with works in private and public collections.

ARTIST STATEMENT

I make ceramic sculpture and functional pots. Each of these informs the other in many ways. The practice and skill, which comes from making pots, supports more accuracy when assessing the details of all forms, be they “simple” cup or trompe L’oeil sculpture. The care-ful consideration of balance, volume, profile, skin, ten-sion, and the rhythms of light and shadow scrutinized in the sculptural work, hones these same sensibilities of the potter. When we potters realize that we are all making sculpture, we make much better pots. Some of our work holds soup or conveys coffee to the lips, and these pieces are no less engendered with signifi-cant aesthetic concerns. Ceramic sculpture may func-tion in additional ways, to convey a complex narrative, political point of view, or some social agenda. A sculp-tural piece may help to inform you about your political leaders’ squabbling and robbing you, and a bowl may help you to eat while you weep. Though both forms of work develop from training, planning, and intu-ition, the “multiples” nature of pot making allows for a flow of intuition through a series of objects. Train-ing and intuition with sculptural work evolves from a series as well, but it is centered in an ongoing sorting or analysis within the individual object (sculpture).

N E I L E S T R I C K

Teapot, 2012Porcelain, incised/layered glazes

Cone 6 oxidation$135


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.

For the past 8 years he has been the owner of Neil Estrick Gallery, LLC, in Grayslake. In addition to being a work-ing studio and gallery, the business has a large class-room 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 pot-tery kilns and wheels in the Chicago-Milwaukee area.

ARTIST STATEMENT

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.

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 bal-ance, 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.

A D A M F I E L D

Ewer 1 (left)Porcelain with incised pattern

$140

Ewer (right)Porcelain with incised pattern

$140


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. Adam has recently established his studio in Durango, CO. His works are included in private collections internationally.

ARTIST STATEMENT

I am fascinated with antique artifacts, the way they can speak of mastery of lost peoples, places, and cul-tures. This inspires me to create works that both radi-ate 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 retain-ing the modest utility of colonial American wares. The surface of my pottery is meticulously carved with intri-cate designs that borrow from nature and incorporatethe human touch. Much of the carving on my work is informed by the pattern languag-es found in indigenous fiber art, such as Ha-waiian tapa, Incan cordage and Zulu basketry.

J U L I A G A L L O W AYBIOGRAPHICAL INFORMATION

Julia Galloway was born and raised in New England. Her utili-tarian pottery has been exhibited across the United States and Canada and she has demonstrated at the NCECA and the Utilitarian Clay Conferences. Her work can be found in the collations of The Long Beach Museum of Art, Long Beach, CA Renwick Gallery, Smithsonian Museum, Washington, DC , The Huntington Museum of Art, Huntington, WV, Ar-chie Bray Foundation, Helena, MT , The Art Gallery of Nova Scotia, Halifax, Nova Scotia, Canada, and The Woodman Col-lection: The University of Colorado, Boulder, CO. She earned her undergraduate degree from New York State School of Ceramics at Alfred University and Graduate degree at the University of Colorado in Boulder. For nine years Galloway taught at the School for American Crafts at RIT and recently she moved to Missoula where she is a Professor of Ceramics and Director of the School of Art at the University of Montana.

ARTIST STATEMENT

I am interested in pottery that is joyous; objects that weave into our daily lives through use. Pottery decorates our liv-ing spaces with character and elegance. Teapots celebrate our drinking tea; a pitcher decorates a mantel when not in use; a mug with slight texture inside the handle allows our fingers to discover uniqueness. Pottery is a reflection of us. In making cream and sugar sets I am curious about their own inherent dialogue; the set itself is reminiscent of close conversations and their ritual celebratory use.


st recent work, I observe and create city and home land-scapes, public and personal landscapes, and internal and external landscapes on the surfaces of the pottery. I am in-terested in the contrasting elements of the cityscape I see from my window, and the abundant rich landscapes of my imagination. These surfaces illuminate the morning and evening, domestic and urban. The images on these pots represent this time passage; they surround and embrace the actual use of the pots. And there may be nothing finer than the idea of drinking from drawings of our neighborhoods.

An exhibition and gallery location is a brief but very impor-tant place for pottery. It is through the act of “show” that the public first comes to see and understand the work. Specific displays of pottery can bridge the viewer with the content in work. Displaying square tumblers on library-type shelves supports the ideas of all kinds of nourishment. Exhibiting cups at eye level decorated with the skyline of Rochester gives the viewer the sense of being inside looking outside.

I make pottery out of porcelain clay. It is extremely sensi-tive and responsive to the human touch when it’s soft; when fired it becomes dense and strong. It is this respon-sive nature of clay that continues to interest me. It re-sponds 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 an de-manding medium for the creative journey of making.

I am insistent about making things with my hands. A need for beautiful domestic objects and an instinctual drive to create things are tremendous dance partners for idea and desire. Utilitarian pottery supports and repre-sents our intimate rituals of nourishment and celebration.

Water Ewer and Cup, 2013Soda fire porcelain

7 x 4 x 4$260

J O H N G L I C KBIOGRAPHICAL INFORMATION

Born: Detroit, Michigan, July 1, 1938Wayne State University B.F.A. - 1960Cranbrook Academy M.F.A. - 1962United States Army - 1962 - 1964Started Plum Tree Pottery in 1964 continuing to present time COLLECTIONS: PARTIAL LISTINGRenwick Gallery, National Museum of American Art, Smithsonian Institution, Washington, D.C.,Gift of Mr. S. Hada, a Plate, 1978, accepted in 1985. A Sculptural Ves-sel, 1961, Gift of Hilbert De Lauter, accepted 1996

Los Angeles County Museum of Art, Los Angeles, Cali-fornia, a Bowl, 1987, a Lidded Box, 1997

ARTIST STATEMENT

This teapot and pitcher represents a 50 year passion with function. For this length of time I have been en-gaged in exploring the shapes and functional issues of these forms. An equally important aspect for me is the surface and color, texture and mark making which are all integral parts of the character of my pots.

TeapotStoneware soda/salt fired cone

10 7” x 5.5” $150

J O H N G L I C KBIOGRAPHICAL INFORMATION

Grants, recognitions

Louis Comfort Tiffany Grant in Ceramics, 1961.

Louis Comfort Tiffany Grant in Apprentice Assistance Program with Rostislav Eismont, 1972 - 1973.

National Endowment Grant for the Arts for aid in writ-ing book on studio potting, 1974.

Farmington Community Arts Council Artist in Resi-dence Title and Grant, 1977.

Michigan Foundation for the Arts Governor’s Award, 1977.

National Endowment for the Arts Fellowship Grant, 1977.

National Endowment for the Arts Fellowship Grant, 1988.

Michigan Council for the Arts, Individual Artist’s Grant, 1990.

American Craft Council Fellow Elected 2001

Governors’ Michigan Artist Award Art Serve Michigan 2001

ARTIST STATEMENT

This teapot and pitcher represents a 50 year passion with function. For this length of time I have been en-gaged in exploring the shapes and functional issues of these forms. An equally important aspect for me is the surface and color, texture and mark making which are all integral parts of the character of my pots.

Pitcher Stoneware soda/salt fired cone

10 12” x 6.5” $150

S T E V E N H I L LBIOGRAPHICAL INFORMATION

Steven Hill has been a functional potter since 1974, originally working out of a backyard studio and selling his work mostly at art festivals. He re-ceived his BFA from Kansas State University in 1973. During the mid 1990’s Hill began a resident artist pro-gram for aspiring potters, and other ceramic artists to work. Red Star Studios and 2010 Steven lived in Sand-wich, IL and co-founded Center Street Clay. Steven is now working at 323 Clay in Independence, MO and con-centrating on what he does best, making pots and teach-ing. Steven has taught over 250 workshops throughout the United States and Canada. Hill’s work is featured in nationally juried shows and in many ceramics books.

