By working intentionally, there are many ways and degrees to which a ceramic artist can make an impact. The artists featured in this issue use their resources, platforms, work, research, and studio practices to address or bring attention to contemporary problems or serve their communities. Reflecting on the articles that follow, I am reminded of the importance of identifying a mission, starting small, and working toward that purpose to effect positive change.
Ceramics School in Hamtramck, Michigan, serves its local and greater clay community in its courses, studio access, and residency program. Investing much of their personal lives and finances into the business, Henry Crissman and Virginia Torrence actively pursue sustainable practices to create an affordable studio environment housed in a multi-functional space.
Cor Garcia-Held and Emiliano Garcia, contributors to this issue’s Spotlight, established Gasworks NYC and value connection and care at every level. The nonprofit arm of their business, Public Ceramics, recognizes a need to fund opportunities for historically underrepresented artists in fellowships in New York studios, in addition to public programming and mentorship. The day-to-day operations of the studio foster engagement and compassion among its artists.
Chenoa Baker describes the Kaabo Clay Collective, founded by Osa Atoe, as an expanding nonprofit that offers Black ceramic artists an online network, opportunities for growth and development, funding, connection, and more. Quotes from members describe firsthand the impact of the collective on their practices and lives.
Glen Brown shares two articles on artists who make large-scale pieces that investigate their conceptual concerns. Corwyn Lund, whose work is shown on the cover, explores heavy topics of climate change and nuclear war through processes based in light and heat. Sarah Gross’ practice engages viewers through installation to discuss issues including homelessness and human experience in the digital age.
An interest in social and climate justice fuels the sculptural work of Sarah Conti. Incorporating bird forms into functional objects for the home, a means through which she explores this subject matter, Conti demonstrates the step-by-step process of how she constructs a bird candlestick.
An individual’s studio practice can create a positive impact in an incremental manner. Laurie Caffery notes that setting up a garage studio and hiring an assistant makes her practice possible. Susan McHenry describes Nan Coffin’s decades of making and contributing to the ceramic field, emphasizing that lessons learned along the way allow her to prioritize working smarter to ensure time in the studio long term.
One of this issue’s Clay Culture articles highlights research on using ceramic material as a coating to combat the warming effects of climate change. I find this particularly inspiring, as the material that unites us in shared interests can itself be harnessed for tangible good. It’s my hope that you find inspiration in these stories as well.
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By working intentionally, there are many ways and degrees to which a ceramic artist can make an impact. The artists featured in this issue use their resources, platforms, work, research, and studio practices to address or bring attention to contemporary problems or serve their communities. Reflecting on the articles that follow, I am reminded of the importance of identifying a mission, starting small, and working toward that purpose to effect positive change.
Ceramics School in Hamtramck, Michigan, serves its local and greater clay community in its courses, studio access, and residency program. Investing much of their personal lives and finances into the business, Henry Crissman and Virginia Torrence actively pursue sustainable practices to create an affordable studio environment housed in a multi-functional space.
Cor Garcia-Held and Emiliano Garcia, contributors to this issue’s Spotlight, established Gasworks NYC and value connection and care at every level. The nonprofit arm of their business, Public Ceramics, recognizes a need to fund opportunities for historically underrepresented artists in fellowships in New York studios, in addition to public programming and mentorship. The day-to-day operations of the studio foster engagement and compassion among its artists.
Chenoa Baker describes the Kaabo Clay Collective, founded by Osa Atoe, as an expanding nonprofit that offers Black ceramic artists an online network, opportunities for growth and development, funding, connection, and more. Quotes from members describe firsthand the impact of the collective on their practices and lives.
Glen Brown shares two articles on artists who make large-scale pieces that investigate their conceptual concerns. Corwyn Lund, whose work is shown on the cover, explores heavy topics of climate change and nuclear war through processes based in light and heat. Sarah Gross’ practice engages viewers through installation to discuss issues including homelessness and human experience in the digital age.
An interest in social and climate justice fuels the sculptural work of Sarah Conti. Incorporating bird forms into functional objects for the home, a means through which she explores this subject matter, Conti demonstrates the step-by-step process of how she constructs a bird candlestick.
An individual’s studio practice can create a positive impact in an incremental manner. Laurie Caffery notes that setting up a garage studio and hiring an assistant makes her practice possible. Susan McHenry describes Nan Coffin’s decades of making and contributing to the ceramic field, emphasizing that lessons learned along the way allow her to prioritize working smarter to ensure time in the studio long term.
One of this issue’s Clay Culture articles highlights research on using ceramic material as a coating to combat the warming effects of climate change. I find this particularly inspiring, as the material that unites us in shared interests can itself be harnessed for tangible good. It’s my hope that you find inspiration in these stories as well.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
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