ICAN 2020 Juried Exhibition: Short and Stout
Flat Iron Teapot
I design functional ware whose forms are both useful and sculptural. For me it is essential that each piece effectively serves its function. But it is equally important that each piece works as an interesting aesthetic form when not in use. The result often departs from more conventional shapes of functional ceramics.
Having originally worked in stone, metal and wax, I encountered clay late and immediately fell in love with its very nature –particularly its pliability, plasticity and response to pressure. I exploit these qualities in both the forms I develop and the textures I use as surface treatment.
My studio is in the Northern Clay Center in Minneapolis, MN where I also teach. In addition, I give workshops nationally. My students’ enthusiasm and curiosity greatly enrich my own studio practice. I hand-build my work from soft slabs of Grolleg porcelain.
While working on my MFA in ceramics at SUNY-New Paltz I developed my passion for porcelain. My fascination with this material has lasted over twenty-five years. I like to say that I “love ” my porcelain into shape — never forcing it. My favorite question is, “What if….”, so I set aside time each month to just “play” with my clay.
Much of my work is inspired by the weathering of rocks, the earth’s bones, by wind and water. To me, the slow, but inevitable change in things that seem permanent is a reminder to value our short life spans and embrace the changes we encounter.
Statement on artwork:
The Flat Iron Teapot was inspired by the split mesas of the American Southwest. They are dramatic creations of weathering processes. This teapot is part of series I did in response to time spent in New Mexico.
Mesas, meaning table mountains, are the direct result of weathering and erosion. The lands around these mesas were once at the same level as the mesas themselves, but over eons, water and wind have left the harder rock of the mesas standing high above the rest of the worn away land.
Small Teapot with Hinge Lid
Growing up in Seattle, Hayne got interested in clay when he found an old potter’s wheel in a corner of the high school art room. The art teacher knew enough about pottery to point him to Leach’s A Potter’s Book, and that became his guide. Other than lessons with a potter in Tokyo as a late teen, Hayne managed to avoid any formal schooling in ceramics.
He quit a perfectly good job at a newspaper in 1993 to make pots. At his first craft show, on a small-town churchyard lawn, he sold three pieces – two to a good friend. In the years since he’s won top awards at the Smithsonian Craft Show and the Philadelphia Museum Craft Show.
Hayne abandoned wheel-throwing early on, lured away by the freedom of hand-building. He set up his first studio in a tiny basement he shared with a washer and dryer, a stack of snow tires, mice and the snakes that ate them. The workspace amounted to a little more than a hundred square feet. To navigate through the cramped quarters he sometimes had to slide sideways, and since then it’s been Sideways Studio. It also applies to a certain way of looking at things; instead of encountering an idea head-on, you might approach it from a different angle, even sideways. It can help avoid the traps of your own assumptions. His studio is larger now and still cluttered, but he doesn’t have to walk sideways.
I take my caffeine in coffee rather than tea, but the teapot and its place in pottery tradition have intrigued me since I began making pots. Much of the inspiration for this piece, on a theme I’ve been working through for a few years, comes from Colonial-era silver and pewterware.
The formal elements of that work resonate with me: the oval body, the swan’s-neck spout, the bass-clef handle, and the hinged lid. My decorative impulses are usually sparked by Asian textiles, in particular, Japanese kimono fabrics. The cobalt and inclusion-stain slip decoration is printed through stencils I cut out of Tyvek vapor barrier (also FedEx envelopes). Tyvek is waterproof, very strong, and can be indefinitely reused.
This teapot is fully functional and meant to be used. Pre-warm the teapot by filling it with hot tap water. Leave it in for a couple minutes, then pour it out before putting in the tea and water from the kettle. This will reduce the chance of thermal shock and also helps keep your tea hotter longer. You should do this every time you use the teapot. To clean, rinse by hand. The dishwasher isn’t recommended.
Fong Choo originally a native of the Republic of Singapore came to the US in 1983 to pursue an education. He signed up for a Ceramics class as an elective and immediately felt the interest. In 1990 he completed his Masters of Art in Ceramics at the University of Louisville in Louisville, Kentucky and Louisville has been his residence since 1983.
Choo currently does adjunct teaching at Bellarmine University in Louisville, KY and has taught many workshops nationally at centers like Penland and Arrowmont School of art and craft and internationally in Israel, Canada and most recently in The Republic of Singapore.
Over the years, his works have received The Excellence in Ceramics Award at The Smithsonian Craft Show in Washington DC, Best of Show at the American Craft Exposition in Evanston, IL and The Philadelphia Museum of Art Craft Show in Philadelphia, PA.