ARTIST STATEMENT

I simply have to make pots! While making pottery nour-ishes my soul, selling it puts food on my table. When I am sitting at the potter’s 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 pot-tery. 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 bound-aries 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 pot-tery that Italy is famous for, but the colors and tex-tures of Tuscany that spoke to me. The weatherworn painted wood and stucco surfaces, which highlight architectural form by stripping away surface em-bellishment, exerted their influence on my pottery.

I also love the atmospheric variation that occurs nat-urally across the surface of salt, soda and wood fired pots, but fired in gas reduction throughout most of my career. To give my pots the surface quality I was after, I learned to create my own atmospheric surfaces through careful blending and layering of sprayed glazes.

In December 2008 I discovered that reduction plays a rather insignificant role in the finished look of my pot-tery. The cascading rivulets of ash-like glazes and mys-terious microcrystalline mat surfaces work just as effec-tively in oxidation as they do in reduction! Even the rich brown and orange colors that I have always attributed to reduction firing are possible in oxidation. In 2009 ago I began the transition to ^6 oxidation fired por-celain, and the journey has been extremely rewarding.

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 liv-ing doing something I love as much as making pottery.

Porcelain Pourer, 2012Thrown, altered, co 6 electric fired

$480

C H U C K H I N D E SBIOGRAPHICAL INFORMATION

EDUCATION:MFA, Rhode Island School of DesignBFA, University of Illinois, Champagne1961-1963, Wisconsin State College, River Falls, WI

TEACHING EXPERIENCE:1973-2006, Professor, University of Iowa, Iowa City, IA1972-1973, Adjunct Professor, Rhode Island School of Design1969-1972, Instructor, University of Florida, Gainesville, FL

GRANTS:1973-2006, Five Sabbatical leaves, The University of Iowa1974, Craftsman Fellowship, NEA1970, Summer Research Grant, University of Florida1968, Summer Residency, Archie Bray Foundation

ARTIST STATEMENT

My work has two primary inspirations. First, the Japa-nese aesthetic that views imperfection and irregularity as forms of beauty. Second, more on a subconscious level, the Abstract Expressionist painting movement.

My pots are hand built in a manner that allows the natu-ral development of gesture and asymmetry. These two characteristics are the genuine result of the forming pro-cess, not an affectation. This construction method pre-serves the natural, inherent, plastic quality of the clay.

The processes of atmospheric firings have provided me with a viable vehicle for surface articulation and enrichment. These firing methods create a varied pal-ette of colors and textures. The intense interaction of fire and clay composes a distinct façade. The pot is riddled with textural imperfections and irregular non-descript patterns of color. These highly sought after characteristics are to be appreciated as posi-tive attributes and not perceived as defects or flaws.

Sake Bottle and CupsEarthenware, Pit Fired

$175/set

C H U C K H I N D E SBIOGRAPHICAL INFORMATION CONTINUED

WORKSHOPS AND LECTURES:Archie Bray Foundation, Penland School of Crafts, Arrow-mont School, Cub Creek Foundation, Red Lodge Clay Center, Anderson Ranch, RISD, Cranbrook, Chicago Art Institute, University of Georgia, Utah State University, University of Minnesota, University of Manitoba, Cleveland Art Institute

EXHIBITIONS:2011 Yunomi Invitational – Akar Gallery; 2011 Two Person (Ron Meyers), Baylor University; 2009 “Soft Beauty of Tra-ditional Shinos”, Concord University; “Drawn and Created”, Lil Street Gallery, Chicago; “Different Stokes”, International Woodfire Invitational, The University of Iowa; “Ashen Beauty”, Traveling Woodfire Exhibition; “2nd International Ceramic Competition”, Mino, Japan; “A Century of Ceramics in the US, Everson Museum; 31st Annual Scripps Invitational, Scripps College.

COLLECTIONS:Renwick Gallery, Smithsonian Museum; Archie Bray Founda-tion; Everson Museum; St. Louis Museum of Art; International Museum of Ceramics, Alfred University; numerous private collections


Those mottled surfaces of color and texture forge an indelible record of the entire firing. That compo-sition documents conclusively the journey of the flame and the aggressive atmosphere generated within the kiln. The resulting image reflects the ef-fect that Abstract Expressionism has had on my work.

In spite of their active physical posture, I view my pots as a quiet read, a read requiring a thorough, up-close perusal.

Sake Bottle and CupsEarthenware, Pit Fired

$175/set

C A T H I J E F F E R S O NBIOGRAPHICAL INFORMATION

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 Dun-can on Vancouver Island, British Columbia, Canada.

ARTIST STATEMENT

There is a ritual of use that can be shared and give special memories to celebrations and every day oc-casions between family and friends. Hand made pieces contribute unique qualities that engage the everyday moment. One must pay attention to lifting the oil then vinegar cruet from their tray and pour-ing them on a plate for bread dipping or over a fresh garden salad. Adding milk and sugar to the cup of tea becomes ceremonial. Raising the creamer from the top of the sugar bowl and pouring, then using the clay spoon for the sugar and replacing the cream-er back on the sugar bowl, ready for the next use.

Leaf close-up, 3 Piece Cruet SetSlab-built, salt/soda fired stone

$250

C A T H I J E F F E R S O NBIOGRAPHICAL INFORMATION

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 Dun-can on Vancouver Island, British Columbia, Canada.

ARTIST STATEMENT

There is a ritual of use that can be shared and give special memories to celebrations and every day oc-casions between family and friends. Hand made pieces contribute unique qualities that engage the everyday moment. One must pay attention to lifting the oil then vinegar cruet from their tray and pour-ing them on a plate for bread dipping or over a fresh garden salad. Adding milk and sugar to the cup of tea becomes ceremonial. Raising the creamer from the top of the sugar bowl and pouring, then using the clay spoon for the sugar and replacing the cream-er back on the sugar bowl, ready for the next use.

Stacking Leaf Cream & Sugar SetWheel-thrown, hand-built, salt/

soda fired stoneware$150

D O U G J E P P E S E NBIOGRAPHICAL INFORMATION

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 fir-ing 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 presents workshops at area colleges and universities, and participated as a panel member at the International Wood Firing Con-ference at Northern Arizona University in 2006.

ARTIST STATEMENT

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 sip-ping a cup of whiskey with a friend, pots are used ev-ery day by millions of people as they record and dis-cuss 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.

Bourbon BottleThrown and Altered, Wood Fired

Cone 12$300

D O U G J E P P E S E NBIOGRAPHICAL INFORMATION

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 fir-ing 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 presents workshops at area colleges and universities, and participated as a panel member at the International Wood Firing Con-ference at Northern Arizona University in 2006.

ARTIST STATEMENT

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 sip-ping a cup of whiskey with a friend, pots are used ev-ery day by millions of people as they record and dis-cuss 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.

Small BottleThrown and Altered, Wood Fired

$100

B R I A N R. J O N E SBIOGRAPHICAL INFORMATION

Brian R. Jones grew up in Syracuse, NY and is now an artist living and working in Portland, OR. He shows work nationally and has been a resident artist at Wa-tershed Center for Ceramic Arts and The Clay Studio in Philadelphia, PA. In 2001 he graduated with a BFA from Alfred University. He earned an MFA degree from Southern Methodist University in Dallas, TX in 2007.

ARTIST STATEMENT

My current work lies in my interest in the investigation of the transformative character of memories. A remem-brance of a time, place, or feeling serves as the point of departure for contemplation of form, color, and tone. The nature of how a piece reveals itself over time to an audience is the long echo of that initial reverie. My work is both a reservoir and an initiator of memories.

Upside-Down Weather pitcher, 2012Earthenware, slip, glaze,

thrown, altered,$120

M A T T K E L L E H E RBIOGRAPHICAL INFORMATION

Matt Kelleher is currently a working potter in Madison County, found in the mountains of western North Caro-lina. 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). As Matt continues a career of investigating soda-fired tableware, he has broadened his interests to include sculptural vessels, bird inspired forms, and collaborative work with Shoko Teruyama.

