As we conclude the 2025 editorial year, this issue’s focus invites us to reflect on those ceramics that are most ubiquitous— functional pots and objects for the kitchen and home, those made with the intentions of the user in mind. From bowls nodding to historical vessels to tile that protects and provides visual interest, ceramic is the ideal medium for making things that need to be watertight, food safe, beautiful, and/or specifically designed. After a move that I can no longer in good conscience say was recent, I’ve unearthed yet another box of pots from the basement. Each pot unwrapped feels like running into to an old friend. Getting reacquainted while giving these pots a hand wash, then adding them to the rotation of dishes in our cupboards, I’ve taken time to absorb the details of their surfaces, the choices made to establish their functionality, and the experiences I recall using each. This reinforces, to me, that the importance and efficacy of pots is enduring.
Functional ceramics inspire whole careers and lifelong pursuits in art, ever-growing collaborative events, material innovation to solve problems large and small, hyperfocused exploration of singular forms, and more. These are the types of stories presented in the pages that follow. We share how the artists gathered here interface with function in their artistic interests, businesses, and studios.
In order to better facilitate the Michiana Pottery Tour and manage its logistics, a collective of potters established the Northern Indiana Clay Alliance. Trevor Daugherty, the group’s executive director, discusses the pros, cons, challenges, and opportunities involved in instituting this formal organizational structure for an event centered around pottery.
Carol Long opened her studio to Kim Hurley Andrews, who describes the artist’s work and practice. Long’s vessels are marked by mesmerizing surfaces of slip trailing and glazing, layered over fluid, voluminous forms. Andrews notes, upon walking through the home and studio, that the space is covered in handmade tile, an interesting deviation from vessels, though just as functional.
Mugs, teapots, plates, pitchers, full-bodied vases—Ben Eberle creates classic forms destined for the wood-soda kiln. These atmospheric firings not only contribute immensely to his forms—his pots’ luscious surfaces and rich hues, as exemplified on this issue’s cover—but also operate as a means through which he can share years of knowledge and bolster community.
Inspired by his family’s heritage and traditions, Eric Ordway has devoted time, research effort, and experimentation to translating wooden ale bowls into clay. Ordway outlines his process for creating these novel ceramic pieces.
Pomme de Terre Pottery, the joint studio of Kate Scherfenberg and Sean Scott, continues to grow to suit the two potters’ needs. There, they create vessels that celebrate the surroundings of their Minnesota home and invite users in for a moment of reflection.
In our Spotlight, Betsy Hinze-Heart shares her perspective as an artist with health limitations making functional vessels. Despite being unable to eat due to medical reasons, she notes that food and gathering remain central to her practice.
This winter season, I encourage you to take a moment to reflect on the pots that are integral to your daily routines and holiday meals. As I continue unpacking, I look forward to rediscovering more treasures to put to use.
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As we conclude the 2025 editorial year, this issue’s focus invites us to reflect on those ceramics that are most ubiquitous— functional pots and objects for the kitchen and home, those made with the intentions of the user in mind. From bowls nodding to historical vessels to tile that protects and provides visual interest, ceramic is the ideal medium for making things that need to be watertight, food safe, beautiful, and/or specifically designed. After a move that I can no longer in good conscience say was recent, I’ve unearthed yet another box of pots from the basement. Each pot unwrapped feels like running into to an old friend. Getting reacquainted while giving these pots a hand wash, then adding them to the rotation of dishes in our cupboards, I’ve taken time to absorb the details of their surfaces, the choices made to establish their functionality, and the experiences I recall using each. This reinforces, to me, that the importance and efficacy of pots is enduring.
Functional ceramics inspire whole careers and lifelong pursuits in art, ever-growing collaborative events, material innovation to solve problems large and small, hyperfocused exploration of singular forms, and more. These are the types of stories presented in the pages that follow. We share how the artists gathered here interface with function in their artistic interests, businesses, and studios.
In order to better facilitate the Michiana Pottery Tour and manage its logistics, a collective of potters established the Northern Indiana Clay Alliance. Trevor Daugherty, the group’s executive director, discusses the pros, cons, challenges, and opportunities involved in instituting this formal organizational structure for an event centered around pottery.
Carol Long opened her studio to Kim Hurley Andrews, who describes the artist’s work and practice. Long’s vessels are marked by mesmerizing surfaces of slip trailing and glazing, layered over fluid, voluminous forms. Andrews notes, upon walking through the home and studio, that the space is covered in handmade tile, an interesting deviation from vessels, though just as functional.
Mugs, teapots, plates, pitchers, full-bodied vases—Ben Eberle creates classic forms destined for the wood-soda kiln. These atmospheric firings not only contribute immensely to his forms—his pots’ luscious surfaces and rich hues, as exemplified on this issue’s cover—but also operate as a means through which he can share years of knowledge and bolster community.
Inspired by his family’s heritage and traditions, Eric Ordway has devoted time, research effort, and experimentation to translating wooden ale bowls into clay. Ordway outlines his process for creating these novel ceramic pieces.
Pomme de Terre Pottery, the joint studio of Kate Scherfenberg and Sean Scott, continues to grow to suit the two potters’ needs. There, they create vessels that celebrate the surroundings of their Minnesota home and invite users in for a moment of reflection.
In our Spotlight, Betsy Hinze-Heart shares her perspective as an artist with health limitations making functional vessels. Despite being unable to eat due to medical reasons, she notes that food and gathering remain central to her practice.
This winter season, I encourage you to take a moment to reflect on the pots that are integral to your daily routines and holiday meals. As I continue unpacking, I look forward to rediscovering more treasures to put to use.
Must-Reads from Ceramics Monthly
- From the Editor: Clay as Connection
- From the Editor: Pottery as Profession
- From the Editor: Significance of Surface
'Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
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