Ceramics Monthly Articles (Simple)

My pieces are built using a combination of various ceramic techniques: slab construction, coiling, stamping, press molding, pinching, wheel throwing, and carving.

I make pots that are intended for use in everyday life, and I want everyone to be able to use and experience my work. I think that a relationship can be developed with the work through use.

My forms derive from multiple sources of research and inspiration. I look to historical ceramics as well as the dishes I use in my daily life as the foundation for proportions, practical solutions, and a starting point of my pots.

I hope my artwork both challenges and encourages my audience. While it is not a brand-new methodology, once I started to make multi-media work in my own studio practice, I started to notice and be drawn to that type of work in general.

The pictorial protagonists of my work come from the natural world: winged creatures, bugs, flowers, and fruit. And it is this contradiction between their desires and their abilities that defines the work.

Almost everything I make is inspired by cars, specifically classic cars from the 1950s and 1960s. For my surfaces, I choose bold colors that are reminiscent of cars from that period of time (fun colors like teal, pink, Bermuda blue).

My interest in architecture and mid-century design influences the layered motifs I use to divide the surface and provide contrast to the form. Leaving evidence of the pinched construction creates a weathered-looking surface.

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.