His Ceramics Art and Perception magazine article in September of 2010 made the front cover.
THE SLEEPING TIGER
“What is so exciting about looking at a sleeping tiger?”
“Nothing. But if you take a stick and poke at it, you will remember that tiger for the rest of your life!”
I feel blessed to be able to pursue the life of a potter — especially when it requires poking the sleeping tiger…
In many ways, this conversation at the Minnesota Zoo parallels my attitude towards clay. Clay requires poking to awaken it : one must push limits, test waters, search, prod and explore its many possibilities.
These diminutive porcelain teapots shown is the result of over two decades of evolution in color, design and form.
The teapot form continues to challenge and fascinate me: yet I am striving for metamorphosis, for growth, for expansion. I want to retain all that I have learned in these years and apply it on a new scale. In short, I have the urge to make my creations “grow up.”
I invite you to become my accomplice as I wake my sleeping tiger.
Grow with my teapots and with me.
Me and My Teabird
Kimberly Cook is currently an adjunct professor at three community colleges in the San Francisco Bay Area. She earned her MFA in spatial art/ceramics from San Jose State University in 2008. She is a working artist and educator who teaches ceramic handbuilding, advanced sculpture, pottery wheel, and color theory classes. In 2011, she completed a ceramic art and teaching residency at Interlochen Center for the Arts, in 2012 a residency in Laugarvatn, Iceland, and she was selected to do a six-month ceramic artist residency at the Limerick School of Art & Design starting in the Fall of 2020. Her work is part of numerous collections including a permanent installation on the campus of Notre Dame de Namur University in Belmont, CA., the W. Keith & Janet Kellogg University Art Gallery at Cal Poly Pomona University, and Galeria Galateea, Bucharest, Romania. Her work has also been published in Ceramics Now Magazine and China Ceramics Illustrated, as well as being selected to be shown at NCECA (the National Council on Education for the Ceramic Arts) in 2017 and 2020.
Ceramics Now Magazine: ceramicsnow.org/kimberlycook
My work is inspired from the perspective of childhood; narratives from a place of innocence that push the boundaries of conforming to living out our own adult life stories and experiences. The image on “Me, Myself, and My Tea Bird” simply comes from a moment in time where I felt lonely and melancholy, while sipping tea and reminiscing about a pet I had as a child. These frozen snapshots in time that are depicted in my sculptures and on my pots can evoke a memory from early childhood, current and past experiences; memories that form my thoughts and how I think about myself as an adult. As adults, bigger responsibilities and societal pressures limit the way we perceived experiences as a child, and for most people, they restrain our childlike thoughts, behaviors, and creativity.
The imagery that I use represents a manifestation of recollections of moments that inform who I am today. By using a mix of folklore and mythological references combined with current day-to-day events, the visual narratives spoken through my work are meant to engage the viewer in a retrospective process which hopefully allows them to see that there is nothing that is just “black and white” within themselves, or in human nature, and that everyone has these inner dialogues that are hidden from each other, but also make up who we are and who we become.
Hannah Graeper Carver,
I am a self-taught ceramic artist based near Ithaca, New York. After my initial instruction, I began my career by managing the clay studio at Binghamton University and apprenticing for several potters in New York and North Carolina. I started my studio pottery business in 2013 and I currently teach classes at the Ithaca Clay School.
I use a mid-range, brown stoneware and I work primarily on the potter’s wheel, though I make some items using slabs and hump molds. My pieces are defined by the patterns that I draw on them; repeating, often symmetrical designs that flow across the surface and appear to get lost in a coat of glaze above. I free hand glaze trail all the patterns directly onto bare, bisqued clay, leaving much of the raw clay exposed. The work is then fired in an electric kiln at cone 6 and the resulting pieces have a crisp, textured surface. I am inspired by Moorish architectural tile, Spanish Talavera and similar highly patterned wares of historic and cultural importance. More information about my work as well as gallery inquiries and purchases can be found at:
This teapot was made in 2019 out of brown stoneware clay and fired at cone 6 in an electric kiln. It is glaze trailed in a pattern that I call “Victorian,” inspired by the richly patterned aesthetic of the Victorian era. To me, the diamond shaped, starburst pattern evokes the feeling of sitting in an ornate dining room with deep velvet chairs and swirling wallpaper; the perfect place to drink a cup of tea and eat something delicate and delightful. The body of this piece is intentionally plain so that the intricate pattern will stand out. Similarly, there is only one liner glaze, a deep cobalt blue, that enhances and gives depth to the pattern work rather than taking attention away from it.
