Ceramics Monthly Articles (Simple)

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.

The wide variety of surface characteristics that shino glazes produce can be both joyous and heartbreaking. Discover how you can focus on a set number of variables to gain more control over your shino-glazed surfaces.

In the exhibition, “We come from the other side,”ceramic artists Katrine Køster Holst, Máret Ánne Sara, Ahmed Umar, and Lin Wang examine historical conflicts and developments as seen in light of the complex ways in which communities are formed today.

Marie-Joël Turgeon and Jordan Lentink established a café-boutique and pottery studio in Bedford, Quebec. In order to streamline processes and meet demand, they utilize slip casting and jigger-jollying in creating minimal, hearty vessels.

Taking inspiration from fabric and sewing, Marissa Childers shares her process for handbuilding a plate with a voluminous rim. Textured slabs and layers of surface patterning allude to the interior design of domestic spaces.

After years of teaching, Charlie Olson finds himself engrossed in a second career where his rigorous practice is less about intense control and more about interaction and play.

Kyungmin Park creates figurative sculpture that investigates the experience of being an outsider—particularly since the pandemic and the rise in racism and violence aimed at the AAPI community—through common experiences and potent symbolism.

Joanna Powell’s ceramic objects are sensitive renderings of personal histories and complex ideas. Elements like selfportraits, flowers and vases, and furniture and rugs converge in scenes that grant viewers the opportunity to absorb and explore.