ARTIST STATEMENT

The slab built pitcher in this show is a continued investigation of “pitcher form” I started during graduate school in the 90’s. I have returned to this idea a few times as I discover new possibilities and questions. I am currently working with soda-fired red clay at cone 3. The surfaces show my interest in satin matte flashing slips that create veils of color and mysterious landscapes. I am excited by how the dark clay breaks through the slip on edges and corners.

Pitcher, 2012Cone 3 Soda-fired Red Clay

$200

B E N K R U P K ABIOGRAPHICAL INFORMATION

Ben Krupka is currently a studio artist and assistant pro-fessor of ceramics, sculpture and design at Bard College at Simon’s Rock in the Berkshire Mountains of southwestern Massachusetts. Krupka received his MFA from Utah State University in 2002. Following graduate school he was a resident artist at the Archie Bray Foundation from 2003–2005 where his work focused primarily on wood fired functional pottery. Since that time Krupka has taught many workshops nationally and internationally, most re-cently 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. He regularly exhibits at Ferrin Gallery (MA), Akar Gallery (IA), The Clay Studio of Philadelphia (PA) among others. In his free time he can usually be found on his bike, the trail, or in the kitchen.

ARTIST STATEMENT

I’m interested in how aesthetic ideals and both inten-tional and unintentional self-imposed parameters lead to a body of work. Most recently this question has driv-en me to ease my parameters, allowing for the explora-tion of ideas to take form outside of a previously pre-scribed “style.” This pursuit has opened the doors for investigation into both functional and sculptural work.

I see the stabilizing practice of making pots as a lan-guage in which I as maker, remain dedicated to the evolving conversation with material, aesthetic ideals and function. I work within the parameters of aes-thetic 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. The teapot in this exhibition is wheel thrown porcelain with a hand built and press molded spout fired to cone six in the electric kiln.

TeapotCone 6 Porcelain

$200

J A Y S O N L A W F E RBIOGRAPHICAL INFORMATION

Jayson Lawfer is a potter and director of an online art gallery and art consulting business entitled The Nevica Project (www.thenevicaproject.com). After graduating from the University of Montana, 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 work has been featured in pres-tige American exhibitions at the Lancaster Museum of Art (Pennsylvania), Missoula Art Museum (Montana), Cedar Rapids Museum of Art (Iowa), and New Hampshire Institute of Art. His pottery has been selected for the Totally Teabowl exhibition in England, the Sydney Meyer Fund International Ceramic Award in Australia and The Salzbrand 2006 competition in Germany. The American Society of Ceramics awarded Jayson one of the “2005 Emerging Artists of the Year”. From 2002-2006, he was the Executive Director of The Clay Studio of Missoula (USA), Gallery Director of its exhibition space and Resident Director of its artist-in-residence program. He was a Resident Artist and Guest Curator at Lillstreet Art Center in Chicago, Illinois from 2006-2007 and their Executive Director of the nonprofit sector of Lillstreet 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 Mexico, Italy and in the USA.

ARTIST STATEMENT

It is important for a teabowl 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 determina-tion by the creator to release artistic thought and meet the demands of practical purpose.The atmosphere of soda and wood firings en-gulf my senses. I wonder and study about how flashing patterns, wood ash deposits, and glaze colors are formed and challenge myself to find answers. I do so knowing that some of these answers are left unknown within the special life that lives and breathes inside of each kiln. Passion lives within everybody. Mine is in the momentum of clay.

TeapotPorcelain

7x 5.5”$180

J A Y S O N L A W F E R

PourerPorcelain and glaze, soda fired

4.5 x 5 x 6”$80


Jayson Lawfer is a potter and director of an online art gallery and art consulting business entitled The Nevica Project (www.thenevicaproject.com). After graduating from the University of Montana, 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 work has been featured in pres-tige American exhibitions at the Lancaster Museum of Art (Pennsylvania), Missoula Art Museum (Montana), Cedar Rapids Museum of Art (Iowa), and New Hampshire Institute of Art. His pottery has been selected for the Totally Teabowl exhibition in England, the Sydney Meyer Fund International Ceramic Award in Australia and The Salzbrand 2006 competition in Germany. The American Society of Ceramics awarded Jayson one of the “2005 Emerging Artists of the Year”. From 2002-2006, he was the Executive Director of The Clay Studio of Missoula (USA), Gallery Director of its exhibition space and Resident Director of its artist-in-residence program. He was a Resident Artist and Guest Curator at Lillstreet Art Center in Chicago, Illinois from 2006-2007 and their Executive Director of the nonprofit sector of Lillstreet 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 Mexico, Italy and in the USA.

ARTIST STATEMENT

It is important for a teabowl 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 determina-tion by the creator to release artistic thought and meet the demands of practical purpose.The atmosphere of soda and wood firings en-gulf my senses. I wonder and study about how flashing patterns, wood ash deposits, and glaze colors are formed and challenge myself to find answers. I do so knowing that some of these answers are left unknown within the special life that lives and breathes inside of each kiln. Passion lives within everybody. Mine is in the momentum of clay.

S I M O N L E V I NBIOGRAPHICAL INFORMATION

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, sensu-ous full curves and flame paths etched into the sur-face. This quest led me to an M.F.A. from the Universi-ty of Iowa. I now own Mill Creek Pottery in Wisconsin, where my apprentices and I work to advance the cause of wood-fired pottery. The next step on the journey is as a Fulbright Scholar in Taiwan exploring the po-tential of local materials. Come visit: SimonLevin.com.

ARTIST STATEMENT

Connection to our world and people around us is the failed promise of technology; technology alone cannot bring us closer. Touch, interaction, engagement and con-versation are the inroads to intimacy. Functional pottery in the home, in the hand, can begin to forge connection between artist and user, between object and human, be-tween process and people. I see my work as an artist is to forge deeper connections; to create interactive forms that communicate across the synapses of our compart-mentalized world. My work speaks eloquently about my love, exploration and development of a hugely rich and ancient process of wood fired ceramics. I use technol-ogy as a tool to create opportunities where the intimate connection to clay can occur. My website, SimonLevin.com, is a resource for information, relevant links, im-ages of work and kilns, published articles, and recent-ly, candid photos of pottery in other people’s homes.


I believe that our lives are richer for being connected to our everyday objects. Artistic potters are privy to a unique and subversive role in contemporary art. Whereas much of late twentieth century art has been an attempt to merge art and life, pulling art out of gal-leries and bringing life scenes into the setting of the museum, the functional pot continues to hold a place in everyone’s home. A cup is one of the first things we hold in the morning and often one of the last things we touch at night. When we touch our cups to our lips, it is an intimate moment. Honored by that intimate space, I hope to fill it with deep connections between user and maker, clay and fire, in an ageless exploration of emotion.

I believe in making the pots with a revelation of process. I integrate throwing lines and evidence of human touch into surface design. I do not hide attachments of handles or spouts. I seek the inher-ent qualities in the marks tools make and I approach each individual pot with a similar feel though the tool might differ. This revelation of process harmonizes with the choice of wood-firing. Ware from a wood kiln speaks loudly about its making. The end result is a narrative of the journey of raw clay to usable pot.

Ewer$48

Pitcher$110

S U Z E L I N D S A YBIOGRAPHICAL INFORMATION

Suze’s stoneware pots subtley suggest figure and char-acter as she manipulates her forms by altering them after they are thrown. Handbuilt elements , made from slabs, are integrated with thrown parts to create functional forms that have a personality of their own. An integral part of her work includes surface decoration to enhance form by patterning and painting slips and glazes for salt-firing. Her mark-making is strongly influenced by study-ing historical ceramics from cultures in Japan, Crete, Chile, China, and Native North Americans. The spring-board for form and function started with the study of Bernard Leach’s ideas while she was a CORE fellow at Pen-land School of Crafts in 1987-89, and continue to feed her interpretation of altered forms that function well.

Suze received her MFA from Louisiana State Univer-sity in 1992, and was an artist in residence at Pen-land School of Crafts from 1993-1996. She owns and operates Fork Mountain Pottery with her husband and fellow potter, Kent McLaughlin. They live and work in the mountains of western North Carolina.

