Ceramics Monthly Articles (Simple)

In the studio, I tend to always start out with a loose plan, pinching tons of little parts that I can choose from along the way. I find that having these options helps me to have moments of play where I can explore—stacking and arranging elements as I go.

I take a painterly approach to surfaces, beginning with a rich, red earthenware clay as my canvas. Then, I create colorful underpaintings loaded with motion and movement.

Ceramics Monthly’s 2022 Emerging Artists create innovative ceramic objects and installations that captivate, challenge, and inspire their audiences. The work of these 24 artists demonstrates the strength and skill within the ceramic field today.

From her efficient 200-square-foot studio in a historic cottage, Megs LeVesseur creates a wide range of brightly colored vessels that are inspired by the beauty found in everyday life.

Machine-learning techniques are being tested to help restore ancient and historical artifacts. Despite computational and technological hurdles, this method shows promise for restoring ancient Persian pottery.

Images from Current and Upcoming Exhibitions

Reclaiming clay has always proved to be a messy studio task. Somehow, I always managed to get clay splatter on the ceiling and walls no matter how careful I was.

We start out each new year with the selection process for the Ceramics Monthly Emerging Artist competition, which is open to artists worldwide who have been pursuing a career in clay for ten years or less.

Most beginning potters pay little attention to bisque firings until they experience an explosion. More often than not, glaze blemishes can be traced directly to improper bisque firings. Taking a cue f

Kate Lydon reflects on her 35-year career at Contemporary Craft in Pittsburgh, Pennsylvania.

Deadlines for exhibitions, fairs, and festivals.

Find more high-fire recipes from master artist Dan Anderson, who was featured in the March 2022 issue.

Maximize the use of commercial underglazes and glazes by testing and retesting. Change the variables—application technique, layered products, number of coats—to yield limitless options.

Do you dream about having a glaze lab in your studio but feel such a luxury is out of reach? Learn how to substitute materials so you can create more glazes with fewer ingredients.

Through appropriated decal imagery from Eastern and Western sources, collaged compositions, and references to history and culture, Nick Geankoplis constructs narratives that remain intentionally ambiguous and open ended.

Excavating local materials to use in clay bodies and glazes can infuse finished work with a sense of place and connect artists with the regions where they live, while also helping to lower the carbon footprint of their studio practices.

Transformation and spiritual containment are central to Rashida Ferdinand’s life and art practice.

Often large scale and composed of thousands of components made via collaboration, the work of Cannupa Hanska Luger emphasizes his belief that we need each other.

Yinka Orafidiya traveled to Ghana to study under master women potters, then held community-focused workshops upon her return to Philadelphia to share the vessel-making process with Black women.

When planning his second career as an artist, Byju S R moved to a house with a small studio and flexible outdoor patio space suitable for both larger projects and group workshops alike.