Ceramics Monthly Articles (Simple)

My figurative sculptures are made with a number of materials including red earthenware, secondhand fibers, readymade objects, building materials, indigo, metal, and wood. My ceramic practice begins wi

I have always been energized by the level of community and camaraderie we have within this field. Ceramic artists in general are so willing to share techniques and ideas and expand upon one another.

I am predominantly internally driven. There is a general fear of failure and a bit of wrestling with the inner critic, but once I start making, curiosity takes over.

My pieces usually begin with a sketch and a general idea of surface information. Sometimes the final form looks just like the original sketch, but more often, improvisation blurs the resemblance. My w

Assisting at Penland School of Crafts in 2016 was one of the early experiences that got me really excited about being involved in ceramics.

I use color to express pleasure, strangeness, and fantasy—and to avoid neutrality, style, and tastefulness—in my work.

Thinking of the audience makes me think about how artwork relates to the world outside the studio and what realities it might bring.

I prefer to imagine a certain object before looking at it for reference to see how my hand might change it and create a more stylized version. In this way, I think pieces start to develop unique chara

From disparate materials, contrary textures, and incompatible forms, POPJCTs are intended to manifest harmonious but revealing interactions. These interactions are dependent on a variety of techniques

This current body of work was created to promote a safe space for individuals to share their stories, experiences, and support around topics of invisible mental illnesses. My intentions are to bring p

I make my work through coiling techniques because I prefer to construct my work slowly. The pace of coil building provides me a sense of calm. Working slowly to build with coils grants a sensitivity t

The formal language of my work is firmly rooted in everyday function and is based on growth patterns of nature, which manifest through geometric shapes and patterns.

The most challenging aspect of working in clay in terms of building a career has been feeling confident with my work and being consistent.

The range of art that I am constantly discovering excites me! I spend a lot of time tapping into historical archives of ceramic art and searching for established and emerging artists that I have yet t

In addition to operating sustainably—with solar power, sustainable energy offsets, and clay and glaze recycling—efficiency is key for the garage studio of potter Audry Deal-McEver. Plenty of organizat

This year we had over 300 submissions to the annual Emerging Artist competition from artists around the world. The 20 artists chosen as this year’s finalists skillfully use a variety of techniques.

Using biosolids—the product of wastewater treatment that often ends up in landfills—in the formation of bricks not only diverts waste, but also makes the firing process of brick production significant

Images from Current and Upcoming Exhibitions

I work with both porcelain and earthenware clay bodies on the wheel, then apply wet slip, layer upon layer, through pouring, dripping, feathering, brushing, and trailing with a tin can.

In this time of immense difficulties around the world, we were energized and heartened to see the work of the hundreds of artists who applied to this year’s Ceramics Monthly Emerging Artist contest. M