Ceramics Monthly Articles (Simple)

Rendered in the ceramic sculptures and vessels of Montana-based artist Jessica Brandl are symbols and powerful imagery—like crushed cans and destroyed houses—that compose narratives about American-ness.

Clay helps Elena Vasilantonaki find and reinforce connections to both physical places and her Greek ancestry. She expresses these connections through forms inspired by ancient vessels and surfaces built up with local materials.

Broad-shouldered, large fermentation or storage jars made with slab or coil construction methods, the contemporary Onggi form’s popularity expanded from the 18th century in Korea.

When successful, layering up to 10 glazes on a single pot then firing it in a gas-reduction atmosphere yields mesmerizing surface results.

Karl Borgeson employs both chance and control to create an aesthetic that references the history of craft, incorporating influences as varied as wood-fired ceramics, basket weaving, wooden sculpture, and vernacular architecture.

Developed with layers of stamping, slip, glaze, and stain, then fired in a gas kiln, the utilitarian vessels of potter Minsoo Yuh convey a thoughtful beauty and a steadfast sense of function.

The landscape that surrounds the village and studio of potter Stéphane Bouchard is picturesque and inspiring. During the warmer months, this draws visitors and spurs productivity in the studio. The cold brings with it solitude and time to recharge.

Potter Brian Chen shares his experience as an apprentice at Simon Levin’s Mill Creek Pottery, as well as advice for others who are seeking an apprenticeship.

Images from Current and Upcoming Exhibitions

If you are using runny glaze combinations, we highly recommend placing your piece on top of several balls of wadding that have been glued to a cookie.

Potter Wendy Eggerman describes the value of making ceramic pieces for personal use, like her bread crock complete with a cutting-board lid.

Deadlines for exhibitions, fairs, and festivals.

Seth Green shares recipes for slips and glazes he uses to create the metallic and variable surfaces on his wood-fired vessels.

Make measuring the specific gravity of a mixed glaze quick work with a gram scale and a small syringe.

The benefits of firing wood kilns in groups include sharing the burden of time, labor, and resources. The final cost per potter, though traditionally determined by kiln space, can be more accurately calculated by weight.

Danielle Carelock started making utilitarian pots to serve holiday meals shared with family. She discusses the process for building one of the forms she developed for these special occasions—an oval, lidded dish, perfect for baking and casseroles.

Something clicked for potter Seth Green while seeing a silhouetted lighthouse near Valparaíso, Chile. Back in the studio, he continued to explore the influence of architecture on his functional forms with greater clarity.

Richard Bateson started out as a production thrower, then opened his own business, and, after World War II, taught students who were part of the emerging studio-pottery movement.

Potter and scientist Ryan Coppage shares a few of the elements that make for good pots that are successful in their form, aesthetic, and function.

Through a process involving journaling and quick, gestural drawing, Aisha Harrison develops ideas for sculptural work. Her focus is on listening to her ancestors and becoming a vehicle for passing forward collective wisdom.