William Jackson III,
William Henry Jackson III was born and raised in Pittsburgh. He went to Edinboro University of Pennsylvania to study Graphic Design and Ceramics. He graduated with a bachelor’s in Fine Arts in 2008. Since his graduation, he was able to connect with Union Project in the East End area of Pittsburgh. At the Union project, he shares a spot in the Collaborative Studio Space.
William’s work is inspired by various cultures particularly Japanese and Chinese. Hip hop and graffiti are other major influences in his work. He uses these cultural influences and elements of science fiction to create his work. He also draws on the ideas of wabi-sabi and the theological premise of death and resurrection. The Pottery is designed to be functional and to serve the community.
Horsehair Raku Mishima Teapot Set
Swanica finds a connection with Mother Nature and meaning of life through the creation of ceramic art. She lived in many countries: is born in the Netherlands in 1955; lived in Switzerland, in Silicon Valley California, and Japan. The extensive travels increased her understanding of different cultures and the history of arts. She was influenced by a long family tradition of goldsmiths, painters and musicians. Her studies at L’ecole des Arts Decoratifs in Geneva, Switzerland, immersed her in the art of drawing, throwing, forming, decorating and glazing ceramics. She has previously produced an important body of work that features yellow and brown tones produced by the use of ferric chloride color on her signature Horsehair Raku works for which she won 2 Mashiko and 2 Mino awards in Japan. Her Kamakura- Red Bamboo Teapot is in the collection of the International Hall of teapots in the Yixing museum and the Shanghai “Pot” Museum of China as well as her “Sakura” plate in the Semi Rupa dan Keramik Museum in Jakarta. She exhibited in the Toko Gallery in Mashiko and Yufuku Gallery in Tokyo. She has an article in the 2010 Japan Times and was on Japanese television and radio. You can find her Special Judges Award Horsehair vase in Wikipedia under Horsehair and in the Larks book 500 Raku.
ICAN Artist Portfolio: https://ceramicartsnetwork.org/ican/portfolio/ligtenberg-swanica/
Facebook page: @Swanica.Lightenberg
The Horsehair Raku Mishima Teapot represents friendship. It sits between friends and teacups in a trusting environment. This teapot is made from high-fire white clay, thrown on a wheel and assembled with a round handle. Then some white clay pattern is taken out and filled in with black clay, called the Mishima technique. After drying it is bisque-fired at cone 04, 1060 Celsius. While cooling down, it is taken out at 650 Celsius and put on refractory bricks. Horsehair is put on the piece and burns into the clay and becomes a black carbon line. Then ferric chloride is sprayed on the teapot and after a day the color develops into a deep brownish yellow color. After some days food-safe varnish is put on the pot to close the pores and safeguard the colors. The teapot is completed by use, enjoyment and passing of time.
Scott McClellan was born in Brigham City, Utah. He first found ceramics at Box Elder High learning from Lee Burningham. He continued ceramics in college at Utah State University where he studied under John Neely and Dan Murphy, where he found a connection to wood firing.
After graduating with a BFA in ceramics, Scott moved to Edinboro, PA to work as a ceramics studio technician at Edinboro University of Pennsylvania under the direction of Lee Rexrode and Chuck Johnson. While there, he developed multiple clay bodies for soda and wood firing.
Scott then moved on to work as a resident artist at Taos Clay in Taos, New Mexico. There he continued his research of firing wood kilns in differing atmospheres. He also took on the responsibilities of a studio technician, gallery attendant, ceramics instructor, and show curator.
After his residency, Scott moved to Columbia, Missouri to study under Bede Clarke and Joe Pintz in pursuit of his Masters of Fine Art. At Mizzou, Scott experimented with a variety of technical processes, primarily focusing on wheel thrown pottery and hand built sculpture. He fired his work in a variety of different wood kilns researching multiple firing patterns.
After receiving his Masters in Fine Arts, Scott worked as the wood fire resident at The Clay Studio of Missoula for two years. There he developed wild clays to be used in reduction cooling, glazes, and as additions to Wollastonite clay bodies. He rebuilt the CSOM anagama and increased the efficiency to get hotter using less wood and time.
Scott is currently the resident artist at Peninsula College in Port Angeles, WA. He is experimenting with reducing earthenware to give an atmospheric surface to the terracotta.
