I find process riveting. Factory tours and deep dives into how everyday objects are made, the mechanizations of assembly lines that whir, stamp, pivot, and repeat, captivate my attention and prompt me to reflect on my own systems for making. Behind-the-scenes moments of creating complex cakes and confections shared by bakeries reignite my interest in hobbies and skill sets that have fallen by the wayside. Artists in any media demonstrating introductory and advanced techniques expand my horizons and inspire advancement in the studio. Objects whose processes aren’t so evident—marvels of historical craftsmanship or engineered things at the extremes of scale (think gigantic propellers or anything miniature)—are fascinating in the sheer incomprehensibility of their construction. Again, these fuel the curiosity and experimentation I employ in my art practice, promoting exploration and problem solving. The appeal of process and learning exactly the how and the why of an object seems to be universal among artists. In this issue, we highlight ceramic artists whose processes and finished products stand out and share just how they arrived at their methods.
Inspired during a workshop to test beyond the typical clay working sequence, Tyler Quintin builds porcelain frame-like structures informed by identity and the internet. His unique process involves the use of bone-dry extrusions joined with slip to construct delicate tiers, which are built up into traditional, volumetric forms.
Tim Saunders describes the high-contrast, highly expressive sculptural work of Lucy Baxendale. In this feature’s accompanying Monthly Method, Baxendale outlines her approach to coil building with porcelain to create forms adorned with layers of textural additions and illustrated surfaces.
“Marrow,” a recent exhibition at Lucy Lacoste Gallery by Hillary Kane, exemplifies the enigmatic, sensorial qualities of wood firing. Gary Roberts offers a thoughtful review of this body of work. Unique to this exhibition is Kane’s use of paper clay and mixed media on canvas in a series of paintings that are compelling in their own regard and complement their three-dimensional ceramic counterpoints.
Repetition, rhythm, and multitudes mark the work and processes of Zemer Peled. D Wood describes the artist’s personal inspirations and innovative use of fired clay shards, as well as recent shifts in her life and practice.
Ryan Coppage and Julia Krichev share a discussion of Oribe ware, its historical roots, and how one contemporary artist forms, glazes, and fires work for outstanding results. Included are glaze recipes, a tried-and-true firing schedule, depictions of shell wadding, and before-and-after images for readers to explore this technique themselves.
Additionally, this issue includes a reassessment of the glaze-measuring Stull chart, Jodie Masterman’s secluded but energized workspace, and Kari Woolsey’s convergence of drawing and clay. I hope you are inspired by one of the many processes or pieces shown in the pages that follow.
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I find process riveting. Factory tours and deep dives into how everyday objects are made, the mechanizations of assembly lines that whir, stamp, pivot, and repeat, captivate my attention and prompt me to reflect on my own systems for making. Behind-the-scenes moments of creating complex cakes and confections shared by bakeries reignite my interest in hobbies and skill sets that have fallen by the wayside. Artists in any media demonstrating introductory and advanced techniques expand my horizons and inspire advancement in the studio. Objects whose processes aren’t so evident—marvels of historical craftsmanship or engineered things at the extremes of scale (think gigantic propellers or anything miniature)—are fascinating in the sheer incomprehensibility of their construction. Again, these fuel the curiosity and experimentation I employ in my art practice, promoting exploration and problem solving. The appeal of process and learning exactly the how and the why of an object seems to be universal among artists. In this issue, we highlight ceramic artists whose processes and finished products stand out and share just how they arrived at their methods.
Inspired during a workshop to test beyond the typical clay working sequence, Tyler Quintin builds porcelain frame-like structures informed by identity and the internet. His unique process involves the use of bone-dry extrusions joined with slip to construct delicate tiers, which are built up into traditional, volumetric forms.
Tim Saunders describes the high-contrast, highly expressive sculptural work of Lucy Baxendale. In this feature’s accompanying Monthly Method, Baxendale outlines her approach to coil building with porcelain to create forms adorned with layers of textural additions and illustrated surfaces.
“Marrow,” a recent exhibition at Lucy Lacoste Gallery by Hillary Kane, exemplifies the enigmatic, sensorial qualities of wood firing. Gary Roberts offers a thoughtful review of this body of work. Unique to this exhibition is Kane’s use of paper clay and mixed media on canvas in a series of paintings that are compelling in their own regard and complement their three-dimensional ceramic counterpoints.
Repetition, rhythm, and multitudes mark the work and processes of Zemer Peled. D Wood describes the artist’s personal inspirations and innovative use of fired clay shards, as well as recent shifts in her life and practice.
Ryan Coppage and Julia Krichev share a discussion of Oribe ware, its historical roots, and how one contemporary artist forms, glazes, and fires work for outstanding results. Included are glaze recipes, a tried-and-true firing schedule, depictions of shell wadding, and before-and-after images for readers to explore this technique themselves.
Additionally, this issue includes a reassessment of the glaze-measuring Stull chart, Jodie Masterman’s secluded but energized workspace, and Kari Woolsey’s convergence of drawing and clay. I hope you are inspired by one of the many processes or pieces shown in the pages that follow.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
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