Ceramics Monthly Articles (Simple)

Travels to Japan, Finland, and France after completing university in the UK proved to be instructional and influential for Michelle Freemantle’s practice making functional pottery.

Based in Mannheim, Germany, ceramic artist emmanuel boos creates balanced compositions of slip-cast and altered porcelain bricks and cobblestones. Each installation recalls rhythm and cadence through color, arrangement, and gesture.

The Consortium for Intercollegiate Research in the Ceramic Arts (CIRCA) is a newly established exchange and networking program between six university graduate programs.

In a new and distinct body of work, Wally Schwab explores the possibilities of depth and subtlety in matte-black glazed surfaces of platters and vessels.

In a practice split between her basement home studio and the community clay space she owns and operates, Mud Queen Pottery, Audra Doughty creates functional pottery decorated with high-contrast, vibrant motifs.

The Memory of Mankind project endeavors to safe keep histories and information for future generations. Engraved ceramic tablets and tokens lend the inherent archival quality of vitrified clay to this effort.

Images from Current and Upcoming Exhibitions.

When I first began creating ceramic jewelry, having the backs of my pieces glazed was important to me, particularly for earrings.

The artists in this issue who describe their own journeys of learning through clay have diverse backgrounds in terms of formal education, experiential development, and how they presently interface with the community.

Returning to her grandfather’s farm, Glynnis Lessing embraced the opportunities to forge connections within her community, reconnect with family history, and take inspiration from her lush surroundings.

This issue’s Studio Visit artist Glynnis Lessing uses the following reliable slip and glaze recipes to develop highcontrast, carved imagery on vessels.

Images from Current and Upcoming Exhibitions

Lindsay Rogers explores the “ground-to-ground” connection of her practice to our agricultural and food-consumption systems using functional wares bearing botanical shadows of local plants.

Utilizing local clay and unencumbered surfaces, Zoë Powell’s handbuilt ceramic vessels echo the raw beauty found in nature and a consideration for the environmental impact of her practice.

Expand and streamline your handbuilding production process by making inexpensive hump molds with pottery plaster and secondhand vessels.

A change in focus while at school in the 1960s cemented Mike Dodd’s pursuit of pottery. His decades-long career has heavily featured establishing potteries, building kilns, teaching, and making simple pots.

Applying a printmaker’s approach to process, Liz Pechacek creates structure for her creative exploration and imbues within the walls of her work time, layered labor, and the value of the hand.

Despite the expansive geographical reach of their civilization, the Peruvian Wari people (600–1000 CE) were unified by the ceramic wares they produced, used, and traded—both locally and globally.

Deadlines for exhibitions, fairs, and festivals.