Ceramics Monthly: What techniques do you use to make your work and why?
Bekah Bliss: My initial interest in clay was focused on wheel throwing precise, smooth forms and adding contrasting carved shapes. About four years ago, I made the shift to handbuilding out of a desire to play with other textures and explore asymmetrical forms. I reference dry, cracked earth on the bottoms of my pieces and use collected rocks to create stamps that I press into the interior surfaces. My interest in architecture and mid-century design influences the layered motifs I use to divide the surface and provide contrast to the form. Leaving evidence of the pinched construction creates a weathered-looking surface, which is then emphasized with terra sigillata and a patina wash. I hope the work evokes a conscious interaction from the user to discover textures captured on the surface, while also being warm and inviting to use.
CM: What roles do you think makers play within our current culture? How do you think you contribute to it?
BB: Makers can be both influenced and influential within culture and our roles can vary broadly.
There is a vulnerability to being a maker and sharing our creative endeavors. Aside from just trying to communicate ideas that are personal, we have to decide how to make a living doing it. It is a complex journey that usually includes side jobs, learning how to operate the business side of things, and lots of failure. I see makers using social media to connect more directly with their audience. Many utilize the opportunity to share the behind-the-scenes process, which helps people feel more connected to the work. I think this openness has created a buzz around pottery, and I’ve seen increased enrollment in classes. I see myself contributing to the culture as a maker, teacher, and studio manager. I share my knowledge and processes to bring more people into the conversation surrounding functional art. I hope people see the thoughtful creation of my work and understand the value of adding handmade objects to their daily life.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
You have read of of your complimentary articles for the month.
For unlimited access to Ceramics Monthly premium content, subscribe right now for as low as $4.85/month.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Ceramics Monthly
Bekah Bliss, Independence, Missouri
Ceramics Monthly: What techniques do you use to make your work and why?
Bekah Bliss: My initial interest in clay was focused on wheel throwing precise, smooth forms and adding contrasting carved shapes. About four years ago, I made the shift to handbuilding out of a desire to play with other textures and explore asymmetrical forms. I reference dry, cracked earth on the bottoms of my pieces and use collected rocks to create stamps that I press into the interior surfaces. My interest in architecture and mid-century design influences the layered motifs I use to divide the surface and provide contrast to the form. Leaving evidence of the pinched construction creates a weathered-looking surface, which is then emphasized with terra sigillata and a patina wash. I hope the work evokes a conscious interaction from the user to discover textures captured on the surface, while also being warm and inviting to use.
CM: What roles do you think makers play within our current culture? How do you think you contribute to it?
BB: Makers can be both influenced and influential within culture and our roles can vary broadly.
There is a vulnerability to being a maker and sharing our creative endeavors. Aside from just trying to communicate ideas that are personal, we have to decide how to make a living doing it. It is a complex journey that usually includes side jobs, learning how to operate the business side of things, and lots of failure. I see makers using social media to connect more directly with their audience. Many utilize the opportunity to share the behind-the-scenes process, which helps people feel more connected to the work. I think this openness has created a buzz around pottery, and I’ve seen increased enrollment in classes. I see myself contributing to the culture as a maker, teacher, and studio manager. I share my knowledge and processes to bring more people into the conversation surrounding functional art. I hope people see the thoughtful creation of my work and understand the value of adding handmade objects to their daily life.
Learn more at www.bekahblisspottery.com.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents