Ceramics Monthly Articles (Simple)

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.

Heat and clay-body compatibility contribute to common glaze issues in the studio. Learn how testing and minor adjustments to your recipes or firing schedules can reduce crazing, crawling, pinholing, and more.

With sculpted cords reminiscent of basketry and accents of haint blue, the brown stoneware vessels that Ashlyn Pope creates find inspiration from and connection with her Gullah ancestry.

Kelly Austin’s still-life compositions playfully balance her penchant for exploring undeveloped places with the order and refinement of midcentury design.

Despite my best efforts to secure them using the traditional methods of slipping and scoring, I’ve encountered issues with attachments coming undone.

The artists featured in this issue who regularly use iron-rich clay bodies in their practices cite specific connotative and pragmatic reasons for their choice of clay.

Ben Carter, The Red Clay Rambler himself, speaks of the power of conversational connection, studio motivation, and the future of the Brickyard Network podcasts.

Kiran Joan combines visual inspiration from the natural world and a uniquely illustrative lens in pieces that explore personal narratives.

Information on submitting work for exhibitions, fairs, and festivals.

Jeffrey Lipton shares the recipes he uses to achieve colorful, terra sigillata surfaces on his functional forms. Marissa Childers shares her recipes for stronger handbuilding and spraying glaze for a dynamic surface.

To prepare for a new body of work, it’s beneficial to ensure your studio space is equipped with enough space and light.