ARTIST STATEMENT

I believe pottery can transcend the purely utilitarian, becoming a work of art that is integrated into our daily living. I envision functional pottery not only in terms of straightforward usefulness, but also, its abil-ity to invite the user to take pleasure in everyday ac-tivities, inviting participation, promoting hospitality.

Our culture appears to have less and less apprecia-tion for meaningful ritual, such as Sunday suppers at Grandma’s. The gathering together of family and friends around the dinner table can be a catalyst for ritual. As we see more people at fast-food restau-rants, it appears that a home-cooked meal is a thing of the past. Since pottery has a strong relationship with food service and meal times, it has the potential to intensify the depth of meaning and memory each person carries away from the table. Cooking, eat-ing, and sharing, are all important uses for my pots.

Pottery exists in a socially interactive framework in-volving daily rituals that vary from the mundane to the exalted. My work varies according to the event, such as a homey breakfast for two, a candelabrum to light a dinner party, or a platter to serve a main course.

Darted/Stacked Coffeepot, 2012Salt-fired stoneware

$170

L I Z L U R I EBIOGRAPHICAL INFORMATION

Liz Lurie has worked as a studio potter and teacher since 1991 in New York, Georgia, Massachusetts and Texas. She received a BA degree from Sarah Lawrence College in Bronxville, NY, in 1991, with concentrated study in dance and ceramics, and went on to participate in resi-dencies at the Watershed Center for the Ceramic Arts and Peter’s Valley Craft school, building two wood kilns and a salt kiln along the way. From there she moved to Georgia and was studio production manager at the Wild Rabbit Pottery in Athens, Georgia, as well as running her own ceramic studio. In 1999 she became studio techni-cian at the Worcester Center for Crafts in Massachusetts. From 2001-2009, Lurie moved to Dallas Texas where she as helped build and design a large commissioned train-style wood kiln.maintained her own studio and taught classes at Southern Methodist University, Collin County College and Brookhaven College.. In 2010, Liz Lurie re-cently resettled in upstate New York, where she is build-ing her wood kiln, making pots and teaching in her own studio. Lurie gives workshop, exhibits and sells her work in galleries and stores throughout the United States.

ARTIST STATEMENT

I grew up in a household where there was a tremen-dous respect for things handmade. Furniture, books, paintings and pottery all helped to transform our house into a home. They radiated warmth, a life, a his-tory, a beauty, and a strength which enriched our lives. They provided solace, were used in celebration, contempla tion and sometimes broken in anger.


when I go home to visit, they hold rich memories of forty plus years of use. It is my hope that my pots provide for their users in a similar manner, and in so doing become an intimate part of the daily rhythm of life.

I am struck by Milan Kundera’s words, “There is a se-cret bond between slowness and memory, between speed and forgetting”. I would like to think that I make work which takes time to discover. The dark nuanced surfaces are a quiet background to cele-brate food and drink. Perhaps after each use one no-tices something different, a subtle gesture or mark that involves one to such a degree that for a mo-ment the user is compelled to pause and slow down.

I am comforted by the place that pots occupy in the home. They reside in bookshelves and on desks, behind closed cupboards waiting to be chosen, and on coun-tertops ready for use. Though pottery may live in the re-cesses of our domestic clutter, it remains an integral part of why home can be such a grounding force in our lives.

Even after fifteen years of un-stacking wood kilns, I find there are endless surprises. Opening the kiln door always gives me an adrenalin rush: success-ful pots that are too few in numbers, pots that need more developing, pots that were complete mistakes. I go back to the studio rejuvenated, and the cycle of making and firing begins again.

Teapot, 2013Technique wood-fired stoneware

$85

K E N T M C L A U G H L I NBIOGRAPHICAL INFORMATION

Kent McLaughlin is a studio potter who began his train-ing in 1973 at Brevard Community College, the Univer-sity of Central Florida, and Penland School of Crafts. He apprenticed with a production potter before opening his own studio in 1985. Since 1996, he has owned and operated his private studio, with his wife, Suze Lindsay.

He makes his living selling his pots, and teaching work-shops. Kent has taught Fall concentration at Penland School of Crafts, Penland NC, a summer course atAnd-erson Ranch Art Center in Snowmass CO. and has also been an instructor at Arrowmont School of Arts and Crafts, Gatlinburg TN. Recent exhibitions include

“Functional Ceramic Invitational”, at the Wayne Cen-ter in Wooster OH , The American Pottery Festival at Northern Clay Center in Minneapolis, and “La Mesa” Santa Fe Clay NCECA Invitational, Portland OR.

ARTIST STATEMENT

I make pots because I love the process and limitless possibilities involved when working with clay. I am at-tracted to the idea that mankind made pottery before the written word. Pottery was an essential and funda-mental part of early civilization. Yet today pots fulfill a different requirement in modern life by carrying a message of life. I have made this object with my hands with the intentions of you using it with your hands. Your touch embracing my touch. The direct connec-tion between maker and user. This is an essential and fundamental consideration I enjoy when I work.

Bird Bottle, 2012reduction fired Stoneware

$45

L I Z L U R I EBIOGRAPHICAL INFORMATION

Liz Lurie has worked as a studio potter and teacher since 1991 in New York, Georgia, Massachusetts and Texas. She received a BA degree from Sarah Lawrence College in Bronxville, NY, in 1991, with concentrated study in dance and ceramics, and went on to participate in resi-dencies at the Watershed Center for the Ceramic Arts and Peter’s Valley Craft school, building two wood kilns and a salt kiln along the way. From there she moved to Georgia and was studio production manager at the Wild Rabbit Pottery in Athens, Georgia, as well as running her own ceramic studio. In 1999 she became studio techni-cian at the Worcester Center for Crafts in Massachusetts. From 2001-2009, Lurie moved to Dallas Texas where she as helped build and design a large commissioned train-style wood kiln.maintained her own studio and taught classes at Southern Methodist University, Collin County College and Brookhaven College.. In 2010, Liz Lurie re-cently resettled in upstate New York, where she is build-ing her wood kiln, making pots and teaching in her own studio. Lurie gives workshop, exhibits and sells her work in galleries and stores throughout the United States.

ARTIST STATEMENT

I grew up in a household where there was a tremen-dous respect for things handmade. Furniture, books, paintings and pottery all helped to transform our house into a home. They radiated warmth, a life, a his-tory, a beauty, and a strength which enriched our lives. They provided solace, were used in celebration, contempla tion and sometimes broken in anger.


when I go home to visit, they hold rich memories of forty plus years of use. It is my hope that my pots provide for their users in a similar manner, and in so doing become an intimate part of the daily rhythm of life.

I am struck by Milan Kundera’s words, “There is a se-cret bond between slowness and memory, between speed and forgetting”. I would like to think that I make work which takes time to discover. The dark nuanced surfaces are a quiet background to cele-brate food and drink. Perhaps after each use one no-tices something different, a subtle gesture or mark that involves one to such a degree that for a mo-ment the user is compelled to pause and slow down.

I am comforted by the place that pots occupy in the home. They reside in bookshelves and on desks, behind closed cupboards waiting to be chosen, and on coun-tertops ready for use. Though pottery may live in the re-cesses of our domestic clutter, it remains an integral part of why home can be such a grounding force in our lives.

Even after fifteen years of un-stacking wood kilns, I find there are endless surprises. Opening the kiln door always gives me an adrenalin rush: success-ful pots that are too few in numbers, pots that need more developing, pots that were complete mistakes. I go back to the studio rejuvenated, and the cycle of making and firing begins again.

Teapot, 2013Technique wood-fired stoneware

$85

L O R N A M E A D E NBIOGRAPHICAL INFORMATION

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 Du-rango, Colorado where she worked as a studio pot-ter 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 Ander-son Ranch Arts Center in Snowmass Village, Colorado. She is currently a studio potter in Durango, Colorado.

ARTIST STATEMENT

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 interdepen-dent. Making the work starts with a three dimen-sional division of space, continues with drawing on the surface, and finishes with the addition of color.New ideas are gradually incorporated into previous bodies of work through making. Source information for my pots can be motivated by something as simple as looking at the patterns in the stacked bricks of my kiln to something as complex as the forms in 18th century Eu-ropean 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 extraor-dinary, 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 make, reflecting humanity, and contributing to the craft.

