Ceramics Monthly Articles (Simple)

Exploring the possibilities of forming vessels with paper clay has led Italian artist Paola Paronetto to a distinctive aesthetic infused with a strong sense of design and handcraft.

Longtime professor and potter Brad Schwieger shares how he set up his detached home studio, which is nestled in the woods of the Appalachian foothills and serves as an evolving space for working and firing.

Modern methods of artifact analysis can lend insight into the cultural and social systems of historical societies, in addition to more information on the materials and techniques of the objects themselves.

Images from Current and Upcoming Exhibitions

Throwing with excessively firm clay is uncomfortable and rarely produces the best results. Thankfully, with a little time and water, you can rehydrate the clay quite effectively.

In this issue, we feature artists making utilitarian and sculptural vessel work that they design to function in specific ways.

Mesut Öztürk applies a formal background in architecture to an active ceramics practice to share feelings of sublimity and curiosity.

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

Gay Smith and Paul Wisotzky share glaze and flashing slip recipes that produce great results in soda firings.

Flashing slips are sensitive to atmospheric changes in the kiln, and the exposure to flame, reduction, and added fluxes creates unique coloration, patterning, and texture on the slipped surfaces.

Demystify different types of atmospheric firings with the charts and advice shared in this informative excerpt.

It’s important to continuously test your clay body to understand its different attributes and abilities. Testing will let you know how far you can push your clay and when to look for something more suitable.

Presented at Blue Line Arts in Roseville, California, “Constructed Landscapes” showcased the work of women ceramic artists who skillfully converge clay and technology to comment on place.

Ian Bassett shares how, after refining the aesthetic he wanted to achieve, he experimented with different clays, application techniques for flashing slips, and procedures for adding soda to the kiln.

Emotive stoneware figures are the means through which Stephanie Marie Roos expresses complex stories of connection.

An architect interested in 3D printing perfected his tools and techniques for casting modular ceramic blocks. He uses these to create a variety of structures, from tunnels to screens to wall installations.

Chris Riccardo spent his early career using clay as a modeling material for casting sculpture in metal, then moved into arts administration roles.

Lex Feldheim decided to leave her teaching career behind and took a chance on doing something she loved. Studying ceramics led to managing a studio and art center, and finally to opening Kingston Ceramics Studio.

After learning to make pottery through an apprenticeship as a teenager, Peter Owen moved from California and built his studio perched over a lagoon on Huahine, French Polynesia.