Ceramics Monthly: How has your career changed since you were featured as an emerging artist in Ceramics Monthly in 2005?
Jayson Lawfer: In 2005, I was an art director and potter so I was heavily involved with administration at the time, as well as making pottery. I have been making ever since but not as a full-time endeavor. I spent three years in Italy
operating a destination wedding business. Since 2008, I have directed a gallery in Chicago and Kansas City called The Nevica Project. Life as a potter was incredibly hard financially and I felt I needed a more stable income.
Since my gallery handles the work of such great ceramic artists as Richard DeVore, Michael and Magdalena Frimkess, Michael Lucero, Warren MacKenzie, Akira Satake, David Shaner, Jeff Shapiro, Peter Voulkos, etc., it has given me the chance to personally
touch and visually explore some of the best pottery and sculpture on the market. Every time I sit at the pottery wheel, I think of those masters. My pottery has evolved so much from working in the gallery business. It is not always so noticeable—maybe
my work looks similar to what I was creating back in 2005—but the pots are much better. I examine each piece more critically and only put the best out in public. I now have a more critical eye.
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Ceramics Monthly: How has your career changed since you were featured as an emerging artist in Ceramics Monthly in 2005?
Jayson Lawfer: In 2005, I was an art director and potter so I was heavily involved with administration at the time, as well as making pottery. I have been making ever since but not as a full-time endeavor. I spent three years in Italy operating a destination wedding business. Since 2008, I have directed a gallery in Chicago and Kansas City called The Nevica Project. Life as a potter was incredibly hard financially and I felt I needed a more stable income.
Since my gallery handles the work of such great ceramic artists as Richard DeVore, Michael and Magdalena Frimkess, Michael Lucero, Warren MacKenzie, Akira Satake, David Shaner, Jeff Shapiro, Peter Voulkos, etc., it has given me the chance to personally touch and visually explore some of the best pottery and sculpture on the market. Every time I sit at the pottery wheel, I think of those masters. My pottery has evolved so much from working in the gallery business. It is not always so noticeable—maybe my work looks similar to what I was creating back in 2005—but the pots are much better. I examine each piece more critically and only put the best out in public. I now have a more critical eye.
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