Coffee Pot, 2012Wood/Soda Fired Porcelain

6”h x 6”w x 4”d$165

L O R N A M E A D E NBIOGRAPHICAL INFORMATION

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 Du-rango, Colorado where she worked as a studio pot-ter 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 Ander-son Ranch Arts Center in Snowmass Village, Colorado. She is currently a studio potter in Durango, Colorado.

ARTIST STATEMENT

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 interdepen-dent. Making the work starts with a three dimen-sional division of space, continues with drawing on the surface, and finishes with the addition of color.New ideas are gradually incorporated into previous bodies of work through making. Source information for my pots can be motivated by something as simple as looking at the patterns in the stacked bricks of my kiln to something as complex as the forms in 18th century Eu-ropean 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 extraor-dinary, 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 make, reflecting humanity, and contributing to the craft.

Teapot, 2012Wood/Soda Fired Porcelain

4”h x 5”w x 3”d$145

J E N N Y M E N D E SBIOGRAPHICAL INFORMATION

Jenny Mendes earned a Bachelor of Fine Arts degree from Washington University in St. Louis in 1982, and has been a full time studio artist since 1994. She has exhibit-ed her ceramic artwork nationally at galleries and juried shows. Since finishing a three-year residency at the Pen-land School of Crafts in 2007, she has completed addi-tional short-term residencies in France, Slovenia, Mace-donia, and the US. She currently resides in Ohio, teaches an occasional workshop, and gardens for pleasure.

ARTIST STATEMENT

Working with red earthenware clay I pinch, sculpt, and work intuitively, listening to the clay as it speaks through my hands. Being an attentive listener is important to my process. Objects are then overlaid with a detailed decorative narrative that I create by layering colored clay slips in a painterly manner. The content of the sur-face is revealed to me organically, as story and texture.


Ceramics become hearty enough in the firing pro-cess to survive for centuries if allowed to remain in-tact. Clay is keeper of history in so many ways. An-cient artisans that used this very same material to speak about the worlds they were living in have been my inspiration. Like my predecessors, I use clay to document the world around me. Stories, observa-tions, dreams, current events, longings and entangle-ments, and my deep connection to the natural world are source material. I feel most engaged in my pro-cess as I move from innocence into awareness. This discovery occurs while sculpting an object, as well as during the slow process of surface development.

In an increasingly digitally propelled world I try to make objects that people can connect with in physi-cal and emotionally intimate ways. My ceramics do this by actively engaging the observer’s imagination. Most pieces can be held in the hand. My fingermarks in the fired clay become an indelible connection to the future hands that will hold a piece of my work and experience my sense of touch, wonder and investiga-tion. The stories I use act a portal for the viewer to en-ter into, and begin weaving the narrative I have begun with a meaningful and personal archive of their own.

When I ask myself or am asked the question, what is my work really is about, the most honest answer I re-turn to again and again, is that this is the most truth-ful way that I know of to make sense of the world.

Woman Salt & Pepper Set, 2012Pinch/coil built, decorated with

Terra sigilatta, electric fired$280

R O N M E Y E R SBIOGRAPHICAL INFORMATION

Ron Meyers is an emeritus professor of the University of Georgia, Athens, GA where he taught for over 20 years. He received his BS and MS degrees in Art Education from the State University College at Buffalo, Buffalo, NY and received his MFA degree in Ceramics from the School for American Craftsmen, Rochester Institute of Technology, Rochester, NY. His work is represented in many muse-ums and private collections and is a 2007 recipient of the NCECA Excellence in Teaching Award and by the North-ern Clay Center in Minneapolis, MN as the 2008 Regis Maters Series Honor. The Regis Master s series honors senior artists that have had a major impact on the devel-opment of 20th and 21st ceramics in the United States.

ARTIST STATEMENT

Working in clay and making functional pottery has never been a problem for me. I have never felt the need to dismiss or disregard the concept of function because it was something less than art. I have never found making useful pieces confining or restrictive. In fact, I find that the opposite seems true. The longer I stay involved, the more alternatives and possibilities there are that seem to present themselves. Along with the functional aspects of the piece, I strive to have the end product reflect my own sensitivity and awareness to the material itself and its traditions. The pieces that I’m most pleased with are those that come closest to best integrating the form and surface, the spontane-ity and fluidity of the clay along with the object’s use.

TeapotLow -fire Salt Earthenware

$220

T E D N E A LBIOGRAPHICAL INFORMATION

Born and raised in rural upstate New York, Ted has re-ceived degrees from Southern Illinois University Ed-wardsville (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 coordi-nator for the ceramics area at Utah State University. (2001 – 2006) His work has been featured in numerous exhibitions including: Earth Matters NCECA 2010 Invi-tational 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, and Feats of Clay XXIII at Lincoln Arts in Lincoln, CA Ted is currently a studio artist and Associate Professor of Ceramics in the Art Department of Ball State University in Muncie, Indiana.

ARTIST STATEMENT

In all of my work one constant is my use of the ves-sel as a framework upon which to hang concepts of utility and self-expression. Specifically, my utilitar-ian 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, con-nectedness and shared kinesthetic experiences.

The concept of pure function is to me a misno-mer, 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 partici-pates by elevating awareness during the experience.

All of these vessels are thrown using an iron rich stoneware clay body. While no glaze has been ap-plied 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 com-mon to most wood fired forms, but also promotes the dark metallic surfaces by a controlled reduc-tion of oxides (primarily iron) in the cooling cycle.

CruetHigh Iron Stoneware, Wood fired,

reduction cooled Cone 9$150

T E D N E A LBIOGRAPHICAL INFORMATION

Born and raised in rural upstate New York, Ted has re-ceived degrees from Southern Illinois University Ed-wardsville (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 coordi-nator for the ceramics area at Utah State University. (2001 – 2006) His work has been featured in numerous exhibitions including: Earth Matters NCECA 2010 Invi-tational 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, and Feats of Clay XXIII at Lincoln Arts in Lincoln, CA Ted is currently a studio artist and Associate Professor of Ceramics in the Art Department of Ball State University in Muncie, Indiana.

ARTIST STATEMENT

In all of my work one constant is my use of the ves-sel as a framework upon which to hang concepts of utility and self-expression. Specifically, my utilitar-ian 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, con-nectedness and shared kinesthetic experiences.

The concept of pure function is to me a misno-mer, 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 partici-pates by elevating awareness during the experience.

All of these vessels are thrown using an iron rich stoneware clay body. While no glaze has been ap-plied 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 com-mon to most wood fired forms, but also promotes the dark metallic surfaces by a controlled reduc-tion of oxides (primarily iron) in the cooling cycle.

TeapotIron Stoneware,forged steel, Wood

fired, reduction cooled Cone 9$500

L O U P I E R O Z Z IBIOGRAPHICAL INFORMATION

Lou Pierozzi was born and raised in Chicago, Illinois. His interest in ceramics started his first year in col-lege. 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. Lou Pierozzi received his BFA from De Paul University and his MFA degree in ceramics from Southern Illinois Univer-sity Carbondale. Pierozzi is currently a 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.

ARTIST STATEMENT

I am primarily interested in functional ceramic art that is more than just a utilitarian object. My vessels, al-though functional, draw upon a unique time in history when machines first became mainstream. The rise of the Industrial Revolution brought trains, boilers, steam-ships, iron clad warships and other heavy steel machin-ery. 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 vi-sual 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. The process I use to create these industrially inspired objects involves throwing most 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.

Charleston Station, Ewers w/standWheel-thrown, hand-built

$425

J O H N N E E L YBIOGRAPHICAL INFORMATION

John Neely has taught ceramics for 28 years, and has exhibited widely, in the United States, New Zealand, China, Korea, Australia, Japan and Yugoslavia. Most re-cently he has held workshops and lectured in Arizona, Kansas, North Carolina, Ohio, Tennessee, California, Colorado, New Jersey, Iowa and Wyoming. He has also been active abroad in China, Norway, New Zealand, Aus-tralia, Taiwan, Korea and New Zealand. Not only has he written about ceramics in numerous publications but others have written about him. Richard Zakin writes in Ceramics: Ways of Creation that “it is not easy to say whether John is essentially a utilitarian potter, a potter whose work attests to his immersion in Japanese culture and ceramics, a technical ceramist, or an inventive cera-mist. He balances all of these characteristics in his work.”

ARTIST STATEMENT

I first traveled to Japan when I was nineteen years old, and spent the better part of the next eleven or twelve years there. Although my initial interest in Japan was sparked by some awareness of medieval stonewares and the writings of Bernard Leach about the modern folk art movement, what captured my attention as a resident was quite different. Wrapped up in the ordi-nary details of day-to-day life my focus shifted to the needs of the contemporary kitchen and table top....While the teapots I make are invariably functional, I am certainly not dogmatic about utility. I think of utility as a kind of continuum, with the generic or universal idea of containment at one end, and specific, focused, single purpose tools at the other. The teapot, a “ma-chine” for brewing and serving tea, would be found at the specific end, but it also serves as a vehicle for my explorations into the materials and processes of ceramics. My approach lies somewhere between that of the alchemist and that of the scientist; discovery, rather than expression, is my primary motivation.

Ewer and cupsReduction fired/cooled stonewar

$300

A D A M P O S N A KBIOGRAPHICAL INFORMATION

I grew up in Macon, Georgia. The pottery (of my Mom Becky Posnak, Michael Simon, Ron Mey-ers), music (Little Richard, Otis Redding, rural blues), religion (hoodoo, rattle-snake handlers, etc.), of this region is my foundational inspiration.

Besides Georgia, I have had the privilege to live in Louisiana, Florida, and Arkansas, where I currently re-side in the White River Valley of the Boston Mountains.

ARTIST STATEMENT

Having grown up in Macon, Georgia, the culture of the southern United States, whether in terms of pottery, mu-sic, or folk-religion has been the basis for much of the in-vestigations 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.


I have been greatly inspired by West and Central-Af-rican traditions and the various African-inspired, syn-cretic religious-cultural practices of North, Central and South America, particularly those of Cuba and Haiti. Within the Afro-Cuban cosmological view specifi-cally, 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 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

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 Afri-can Yoruba-Orisa, Haitian Vodou, Cuban Lukumi (San-teria) and Palo Mayombe, and Brazilian Candomble.

Skull jug, 2013Wheel thrown, low-fire redware

$85

D E B S C H WA R T Z KO P FBIOGRAPHICAL INFORMATION

Deb Schwartzkopf was born and raised in Seattle. In 2002 she got her BA at the University of Alaska Anchor-age and worked for professional studio potters. In the Spring of 2005, Deb completed a MFA at Penn State. She has taught at Ohio University, Massachusetts College of Art and Design and the University of Washington. She has worked nationally at the Archie Bray Foundation, Mudflat Studios, the Clay Studio, and Pottery Northwest and internationally at Sanboa in Jingdezhen, China, and the Ceramics Workcenter in Berin, Germany. Deb also teaches workshops and exhibits nationally and interna-tionally. In 2010, she returned to Seattle to set up a studio.

ARTIST STATEMENT

I find it rewarding and challenging to make pots peo-ple will use. In my home growing up, hand made ob-jects held special value. They were gestures of consid-eration and love. I continue to find objects a dwelling place for intention and association. The parameter of function both limits and frees me. It gives me direc-tion and attaches me to community. Eating with fam-ily and friends instills a sense of place and relation. At the table I assess finished work and connect studio practice to living. This starts the cycle of making again. I want my pots to live in the kitchen where economy and celebration infuse life with purposeful beauty.The processes I use yield complex forms defined by animated lines and soft planes. Simple wheel thrown and hand built parts are pieced together.


With practice the process has become nimble and intuitive. This is freeing to me. I find refinement like a glacier moving down a valley: troublesome areas are meditatively eroded away and new ideas spring to mind. Slow practice yields fluidity in process, al-lowing me to shift focus to formal elements, inten-tional references, and how a pot will feel or fit into life. Pots are a place where I embrace abstraction of emo-tions and communication in form. Birds are starting places in my study of stance and expression. I want to capture their expressions of precision and breath. The awkward pelican and elegant, buoyant loon em-body curious shapes I mesh with geometric, sen-sual, and architectural elements. On the surfaces of my work, I merge our culture’s signals and nature’s placement of hue. Humming birds flash and scoot for nectar from my rosemary bush. Traffic lights il-luminate the night, demanding attention as I bike through the city. With intentional placement, these visual messages imply function, trigger associations, and call for exploration. I find the relationship be-tween form and surface integral and defining. Each informs the other within my cyclic studio practice.The reciprocal relationship between my work and my life is unfolding; my chosen pathway in clay directs my life. I am gathering and truing my ideas, process, and dreams. I am building community and establishing my studio.

CreamerPorcelain

Wheel thrown and hand built$75

D E B S C H WA R T Z KO P F

Oil PourerPorcelain

Hand built$120


Deb Schwartzkopf was born and raised in Seattle. In 2002 she got her BA at the University of Alaska Anchor-age and worked for professional studio potters. In the Spring of 2005, Deb completed a MFA at Penn State. She has taught at Ohio University, Massachusetts College of Art and Design and the University of Washington. She has worked nationally at the Archie Bray Foundation, Mudflat Studios, the Clay Studio, and Pottery Northwest and internationally at Sanboa in Jingdezhen, China, and the Ceramics Workcenter in Berin, Germany. Deb also teaches workshops and exhibits nationally and interna-tionally. In 2010, she returned to Seattle to set up a studio.

ARTIST STATEMENT

I find it rewarding and challenging to make pots peo-ple will use. In my home growing up, hand made ob-jects held special value. They were gestures of consid-eration and love. I continue to find objects a dwelling place for intention and association. The parameter of function both limits and frees me. It gives me direc-tion and attaches me to community. Eating with fam-ily and friends instills a sense of place and relation. At the table I assess finished work and connect studio practice to living. This starts the cycle of making again. I want my pots to live in the kitchen where economy and celebration infuse life with purposeful beauty.The processes I use yield complex forms defined by animated lines and soft planes. Simple wheel thrown and hand built parts are pieced together.


With practice the process has become nimble and intuitive. This is freeing to me. I find refinement like a glacier moving down a valley: troublesome areas are meditatively eroded away and new ideas spring to mind. Slow practice yields fluidity in process, al-lowing me to shift focus to formal elements, inten-tional references, and how a pot will feel or fit into life. Pots are a place where I embrace abstraction of emo-tions and communication in form. Birds are starting places in my study of stance and expression. I want to capture their expressions of precision and breath. The awkward pelican and elegant, buoyant loon em-body curious shapes I mesh with geometric, sen-sual, and architectural elements. On the surfaces of my work, I merge our culture’s signals and nature’s placement of hue. Humming birds flash and scoot for nectar from my rosemary bush. Traffic lights il-luminate the night, demanding attention as I bike through the city. With intentional placement, these visual messages imply function, trigger associations, and call for exploration. I find the relationship be-tween form and surface integral and defining. Each informs the other within my cyclic studio practice.The reciprocal relationship between my work and my life is unfolding; my chosen pathway in clay directs my life. I am gathering and truing my ideas, process, and dreams. I am building community and establishing my studio.

B R A D S C H W I E G E RBIOGRAPHICAL INFORMATION

Brad Schwieger has been teaching at Ohio Univer-sity since 1990 and is presently a Professor of Art and Ceramics Area Chairman. Prior to that he was an As-sociate Professor at Vincennes University in Indiana (1985-1990). Brad received his Master of Fine Arts de-gree from Utah State University in 1983 and his Bach-elor of Fine Arts degree from the University of Iowa in 1981. Brad has shown his ceramics nationally and internationally. His work has been included in exhibi-tions through out the U.S.A., Japan, Korea, Taiwan, Eng-land, Germany, Czech Republic, Lithuania and Spain.