Weathering, metamorphosis, heat, and tectonics are forces that form and transform the earth. Over millennia, these methods of abrasion construct captivating structures out of ubiquitous materials. I reference erratic rock architecture by using the same minerals and modes of construction to create new metamorphic rocks. By stripping clay down to its basic nature, I exploit the rawness of the material.
The dramatic craggy surfaces hold a dignified presence of solemnity. When observing these objects, one can see how the undulations and irregularities are what give them fortitude, encouraging contemplation in the viewer; a time set aside to recognize the earnestness of life in comparison to the gravity of death. I have often found myself in this capacity when surrounded by the vastness of desert landscapes. The massiveness of the rock formations combined with the expansiveness of the horizon, humbles me to a contemplative state. In these times I have been able to resolve who I am and what is important to me. I replicate these experiences by inducing solemnity in the individual interacting with my work.
Brooke studied at West Virginia University, where she graduated with a BFA in ceramics. In 1995, she established herself as a studio potter. In 2004, she started teaching ceramics at local craft schools and later as an artist-in-residence at Fairport High School, in Upstate New York.
She has continued to balance the two roles while she and her husband raise their family.
In recent years, she has been able to expand her business, with the help of social media, to include workshops, juried and solo exhibitions, national invitationals and most recently, a published article in Ceramics Monthly. She is currently working on upcoming exhibitions, including a solo feature at Charlie Cummings Gallery, in January 2021.
She lives and works in Fairport, NY, producing altered functional forms with detailed surface design.
The life of a studio potter can be a regimen that consists of sleeping, eating, making and bathing, set to repeat until the deadline arrives. Oftentimes, there isn’t much time left in a day, except for the necessities. As a dedicated potter, I wouldn’t want life to be any other way.
This piece is celebrating the simplicity of home life and daily routine. It is in itself a pitcher for serving syrup over pancakes, perhaps for a Sunday breakfast or a busy weeknight dinner. The cake evokes pleasant memories like birthdays and graduations, or a weekend tradition. Finally, the foyer, for which it’s named, is dedicated to being a quiet and constant space for passage, something that happens every day. In my house, it is often the only space that doesn’t continuously change, and sometimes that can be a comfort, for the life of a potter is a busy one.
Handbuilt, using a wheel thrown, closed form, bisque mold.
Starting with one pound of clay, I paddle it over the mold to create an open dome form. Setting the mold aside, I begin the assembly upside down by folding over the edge of the clay, creating four feet. After closing the feet, I add a patch to close the belly, making it a contained dome. To make the spout, I roll out a small, solid cone and pierce it with the back of a tapered paint brush. While holding onto the brush, I gently roll back and forth, opening up the cone to create a spout. A hole is made in the body and the spout is attached. For the lid, I form a ball of clay into a soft cone shape, and roll the bottom half along a straight edge, compressing the lower half, creating what looks like a mushroom. The bottom half is manipulated to fit the newly pierced hole at the top Then, I pinch the top half into a soft, tapered lid. Lastly, I attach a handle, let it dry and bisque.
For the surface, I paint on black underglaze and lay down a handmade vinyl frisket, wiping away the excess underglaze which leaves behind the image. Finally, I add a wash of underglaze on the exterior, a liner glaze and electric fire to cone 6.
I grew up in one of the world’s most beautiful cities, Saint Petersburg, Russia, where art was everywhere and could be found in many forms: architecture, music, painting, sculpture; every form, except, possibly, modern ceramics. I discovered the world of ceramics in my late twenties, when I came to United States. I learned to express myself in English and in clay at about the same time… My language is simple and functional, and my goal is to bring a little bit of beauty, joy and warmth into your house.
I don’t have a formal art education, my degree is in chemistry. My pottery education comes from some college classes, workshops, and short apprenticeships, but I am mostly self-taught. I am currently a full time potter (though still a mom of two school-age kids), and I work with other DC metro area artists at a wonderful shared space, a ceramic and print-making studio called Lee Arts Center.
I am a tea lover, so for me a teapot is not just the ultimate test for a potter’s ability to solve aesthetic and functional challenges. To me, a teapot is more personal; something I use on everyday basis. That is why for me functionality comes first, and cannot be compromised. But when I was thinking about the design for this particular piece, I knew that I wanted to showcase my glazes. I had recently discovered the dark brown stoneware clay for myself, and loved how complex (for an oxidation firing) my glazes looked on it. With this teapot, I played with contrasts: dark, matte, slightly rough glaze on the outside that emphasizes the facets while a bright, smooth, and shiny blue glaze pools inside to give you a sense of depth. The teapot and cups are wheel-thrown and altered, and fired to cone 6 in an electric kiln.
I am a book/editorial illustrator, illustrator in porcelain, stoneware, and polystyrene. I began my career while in graduate school for ceramics at the University of Montana. While there I worked for the Anthropology and Wildlife Departments illustrating research papers. I decided this practical career was for me. The New England Aquarium hired me as their staff illustrator when I returned to Boston. What followed were collaborators with art directors and designers for non-fiction children’s books, textbooks, and adult trade books with major publishers including cookbooks, gardening books, and editorial work for the New York Times, the N.Y. Daily News and the Boston Globe. One of my specialties was step-by-step instructional illustrations showing hands making food recipes – or making puppets, like the ones in “The Muppets Big Book of Crafts” for Jim Henson Productions. It was fun to work with the artists and crafts people who created those charming Muppet Characters.
But eventually I tired of working long hours to meet publishing deadlines, alone at the drawing board. The Ceramics Program at Harvard offered classes and a community of enthusiasts. After relearning techniques, I managed and taught at a ceramic program for Babson, Wellesley and Olin College students. More knowledge/inspiration was attained at residencies: Guldagergaard, Denmark; Keschcemet, Hungary; Watershed in Maine; and Medalta, Canada. Architectural ceramics, in-glaze transfer-ware, lithophanes, and teaching workshops to children and adults followed. Music and singing inspire my work.
My Bluebird Teapot is a happy example of a collaboration of material resources. I always make my own plaster molds from my sculpted forms, but this time I worked with. They sent me a plaster teapot mold from their inventory. Always respectful of copyrighting and making original works, I changed the design some to make it my own, adding a teapot lid – my own casting of a turtle. Using Elaine’s Porcelain Slip from , the teapot was bisque fired to cone 04. My favorite glaze, HF-9 Zinc Free Clear, fired to cone 5/6, had a perfect fit on the porcelain. Then, helped reprint my book illustrations from an out-of-print, non-fiction children’s book I illustrated called “All About Eggs” by Millicent Selsam. This Harper Collins book with © illustrations by Stephanie Fleischer Osser 1980, won a National Science Teachers Association Award for an Outstanding Science Book for Children. Two shades of food-safe blue underglaze were overlapped to give dimension, and then there was a second glaze firing to cone 4.
Ivory Nouveau Teapot
Lora Rust is a ceramic artist and instructor at the Callanwolde Fine Arts Center in Atlanta, GA, USA. Lora received a B.A. in French from Newcomb College of Tulane University, New Orleans, LA. Her career took her into the corporate world as an Operations and Human Resources Executive. Ceramics was always a strong interest in high school, college and beyond. Returning to clay after 17 years, Lora took classes at Callanwolde Fine Arts Center, where she honed her pottery skills. She was accepted to the two-year pottery assistantship at Callanwolde. Since 2008 Lora has maintained her production studio as well as taught at Callanwolde and various art centers in the Atlanta area. Lora also holds frequent workshops nationwide, where she teaches wheel techniques and her signature style of pushing the clay. Lora creates heirloom quality porcelain artwork, fired in her soda kiln in Blue Ridge, GA.
Facebook and Instagram: @lorarust
“My mother was an artist, a craftsperson, and a collector of pottery. She encouraged our family to touch and use the pieces she collected. She influenced me visually and artistically by teaching me to use patterns and grids in needlepoint, quilting, crocheting and knitting. In school I immediately responded to clay, finding comfort working in three dimensions.
The base of the Ivory Nouveau Teapot is a thrown closed form using ^6 porcelain by Laguna Clay. I use watercolor to mark divisions as a guideline for my designs. I enhance the surface of the pot with a unique process of pushing the clay with personally designed tools. The contours and curves of the tools help me “draw” the design as I fill in the grid. The handle and spout are hand built. My goal was to incorporate and balance the design elements with form and surface texture. Gothic Architecture mixed with the fluidity of Art Nouveau are strong influences for my patterns. Textiles and fashion inspire movement in the textures on my forms. I strive for a rich visual experience of each piece, but it is also important that my pieces are enjoyable to touch.”
