The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Despite a circuitous path, Sean O’Connell’s journey has been dotted with chance encounters and unexpected inspiration, all the while building a life and body of work that celebrates the hand. When something extraordinary or uniquely beautiful crosses my path, like O’Connell’s work, I am inspired to dig deeper, learn more, and create something myself.
O’Connell grew up in Northwest Arkansas. In high school, he discovered something he loved during a career day. For one day, as part of the assignment, he followed his art teacher. She had a jewelry store and he found the making fascinating. The spark had been ignited.
An Eye-Opening Discovery
O’Connell’s formal education began at the Kansas City Art Institute (KCAI) in Kansas City, Missouri. Initially, he planned to major in illustration and design. However, upon arriving at KCAI, he randomly and fortuitously decided to major in sculpture. He took ceramics as an elective course in his junior year and went on to complete a semester of independent study with KCAI ceramics Professor Cary Esser during his senior year. The joy, passion, and ability to use his hands to create became an eye-opening, pivotal point in his life.
After completing his degree, he was so excited about his discovery of clay that he mopped floors at the Kansas City Clay Guild in exchange for studio use. He found himself at the studio during his free time, and slowly began to sell some work. He credits this moment in his development as a true turning point, launching him into his studio work full time. As most ceramic artists, he was and continues to be impressed by the almost magical transformation of the material, by his hands and by fire.
Graduate school followed at Rochester Institute of Technology (RIT). O’Connell says, “Grad school was the next big turning point. One of my professors was Julia Galloway. Her enthusiasm and encouragement were instrumental to my development as a potter and artist. She taught me how to look deeper into the embedded concepts of utilitarian pots, and her excitement for this subject was infectious.”
Opportunities and Exploration
He went on to teach at community colleges, community centers, art centers, and as an adjunct professor, in addition to working in arts administration. The different positions took him to a variety of states in the US and Canada.
Throughout these years, he continued to be a creator, developing his work and maintaining a fascination with repetitive patterns of decoration. O’Connell makes his own clay, using his formula for a high-temperature red stoneware. He then applies a white kaolin-based slip to create a blank canvas on the surface. Next, he hand-paints decorative elements with underglazes, wax resist, and oxide pigments, before glazing overall with a simple clear glaze. Keeping the elements simple actually allows for greater depth of exploration.
During his years at Red Lodge Clay Center, 2016–2021, he continued to explore cone-6 oxidation but soon started the switch to cone-10 reduction firing. For a period of two years, he made both bodies of work. However, he only exhibited the cone-6 work. The high-fire stoneware work became the primary body of work upon arriving at Penland in 2021. For the last four years, he has used a wood kiln for his final firings. The current kiln is a single-chamber, catenary-arch kiln, originally designed by former local potters Will Ruggles and Douglas Rankin from Rock Creek Pottery and built by former Penland resident and potter Jason Hartsoe. It is an effective design for the area, which has an abundance of off-cut lumber from pallets and furniture-making.
O’Connell settled in the mountains of North Carolina, near Penland, after being accepted into a three-year residency program at Penland School of Craft. He chose to stay in the area for numerous reasons. Where he now lives is full of craftspeople of all sorts: ceramicists, woodworkers, glassblowers, weavers, etc. This aligns with his values of handmade objects being a necessity in the world today. He feels supported by the environment and the large network of supportive artists.
Functional Inspiration
When asked why functional pottery, O’Connell says it is the interwoven sensibility of use, design, beauty, and utility, and the value of handmade objects. He says, “I would also say that one of the reasons I make functional work is the boundaries it provides. I work better within constraints, and utility is the perfect fencepost to give me space to roam, but also [retain] clear, creative direction.”
These objects continue to engage his imagination, calling for further depth of discovery. The art of embellishment, patterns over form, and forms that are designed to function are an endless source of exploration.
The sources of inspiration have changed, developed, and deepened over the years. During his time in graduate school, he became interested in the history of ceramics. From Japanese to Early American folk pottery, Pennsylvania Dutch redware to Appalachian stoneware, extending to the entire world of ceramic art. Often, it was simpler objects that called to his sensibilities; those where the maker clearly had to work fast and did not have time for much embellishment, choosing instead simple design elements to be repeated. Contrary to that was the influence of abstract art. He cites the work of Joan Mitchell, Robert Motherwell, Franz Kline, Richard Diebenkorn, and influential ceramic artists including Betty Woodman, Andrea Gill, Robert Turner, and Akio Takamori.
