Ceramics Monthly Articles (Simple)

Images from Current and Upcoming Exhibitions

An exhibition of Shigaraki ware at the University of Michigan Museum of Art explores the style’s impact on diplomatic relations between the US and Japan after World War II.

Good fortune and happenstance have allowed me to surround myself with a chosen family that truly has my best interests at heart.

Give fragile ceramic sculpture its best shot at surviving transit with custom-made supports and two boxes, as outlined in this how-to article.

Efficiency and symbolism are characteristic of Kristina Batiste’s functional ceramics. Her discerning use of line and color refer to time, a juncture, and protest.

Instead of the linear way of making a sculpture from a sketch, design, or prototype, I handbuild my work part by part without a blueprint and assemble them together once I have plenty of components.

Ceramics Monthly’s 2023 Emerging Artists create innovative ceramic sculptures and vessels that captivate, challenge, and inspire their audiences. The work of these 21 artists demonstrates the strength and skill within the ceramic field today.

Makers must increasingly shoulder the responsibility to keep alive traditions of making things with the human hand and preserving the rituals surrounding the use of objects that hold intention and meaning.

Today we want to make shapes as free and miraculous as possible, and study relationships by making objects that interact with each other no matter where the form or surface will come from.

Similar to the way I move fluidly between two languages that I speak, I approach my studio practice as a form of code-switching between physical and digital work, as well as between clay and other materials such as plastic, wood, foam, and paper.

I think of “Color” as the album and each piece I make is a song. Each piece is distinct on its own, one-of-a-kind, but they can all pair together and be recognized as one body of work, made by the artist.

Makers are fundamental in culture because they create valuable connections and challenge our perspectives. As a maker, I strive to create pieces capable of initiating conversations promoting bee-loving landscapes and sustainable gardening practices.

The truth and the most important thing to remember in my opinion is that every form is a collection of smaller forms, molded together to create one cohesive work of art.

Trying one new thing can lead to several new ideas or even a new body of work. The end goal is to keep having fun making objects that bring hope to a seemingly hopeless world.

I often have the pleasure of talking to people about my pots, but the true delight is when I see them touch the work and have a surprising experience.

At first glance, my works could be seen to be alien from ceramic tradition, though my experimentations are rooted in a deep knowledge of material and amplifications of usual ceramic processes.

Slip casting successfully brings about a form with flawless sides and well-defined edges in a timely manner. This meant that I could dedicate precious time to deform them and to bring in a genuinely personal and more fluid identity.

My ceramic work is a love letter to the community of women who have come before me and sit alongside me: resourceful, skilled, creative, and imperfect.

I believe that the slip-casting technique is the best way of expressing both my tendencies and my outlook on the world as a ceramic designer.

I believe that being a maker means more than just the tangible things we create; it is written in our hearts as artists to be the protectors and defenders of beauty.