Shana Salaff lives in Fort Collins, Colorado. She is a studio potter as well as a frequent contributor to Pottery Making Illustrated and Ceramic Monthly Originally from Toronto, Shana received a diploma in Ceramics from the School of Craft and Design at Sheridan College in Oakville, Ontario, and a Bachelor of Fine Art from the Nova Scotia College of Art and Design, in Halifax, Nova Scotia, in 1998. She became a studio potter for 7 years, running Wareshana Pottery in Halifax. Returning to academia in 2005, she earned an MFA in Ceramics from California State University, Fullerton. After graduation, she was artist-in-resident at Art 342 in Fort Collins, where she fell in love with the area. After a second residency, at the PauKune Wanner Art Haus in Severance, CO, she moved into Fort Collins. Currently Shana is a studio potter who teaches workshops and classes in the area.
I make useful ceramic vessels that are designed for aesthetic pleasure as well as utility. My work runs the gamut between traditional or historically significant forms and inspirations and a more postmodern pastiche of style, colors, and decorative patterns. I see the items that I make as being useful “jewels” – shiny, small in stature, and made with as much care as possible. I love beauty and elegance as much as quirkiness and playfulness, and my vessels seek to allow the user to share my passions. Decoration versus content, beauty versus pragmatism; these are the dialectics that inform my work.
Black and White Teapot 1
I was born and raised in Seattle, WA, and began working with clay at High School. I went to the University of Washington to work with Robert Sperry, Patti Warashina and Howard Kottler. Receiving my BFA in 1975, I set up my studio in the Seattle area. Over the years I’ve taught at the University of Washington, Everett Community College and i currently teach at Shoreline Community College.
I work predominately in porcelain on the potter’s wheel. My forms are defined by functional simplicity with over-glaze brushwork.
I also utilize the contrast of the white porcelain surface with a black matte glaze. I juxtapose poured biomorphic shapes of black glaze on the dense white porcelain.
My work has been shown in important national and international exhibitions, and has won various awards. A few of the exhibitions include: NCECA Invitational 2012, Seattle, WA; NCECA Invitational 2010, Philadelphia, Pennsylvania; Objects of Virtue 2009, Walnut Creek, California; Craft Forms 2008, Wayne, Pennsylvania; 2007 Biennial Exhibition of North American Functional Clay, Guilford, Connecticut; 2007 NCECA Clay National Biennial Exhibition, Louisville, Kentucky;
I have had work published many magazines including Ceramics Monthly, Pottery Making Illustrated and Clay Times. And my work is included in various books, such as: American iPottery by Kevin Hluch; Glazing Techniques by the American Ceramic Society; Making Marks by Robin Hopper; China Paint and Over Glaze by Paul Lewing, and The Best of 500 Ceramics (Lark Books).
For a potter, the teapot is one of the most complex pieces to create. It has multiple parts that must work together both in scale and aesthetics. The body, lid, spout and handle must visually integrate while still functioning. It should pour well, not gurgle or drip, and feel comfortable while held by the handle. It should carry out this function while still expressing the potter’s stylistic individuality, either in form or surface decoration.
With this piece “Black and White Teapot”, I believe I have met these requirements. Although not large it would be the right scale for an intimate occasion. The decoration is achieved by pouring a black matte glaze in biomorphic patterns on the dense white porcelain. These drips create a graphic tension that is enhanced by orienting the directional flow of the glaze from both rim and foot of the piece. The shape of the pot informs the pouring process creating overlapping patterns which integrate the form, surface, and decoration, unifying the overall design.
For a carpenter building stairs demands a high level of skill, they must begin and end at specific points, not vary from step to step and look good at the same time. The best craftsman on site is usually given this task. So it is with the potter and the teapot, a high level of skill is needed to successfully achieve good results.
Marcia Selsor Professor Emerita at Montana State University-Billings 1975-2000
Also taught at UH-Manoa 2004 and UT Brownsville 2011-2012.
BFA Philadelphia University of the Arts with Bill Daley and Paula Winokur 1966-1970
MFA SIU Carbondale with Nick Vergette 1970-1973
Selsor received two Fulbright Scholars’ Awards: Spain 1985-86 and Uzbekistan 1994.
Residencies include: La Meridiana in Italy, The Philadelphia Clay Studio, US; Archie Bray Foundation, US;, AIR Vallauris, France,; and CRETA -Roma, Italy; Straumur Artists Commune, Iceland.
Served on the Boards of NCECA, International Ceramic Arts Network (formerly Potters Council), and the Technical Staff of Ceramics Monthly.