O’Connell spoke at length of being influenced by the intersection of cultures along borders. The melding point where many cultures meet, where design elements are exchanged, holds his particular interest. Works from Afghanistan, Turkey, and Korea, countries where cultures connect, trade, and influence one another across their borders, have had a high degree of influence. O’Connell is drawn to the patterns and designs of these intersections. These fusion points have influenced his patterning on the forms he builds; however, his work is uniquely his own. Two Japanese artists, Kitaoji Rosanjin and Kenzan Ogata, have also been sources of inspiration for his design work due to their direct approach to making; nothing overworked or overanalyzed. His spontaneous brushmarks reflect the same confidence. Other influences for his approach to form and surface include Islamic ware of the 7th–10th century Iraq/Iran/Central Asia, luster ware, fritware, Tang dynasty Chinese pottery, Joseon Korean pottery, and folk pottery in general.
O’Connell uses the phrase “rejoicing in the hands” in creating an object of utility, a value of handmade things that are well designed and embellished. The object is a way of connecting him to the user of the object, the act of use, the domestic habits, and rituals of comfort, hospitality, etc. He thinks about the use, feel, weight, design, and decoration. For him, it is the human connection, a value system one lives by, in creating works of beauty and function, to transmit these values and ideas to the world. It is the antithesis of current society’s values, and of the world we experience now.
Craft and art are glues that continue to hold history and cultures together, while makers reflect the culture. One can see the development of cultural values throughout history. The objects we see in museums were everyday objects for the people of the time, recording the life and customs of a society.
My hope is that others will be inspired by and find beauty in the forms and functionality of O’Connell’s work. That they explore other cultures as he has, through the legacy of their objects, and connect to the makers before them as he has with his work. To think deeply about the reasons they create the work they do, and reflect on how that work relates to those who use it. O’Connell’s works are a daily reminder of humanity—the connection that binds us all.
the author Lauren Kearns is a ceramic artist, writer, mentor, and teacher working at the new privately owned studio Ceramic Arts Atelier in Ventura, California. She previously established an artist residency program in France. Now based in California, she welcomes all to her new studio.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Despite a circuitous path, Sean O’Connell’s journey has been dotted with chance encounters and unexpected inspiration, all the while building a life and body of work that celebrates the hand. When something extraordinary or uniquely beautiful crosses my path, like O’Connell’s work, I am inspired to dig deeper, learn more, and create something myself.
O’Connell grew up in Northwest Arkansas. In high school, he discovered something he loved during a career day. For one day, as part of the assignment, he followed his art teacher. She had a jewelry store and he found the making fascinating. The spark had been ignited.
An Eye-Opening Discovery
O’Connell’s formal education began at the Kansas City Art Institute (KCAI) in Kansas City, Missouri. Initially, he planned to major in illustration and design. However, upon arriving at KCAI, he randomly and fortuitously decided to major in sculpture. He took ceramics as an elective course in his junior year and went on to complete a semester of independent study with KCAI ceramics Professor Cary Esser during his senior year. The joy, passion, and ability to use his hands to create became an eye-opening, pivotal point in his life.
After completing his degree, he was so excited about his discovery of clay that he mopped floors at the Kansas City Clay Guild in exchange for studio use. He found himself at the studio during his free time, and slowly began to sell some work. He credits this moment in his development as a true turning point, launching him into his studio work full time. As most ceramic artists, he was and continues to be impressed by the almost magical transformation of the material, by his hands and by fire.
Graduate school followed at Rochester Institute of Technology (RIT). O’Connell says, “Grad school was the next big turning point. One of my professors was Julia Galloway. Her enthusiasm and encouragement were instrumental to my development as a potter and artist. She taught me how to look deeper into the embedded concepts of utilitarian pots, and her excitement for this subject was infectious.”
Opportunities and Exploration
He went on to teach at community colleges, community centers, art centers, and as an adjunct professor, in addition to working in arts administration. The different positions took him to a variety of states in the US and Canada.
Throughout these years, he continued to be a creator, developing his work and maintaining a fascination with repetitive patterns of decoration. O’Connell makes his own clay, using his formula for a high-temperature red stoneware. He then applies a white kaolin-based slip to create a blank canvas on the surface. Next, he hand-paints decorative elements with underglazes, wax resist, and oxide pigments, before glazing overall with a simple clear glaze. Keeping the elements simple actually allows for greater depth of exploration.