ARTIST STATEMENT

In the past year my work has addressed my interests in architectural landscapes, usually cityscapes and the surrounding industrial areas. Architectural forms I’ve witnessed in the natural world also intrigue me. 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 cylin-ders, perforated steel sheathing and drainage pipe. I find an interesting parallel between architec-ture and pottery. Like architecture, pottery deals with elements of form and structure, interior/ex-terior, 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.

Bourbon Bottle, 2013Soda fired stoneware

$125

B R A D S C H W I E G E RBIOGRAPHICAL INFORMATION

Brad Schwieger has been teaching at Ohio Univer-sity since 1990 and is presently a Professor of Art and Ceramics Area Chairman. Prior to that he was an As-sociate Professor at Vincennes University in Indiana (1985-1990). Brad received his Master of Fine Arts de-gree from Utah State University in 1983 and his Bach-elor of Fine Arts degree from the University of Iowa in 1981. Brad has shown his ceramics nationally and internationally. His work has been included in exhibi-tions through out the U.S.A., Japan, Korea, Taiwan, Eng-land, Germany, Czech Republic, Lithuania and Spain.

ARTIST STATEMENT

In the past year my work has addressed my interests in architectural landscapes, usually cityscapes and the surrounding industrial areas. Architectural forms I’ve witnessed in the natural world also intrigue me. 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 cylin-ders, perforated steel sheathing and drainage pipe. I find an interesting parallel between architec-ture and pottery. Like architecture, pottery deals with elements of form and structure, interior/ex-terior, 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.

Teapot, 2012Reduction fired stoneware

$125

J A N E S H E L L E N BA R G E RBIOGRAPHICAL INFORMATION

Jane Shellenbarger was born in Detroit, Michigan. She was a CORE student at Penland School of Crafts in Pen-land, 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 art-ist at the Archie Bray Foundation for the Ceramic Arts in Helena, MT, 1996-97. She established her studio pot-tery, Mill Station Pottery, in rural Hale, Michigan in 1997.

She has held teaching positions at multiple academ-ic institutions, Kansas City Art Institute and North-ern Michigan University and currently, she is an As-sistant 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 includ-ing: Leslie Ferrin Gallery, Lacoste Gallery, Lill Street, AKAR Gallery, Santa Fe Clay, Philadelphia Clay Stu-dio, Red Lodge Clay Center and Baltimore Clayworks. Her work is also in the permanent collections of the Renwick Gallery of the National Museum of Ameri-can Art, Smithsonian Institution, Washington D.C., San Angelo Museum of Fine Art, University of Ar-kansas, Fayetteville, AR, The Archie Bray Founda-tion for the Ceramic Arts, and The University Mu-seum, Southern Illinois University at Edwardsville.

ARTIST STATEMENT

I am interested in the connection between hand and eye and memory. My work focuses on a ves-sel aesthetic, incorporating historical references with domestic objects. The pieces are thrown and altered with highly personal surface treatments. While function continues to be an essential concern, I am most intrigued with the ability of pots to tran-scend themselves as objects and convey informa-tion. Form, and surface treatment and the ability for the work to draw relationships to history through imagery, content, and pattern hold my fascination.

I work in porcelain and stoneware clays, firing with atmospheric kilns. Often the pieces undergo mul-tiple post firings to achieve a depth of surface.

Pots are intimate by nature. They have the ability to choreograph domestic experience affecting people in a deep and interactive way. This is unparalleled by other objects. There is a need to keep these interactions vital. The rhythm of making pots is, for me, an endless pursuit to express ideas and define interactions through form.

Teapot, 2012Thrown, Stoneware, Soda fired,

$275

L I N D A S I K O R ABIOGRAPHICAL INFORMATION

Linda Sikora is a studio potter and professor of Ceram-ic Art at Alfred University. Academic study in visual art and an apprenticeship in ceramics began in British Co-lumbia, Canada. Formal education continued at Nova Scotia College of Art and Design University (BFA) and, University of Minnesota–Minneapolis (MFA). Authored articles are printed in Studio Potter, Ceramic Review and, online at Interpreting Ceramics. Professional activi-ties are national and international: residencies include Archie Bray Foundation; Chunkang College of Cultural Industry, Korea; Tainan National College of The Arts, Tai-wan; Clay Edge, Australia. National exhibition venues have included Ferrin Gallery, MA; LaCoste Gallery, MA; The Clay Studio, PA; AKAR Gallery, IO. Public collections include: Art Gallery of Nova Scotia; Racine Art Museum; Schein-Joseph International Museum of Ceramic Art; LA County Museum of Art; Minneapolis Institute of the Arts; Everson Museum of Art; Huntington Museum of Art.

BIOGRAPHICAL INFORMATION CONTINUED

Linda Sikora’s home and studio is in western New York where she is also a professor in the Division of Ceramic Art at the New York State College of Ceram-ics, Alfred University. Born and raised in Canada, aca-demic study in visual art and an apprenticeship in ceramics began in Nelson, British Columbia at (Da-vid Thompson University Center) Kootenay School of the Arts (Diploma). Formal education continued at Nova Scotia College of Art and Design University (BFA), and the University of Minnesota–Minneapolis (MFA). Authored articles are printed in The Studio Pot-ter, Ceramic Review and Interpreting Ceramics (online journal). Professional activities are national and inter-national: residencies include Archie Bray Foundation; Chunkang College of Cultural Industry, Korea; Tainan National College of The Arts, Taiwan; Clay Edge, Aus-tralia. National exhibition venues have included Fer-rin Gallery, MA; LaCoste Gallery, MA; The Clay Studio, PA; AKAR Gallery, IO. Public collections include: Art Gallery of Nova Scotia; Racine Art Museum; Schein-Jo-seph International Museum of Ceramic Art; LA Coun-ty Museum of Art; Minneapolis Institute of the Arts; Everson Museum of Art; Huntington Museum of Art.

TeapotStoneware, Polychrome Glaze

6.5” x 10” x 6.5”$275

G E R T R U D E S M I T HBIOGRAPHICAL INFORMATION

Gertrude Graham Smith, nicknamed Gay, is a stu-dio potter and teaching artist single firing porce-lain ware in a soda kiln near Penland, NC. She held artist-in-residencies at the Archie Bray Foundationin Helena, Montana and at Penland School in Penland, NC. Her teaching credits include workshops at Pen-land, Haystack, Harvard, and Findhorn, Scotland. Her work is represented internationally, 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 award and two Regional Artist Project Grant. She currently serves on the Board of Trustees of Penland School of Crafts.

ARTIST STATEMENT

I celebrate porcelain clay, its liveliness, its responsive-ness, with the vessels I form on my pottery wheel. Spon-taneous and thoughtful manipulation of forms, surfac-es, and attachments animate the work. Handles sweep up and out from bellies and shoulders. Jars raised on feet dance in space. Surfaces appeal to the tactile sense, and smaller forms long to be held. In the kiln, flames filled with sodium decorate anticipated edges, and brighten a wide, colorful palette. I often question the relevance of living as a practicing artist in a world struggling with conflict, exploited for resources. Years as a working potter seems to develop qualities I be-lieve may benefit: caring attention, commitment, hon-esty, courage, passion, hard work, love of beauty, and a willingness to get one’s hands dirty. I intend my vessels to bring joy, usually a welcomed quality, with their use and presence. And I’m imagining a reality where when a hand grasps a handle, compassion arises in the heart.

Dancing TeapotPorcelain Clay, Raw glazed, single

fired cone 10, soda kiln$175

G E R T R U D E S M I T HBIOGRAPHICAL INFORMATION

Gertrude Graham Smith, nicknamed Gay, is a stu-dio potter and teaching artist single firing porce-lain ware in a soda kiln near Penland, NC. She held artist-in-residencies at the Archie Bray Foundationin Helena, Montana and at Penland School in Penland, NC. Her teaching credits include workshops at Pen-land, Haystack, Harvard, and Findhorn, Scotland. Her work is represented internationally, 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 award and two Regional Artist Project Grant. She currently serves on the Board of Trustees of Penland School of Crafts.