Her work has been published in Ceramic Arts Technical, Revistas Ceramicas Internacional, Ceramics Monthly, Pottery Making Illustrated, Neue Keramik and numerous books and exhibition catalogs. She has written over 40 articles in Pottery Making Illustrated, Ceram-ics Monthly, Studio Potter Magazine and Newsletters, British Archeology Reports, Crafts International, NCECA Journals and Newsletters and contributed to several books.
She lives in Red Lodge, MT. where she maintains a studio in her home.
She teaches online courses through teachinart.com, and teaches workshops around the US, Canada, Italy, France, and Scotland.
Facebook page: Marcia Selsor Studio
I like to make functional ware sometimes. I have been using Lindsay’s ^6 porcelain from Archie Bray Foundation. After retiring, my work went from terra cotta Architectural Ceramics to ^6 Oxidation. I taught a semester at UH-Manoa in 2004 and fired ^10 reduction using John Britt’s High Stoneware book as a source for celedon glazes. Coming from winter in Montana, I was in the tropics with beautiful botanical wonders. I began carving pots with leaf patterns and textures using celedon glazes with burnt umber. When I returned to my studio, I spent considerable time trying to match the color from the burnt under celedon ^10 reduction glaze using ^6 oxidation firing. After much testing I got a glaze that matched very well and had a good non-crazing soft matt surface. I photographed numerous clumps of plants, and used them for inspiration while carving several pieces including the teapot.
The Geometric Teapot
I was educated as a ceramist at the School of Applied Art in Copenhagen 1973-1979.
In 1980 I set up my own one-woman studio trying out various techniques and items focusing on tableware utensils. After a few years I was able to make a living from creating my own style of unique handthrown utensils in high-fired earthenware.
From around 2000 I have gradually added larger unique pieces to my collection af items, being inspired mainly by things I find when beachcombing and as I took up diving in 2010 also by the fauna of the sea.
In later years I have been less focused on utensils and more on unique items created in porcelain and stoneware and fired in wood-firing kilns to recreate the harsh environments that corals and shells are exposed to at the seabed.
So in this way the geometric teapot is not typical of my work now. But still very typical of my way of thinking design and shape continuing to refine it until I am satisfied.
To be serious with a touch of warmth and humor.
A teapot is one of the basic items in most households. For a ceramist it is also a challenge to create an item that is both functional and unique at the same time.
Being scandinavian, I am brought up surrounded by well designed items and it is natural for me to focus on simple shapes, removing all supurflous decoration.
The essence of the teapot is not to spill its contents when pouring and to be in good balance and with a stable grip. The lid is kept in place with your thump whe you use the pot.
When designing the teapot I have used the most basic geometric shape, namely the round and feminine ball and added an almost indecent masculine spout for contrast.
The handle is mild and soft, made of mahogany wood and has been made in two variants being placed in either side, depending on whether you are right or left handed.
The material is porcelain which is a pure and poetic material as well as sturdy and useful for casting teapots.
Hayun Surl. He is currently pursuing MFA in ceramics at Ohio University. He has been honing his skills in pottery for the past several years. He started in making pottery in the US and went back to Korea to have an apprenticeship for a deeper study in traditional Korean pottery.
Website : https://www.yoonspottery.com
Instagram : @yoonspottery
As many of the processes of making ceramics produce different results. The reduction cooling process that I use further accentuates the quality of the object by giving it a black contour. This quality of surface reflects the boldness and clarity of my consciousness by contrasting the object against the background.
Leilani Trinka likes to create objects that bring joy into peoples lives and encourages them to smile. She makes playful, intricately decorated, hand built pottery out of thin, porcelain slabs. Much of her work is functional in nature, borrowing patterns, textures and shapes from both manmade and natural sources. Leilani’s pieces are unique, but have a sense of familiarity, making her work approachable and inviting both curiosity and interaction through their use. Colour is occasionally used, but more often than not, the pieces are left uncoloured, so that fine details are not obscured. Born and raised in Hawaii, Leilani’s love of ceramics began in high school. After graduating, she spent two years developing her clay working skills, before making the the brave decision to leave the islands. She moved to Detroit, where she completed her studies and earned a Bachelor of Fine Arts (BFA/crafts). From there, she travelled extensively, achieving her professional teaching degree in England along the way. Leilani finally stopped in South East Asia in 2002. She currently lives in Singapore, where she is a practicing artist and a substitute teacher to high school students at the British International School. She is also the proud mother of Kaimana and a loving wife to Chris.