During his years at Red Lodge Clay Center, 2016–2021, he continued to explore cone-6 oxidation but soon started the switch to cone-10 reduction firing. For a period of two years, he made both bodies of work. However, he only exhibited the cone-6 work. The high-fire stoneware work became the primary body of work upon arriving at Penland in 2021. For the last four years, he has used a wood kiln for his final firings. The current kiln is a single-chamber, catenary-arch kiln, originally designed by former local potters Will Ruggles and Douglas Rankin from Rock Creek Pottery and built by former Penland resident and potter Jason Hartsoe. It is an effective design for the area, which has an abundance of off-cut lumber from pallets and furniture-making.
O’Connell settled in the mountains of North Carolina, near Penland, after being accepted into a three-year residency program at Penland School of Craft. He chose to stay in the area for numerous reasons. Where he now lives is full of craftspeople of all sorts: ceramicists, woodworkers, glassblowers, weavers, etc. This aligns with his values of handmade objects being a necessity in the world today. He feels supported by the environment and the large network of supportive artists.
Functional Inspiration
When asked why functional pottery, O’Connell says it is the interwoven sensibility of use, design, beauty, and utility, and the value of handmade objects. He says, “I would also say that one of the reasons I make functional work is the boundaries it provides. I work better within constraints, and utility is the perfect fencepost to give me space to roam, but also [retain] clear, creative direction.”
These objects continue to engage his imagination, calling for further depth of discovery. The art of embellishment, patterns over form, and forms that are designed to function are an endless source of exploration.
The sources of inspiration have changed, developed, and deepened over the years. During his time in graduate school, he became interested in the history of ceramics. From Japanese to Early American folk pottery, Pennsylvania Dutch redware to Appalachian stoneware, extending to the entire world of ceramic art. Often, it was simpler objects that called to his sensibilities; those where the maker clearly had to work fast and did not have time for much embellishment, choosing instead simple design elements to be repeated. Contrary to that was the influence of abstract art. He cites the work of Joan Mitchell, Robert Motherwell, Franz Kline, Richard Diebenkorn, and influential ceramic artists including Betty Woodman, Andrea Gill, Robert Turner, and Akio Takamori.
O’Connell spoke at length of being influenced by the intersection of cultures along borders. The melding point where many cultures meet, where design elements are exchanged, holds his particular interest. Works from Afghanistan, Turkey, and Korea, countries where cultures connect, trade, and influence one another across their borders, have had a high degree of influence. O’Connell is drawn to the patterns and designs of these intersections. These fusion points have influenced his patterning on the forms he builds; however, his work is uniquely his own. Two Japanese artists, Kitaoji Rosanjin and Kenzan Ogata, have also been sources of inspiration for his design work due to their direct approach to making; nothing overworked or overanalyzed. His spontaneous brushmarks reflect the same confidence. Other influences for his approach to form and surface include Islamic ware of the 7th–10th century Iraq/Iran/Central Asia, luster ware, fritware, Tang dynasty Chinese pottery, Joseon Korean pottery, and folk pottery in general.
O’Connell uses the phrase “rejoicing in the hands” in creating an object of utility, a value of handmade things that are well designed and embellished. The object is a way of connecting him to the user of the object, the act of use, the domestic habits, and rituals of comfort, hospitality, etc. He thinks about the use, feel, weight, design, and decoration. For him, it is the human connection, a value system one lives by, in creating works of beauty and function, to transmit these values and ideas to the world. It is the antithesis of current society’s values, and of the world we experience now.
Craft and art are glues that continue to hold history and cultures together, while makers reflect the culture. One can see the development of cultural values throughout history. The objects we see in museums were everyday objects for the people of the time, recording the life and customs of a society.
My hope is that others will be inspired by and find beauty in the forms and functionality of O’Connell’s work. That they explore other cultures as he has, through the legacy of their objects, and connect to the makers before them as he has with his work. To think deeply about the reasons they create the work they do, and reflect on how that work relates to those who use it. O’Connell’s works are a daily reminder of humanity—the connection that binds us all.
To learn more about Sean O’Connell and his work, visit www.seanoconnellpottery.com or follow on Instagram @seanoconnell.pottery.
the author Lauren Kearns is a ceramic artist, writer, mentor, and teacher working at the new privately owned studio Ceramic Arts Atelier in Ventura, California. She previously established an artist residency program in France. Now based in California, she welcomes all to her new studio.
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