ARTIST STATEMENT

I celebrate porcelain clay, its liveliness, its responsive-ness, with the vessels I form on my pottery wheel. Spon-taneous and thoughtful manipulation of forms, surfac-es, and attachments animate the work. Handles sweep up and out from bellies and shoulders. Jars raised on feet dance in space. Surfaces appeal to the tactile sense, and smaller forms long to be held. In the kiln, flames filled with sodium decorate anticipated edges, and brighten a wide, colorful palette. I often question the relevance of living as a practicing artist in a world struggling with conflict, exploited for resources. Years as a working potter seems to develop qualities I be-lieve may benefit: caring attention, commitment, hon-esty, courage, passion, hard work, love of beauty, and a willingness to get one’s hands dirty. I intend my vessels to bring joy, usually a welcomed quality, with their use and presence. And I’m imagining a reality where when a hand grasps a handle, compassion arises in the heart.

Impress TeapotPorcelain Clay, Raw glazed, single

fired to cone 10, soda kiln$175

T A R A W I L S O NBIOGRAPHICAL INFORMATION

Tara Wilson is a studio potter living in Montana City, Montana. Wilson received a BFA from the University of Tennessee, Knoxville and an MFA degree from the Uni-versity of Florida. She has been a resident artist at The Archie Bray Foundation and The Red Lodge Clay Center. Wilson was selected as an emerging artist for the 2006 NCECA conference and was a presenter at the 2006 In-ternational Woodfire Conference in Flagstaff. She has given lectures and workshops throughout the United States; and her work has been exhibited internationally.

www.tarawilsonpottery.com

ARTIST STATEMENT

Quiet pots initially speak softly yet reveal complexity in both form and surface through continued investi-gation and use. Embodied in my wood fired vessels is the serenity that I experience by surrounding my-self on a daily bases with a rich natural environment.

The rich surfaces of the vessels represent the natu-ral world. Nature also inspires form, in some cases quite literally, as river rocks become saucers. Other pieces speak of this passion more subtly. Bases ref-erence the landscape, evoking a sense of space and awareness of the land. Parallels can be drawn be-tween geological processes and the atmospheric firing process. Pots physically capture and record their firing process similar to the way sedimenta-ry and metamorphic rocks speak of their history.

Pottery’s inherent relationship to the figure is accen-tuated in my gestural forms. The dialog between the forms changes as the pieces are used. The simple things in life are often the most important. My pots speak of my passions, while at the same time allowing the user to recognize the important things in their own lives.

Pitcher, 2012Woodfired stoneware

$150

GWENDOLYN YOPPOLO

Feeder, 2013Matte crystalline glazed porcelain

3” x 7” x 4”$65


Gwendolyn yoppolo is currently a studio artist in resi-dency at the Penland School of Crafts in North Caro-lina. She spent the previous years as a resident artist at the Archie Bray Foundation, a Studio Technician at Alfred University and as Assistant Professor at Juniata College in Huntingdon, Pennsylvania. She received her MFA from Penn State University in 2006. While at Penn State she received two fellowship awards for her research using the scanning electron micro-scope to photograph the tiny landscapes of beach rubble, sugar cereals, plant seeds, and insect parts. She creates sensuous kitchen- and table-wares that use the physical experience of hunger and satiation to allude to larger issues of human desire and consumption. Her visionary designs challenge us to rethink the ways we nourish ourselves and others within contemporary food culture. By preparing whole foods with minimal technol-ogy, by sharing food with a group from a single serving dish, or by sitting down with a loved one to create a shared experience, we break apart from the individualized ready-to-eat mentality of our industrialized food system.

ARTIST STATEMENT To be held in the hands or touched to the lips, these are intimate objects. The forms I make engage the threshold of subjectivity by offering a conduit for nourishment into the body or between bodies. The experience is more than viscer-al, as the body’s pursuit of sensual experience is tied into the process of making existence meaningful on all levels. How we choose to feed ourselves and oth-ers is connected not only to our sensations of hun-ger and gratification, but also to our deeper percep-tions of ourselves, and of the larger stories we live by


Making utensils enables me to dwell in the moment of appetite, where the anticipation of satiation moves the body through the world of materials towards the consumable. It is a movement driven by de-sire and guided by memory, by ancestry, and by our sense of self. A utensil extends the body and trans-forms the energy of this movement into purpose-ful action. The verbs of the kitchen are not only the processes of food preparation – grind, separate, mix, ream, drain, heat – they are also metaphors for our in-ternal processes of combustion and transformation.

The moment of consumption also transcends bodily experience, invoking our senses of culture, body im-age, emotion, and relational identity. By making visible those layers of meaning that reside in a food event, the forms I create arouse the physical and nonphysical fac-ulties and extend our understanding of significance. A service designed for a dining ritual can shift the perceptual horizons through which we comprehend food as nourishment, and nourishment as relationship.

The pieces I make are questions, and they remain open-ended until fulfilled through use. My work makes tangible my intentions, and aims towards the receptivities of your attention. Through a minimal-ist design that attracts the quiet eye and respon-sive touch, my forms invite you to access your own silence, listening to the echoes of my gestures for the arousal of your own resonance and response.

GWENDOLYN YOPPOLO

Feeder, 2013Matte crystalline glazed porcelain

3” x 7” x 4”$65


Gwendolyn yoppolo is currently a studio artist in resi-dency at the Penland School of Crafts in North Caro-lina. She spent the previous years as a resident artist at the Archie Bray Foundation, a Studio Technician at Alfred University and as Assistant Professor at Juniata College in Huntingdon, Pennsylvania. She received her MFA from Penn State University in 2006. While at Penn State she received two fellowship awards for her research using the scanning electron micro-scope to photograph the tiny landscapes of beach rubble, sugar cereals, plant seeds, and insect parts. She creates sensuous kitchen- and table-wares that use the physical experience of hunger and satiation to allude to larger issues of human desire and consumption. Her visionary designs challenge us to rethink the ways we nourish ourselves and others within contemporary food culture. By preparing whole foods with minimal technol-ogy, by sharing food with a group from a single serving dish, or by sitting down with a loved one to create a shared experience, we break apart from the individualized ready-to-eat mentality of our industrialized food system.

ARTIST STATEMENT To be held in the hands or touched to the lips, these are intimate objects. The forms I make engage the threshold of subjectivity by offering a conduit for nourishment into the body or between bodies. The experience is more than viscer-al, as the body’s pursuit of sensual experience is tied into the process of making existence meaningful on all levels. How we choose to feed ourselves and oth-ers is connected not only to our sensations of hun-ger and gratification, but also to our deeper percep-tions of ourselves, and of the larger stories we live by


Making utensils enables me to dwell in the moment of appetite, where the anticipation of satiation moves the body through the world of materials towards the consumable. It is a movement driven by de-sire and guided by memory, by ancestry, and by our sense of self. A utensil extends the body and trans-forms the energy of this movement into purpose-ful action. The verbs of the kitchen are not only the processes of food preparation – grind, separate, mix, ream, drain, heat – they are also metaphors for our in-ternal processes of combustion and transformation.

The moment of consumption also transcends bodily experience, invoking our senses of culture, body im-age, emotion, and relational identity. By making visible those layers of meaning that reside in a food event, the forms I create arouse the physical and nonphysical fac-ulties and extend our understanding of significance. A service designed for a dining ritual can shift the perceptual horizons through which we comprehend food as nourishment, and nourishment as relationship.

The pieces I make are questions, and they remain open-ended until fulfilled through use. My work makes tangible my intentions, and aims towards the receptivities of your attention. Through a minimal-ist design that attracts the quiet eye and respon-sive touch, my forms invite you to access your own silence, listening to the echoes of my gestures for the arousal of your own resonance and response.

OUTPOUR 2013 CATALOG

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Transcript of OUTPOUR 2013 CATALOG