Living by the ocean, I am fascinated with traditional sea-going boats, particularly ones from South East Asia. *Perahu Teapot is one in a series of pouring vessels inspired by the shapes, surfaces and textures of classic Malaysian fishing boats. An important factor was ensuring that the teapot had not only purposeful function, but also interesting form and unique character; a feature of all of my work. Perahu Teapot was hand built, using thin, textured slabs of mid-range porcelain clay. Small details were modelled and embossed before being added to the form. I used a clear glaze on the inside of the teapot, so that it could be used for purpose. The outside is not glazed, but I carefully sanded it by hand, in order to achieve a satiny surface. *Perahu is the Malaysian word for boat
Joan Ulrich, a native of Chicago, currently resides in Alexandria, Virginia. She is a lifelong artist, holding a degree in Scientific Illustration from Northern Illinois University. She has worked as a botanical illustrator, surface designer, and continues to draw, finding that figure drawing remains an indispensable habit.
Joan began working with clay on a lark twenty five years ago by taking a summer class at Lill Street Studios at a friend’s suggestion. The friend dropped out after two classes, but she became obsessed.
The move to Northern Virginia opened opportunities for every type of atmospheric firing, and Joan quickly gravitated to salt and soda firing. The kiln inspires continual experimentation, always challenging her to find the subtle balance between precision and chance. She enjoys how the unpredictable surface effects of the bare clay contrasts with precisely applied glazes.
Joan teaches ceramics at The Art League of Alexandria and The Workhouse Arts Center in Lorton, Virginia, where she is a resident artist. She also maintains a studio at the Torpedo Factory Art Center in Alexandria. She has curated exhibitions around Northern Virginia, exhibits nationally and internationally, and is the recipient of numerous awards.
Teapots are, at their essence, compositions. I consider mine to have four basic elements: body, handle, spout, and (perhaps surprisingly) knob. The knob becomes a landing spot for the eye as it moves around the pot and is the first thing the viewer touches when he’s tempted to peer inside.
My primary consideration is the type of presence the form will have, whether curvilinear, solidly planted, reaching skyward, or self-contained and quiet; this first decision directs the rest.
I start by creating the body and lid, then sketch what I’ve made from a few angles, since my teapots are often oval with pitched tops and offset lids. I draw possible spout ideas, then start fashioning them in clay, pressing these roughly modeled clay spouts up to the pot to get a vivid idea of scale and placement in space. Fresh drawings at each stage tease the next decision and keep me on track. Working in this manner prevents me from getting duplicates, every pot is unique.
“Roundabout Tea” is made from Highwater Phoenix and fired to ^10 in a cross draft kiln. Seven components, including an interior strainer panel – some hand built, some thrown – all pieced together can be a harrowing adventure, so I add some kyanite to my clay to assist the survival of complex forms such as this one.
Ultimately, I strive for a well-functioning teapot, nicely balanced, with a quiet dripless pour.
Over the Top Grand Stand Teapot
Adam Yungbluth received his Bachelor of Fine Arts from Miami University of Ohio in 2005. After receiving his Master of Fine Arts form The University of Mississippi, Adam moved to St. Petersburg, FL to be an Artist- In-Residence at the St. Petersburg Clay Company, (SPCC). During that time, Matt Schiemann and Adam became owners of the SPCC and started expanding the residency program, membership, and workshops. In 2014 SPCC merged with the Morean Arts Center and became the Morean Center for Clay, (MCC). This allowed their mission of ceramics education to expand and grow their audience and became the Studio Manager. Adam Yungbluth is currently Visiting Assistant Professor of Art & Design at Morehead State University. He teaches undergraduate and graduate ceramics while focusing on his artwork. In his free time, Adam enjoys smoking meats and craft beer. Adam resides in Morehead with his wife Melissa, Sonar, Jet, Anna, and Kendrick.
Moving to Appalachia has brought new influences into my work; the landscape, the people, the history and folklore have trickled in. It is possible that I have become sentimental with age, but more likely it is the character of the region. Houses, barns, and fences cover a, mountainous landscape. Driving down backroads, I see an old barn slanting from the effects of time. It is engulfed by the countryside. The setting reminds me of a Tom Waits or Leonard Cohen song; abrasive and unconventional. Non-stop motion of Squiggle Vision developed by Tom Snyder shares a resemblance to my undulating vessels and line work. Cartoons have the ability to depict real life situations in a comedic or imaginative way. The surfaces of vessels that I create are decorated w/ drawings and sculpted imagery. The symbolism is sparked by how cartoons use space, depict objects, and are used for color reference.
Check out the gallery for the 2020 ICAN Juried Exhibition!