Harmony + Contrast

This year’s readership-wide contest explores the varied meanings of the words harmony and contrast. The terms can describe compositional-, material-, or form-based investigations. They can also encompass explorations of narratives, cultural heritage, history, utility, beauty, and a wide variety of emotions. 

1, 2 Naomi Clement’s nested bowls (alternate views), to 12 in. (30 cm) in diameter, handbuilt stoneware, underglaze decoration, 2019. Photos: Jessica Brandl.

3 Antonio Martinez’ Vase #1, 22 in. (56 cm) in height, wheel-thrown stoneware, fired to cone 10 in reduction, 2020.

4 Jill Birschbach’s Pink Cross, 23 in. (58 cm) in height, buff stoneware, slip, glaze, fired to cone 6 in oxidation, 2020.

5 ChengOu Yu’s Passage, 37 in. (94 cm) in length, handbuilt stoneware, glaze, fired to cone 04 in oxidation, 2018.

6 Anne Mossman’s Seams of Uncertainty, 8½ in. (22 cm) in diameter, handbuilt, layered mid-fire porcelain, stains, fired to 2282°F (1250°C), 2020.

7 Max Seinfeld’s Filthy Rich, 4 in. (10 cm) in height, wood-fired porcelain, epoxy, commercial tile, 2019.

8 Gabriel Reed’s Orb (No. 202015), 8 in. (20 cm) in length, stoneware, terra sigillata, molecular sieve, garnet, unrefined feldspar, saggar fired to cone 10 in reduction, 2020.

9 Anna Valenti’s Waiting, 39 in. (99 cm) in height, coiled, woven, and pinched hemp porcelain and hemp terra cotta, fired to cone 04 in oxidation, burnt umber, putty, paper, 2020.

10 William DePauw’s Line Study #6, 13 in. (33 cm) in length, terra cotta, 2019.

11 Lotte Westphael’s GRID Syncope II and Textile Syncope, 10½ in. (27 cm) in diameter each, slab-built porcelain, fired to 2264°F (1240°C) in oxidation, 2020. Photo: Erik Balle.

12 Sean Erwin’s Obtuse, 24 in. (61 cm) in height, polished porcelain, glaze, fired to cone 6 in oxidation, cast concrete, steel, zinc-plated copper, flocking fiber, 2015.

13 Jing Huang’s Adaptation, 3 ft. 7 in. (1.1 m) in length, handbuilt stoneware, glaze, fired to cone 04 in oxidation, slow cooled, 2020.

14 Mark Goudy’s Relation Vessels (#1043, 1080), to 11 in. (28 cm) in height, translucent porcelain, soluble metals (gold, silver, cobalt), fired to cone 5 in oxidation, 2019.

15 Cristina Mato’s Ritual, 23 in. (58 cm) in width, handbuilt stoneware, paper clay, pigments, fired to 2192°F (1200°C) in an electric kiln, 2019.

16 Danielle O’Malley’s A Precarious Situation, 8 ft. (2.4 m) in height, handbuilt earthenware, electric fired to cone 04, hand-harvested and processed milkweed paper pulp, deconstructed and upcycled crocheted plastic bags, 2020.

17 Ariel Bowman’s Gnaws Iron, Bites Steel, 19 in. (48 cm) in width, earthenware, fired to cone 5 in oxidation, gold leaf, clock insert, 2019.

18 Eliza Au’s Gradient, 13 in. (33 cm) in height, stoneware, fired to cone 6, 2016.

19 Anne Butler’s Ponder, Shift, and Still, 12 in. (30 cm) in width, handbuilt blue-and-white porcelain, fired to 2282°F (1250°C), 2020. Photo: Bob Given.

20 Anne Mortier’s Seed Box 4, 8 in. (20 cm) in diameter, wheel-thrown porcelain, trimmed, assembled, cobalt sulfate, fired to 2282°F (1250°C).

21 Jonathan Christensen Caballero’s Hijo Mio/My Son, 4 ft. 2 in. (1.3 m) in height, earthenware, fired to cone 1 in oxidation, secondhand fiber, ready-made objects, metal, wood, 2019. Photo: Jeremy Hogan.

22 Jonathan Christensen Caballero’s Hijo Mio/My Son (detail). Photo: Jeremy Hogan.

23 Ara Koh’s Cascade, 10 ft. (3 m) in height, unfired, raw clay installation, 2015.

24 Sam Scott’s black-and-white vase, 14 in. (36 cm) in height, wheel-thrown and handbuilt Kai porcelain, black-matte glaze, fired to cone 11 in reduction, 2018.

25 Nom Ceramics’ Spilling Flowers Vessel, 22 in. (56 cm) in height, stoneware, flashing slip, glazes, soda and salt fired to cone 10, 2020.

26 Ashwini Bhat’s Alive 05, 12 in. (30 cm) in width, clay, underglaze, glaze, fired to cone 6 in oxidation, paint, 2019. Photo: Forrest Gander.

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