Ceramics Monthly Articles (Simple)

My ceramic and multimedia figures are hybrid forms made up of different individuals’ body parts. I make a life cast of a torso, face, or leg, make a mold, and then slip cast multiple parts. On occasio

It is important for makers to know traditional ceramic methods and use them to generate a more contemporary discourse. Learning the basic and more complex techniques and understanding through testing

As a ceramic artist, the palpability of ceramic materials inspires me, as does the fact that you follow the material like a companion through all its life stages. I love how deeply connected the mater

I’d like my work to be seen by everyday folks. In my art, I repeat simply rendered motifs—dogs, birds, mailboxes, fence posts, cow skulls, and cacti—to create relatable narratives. By making my motifs

A mug or bowl is an approachable object; it beckons to be picked up and turned around, thus it becomes a unique way to start a conversation with the user. My work speaks to conservation and basic righ

Alternatives to common glazes are trending, be it underglazes, engobes, terra sigillatas, or simply raw clay. Because of the visual impact and tactility of these surfaces, many artists combine and con

The art world has been quite accepting of artists working in clay. In turn, the ceramics community is progressively more and more accepting of research outside of the field. It is an interesting relat

Color is integral to my work. Color has the ability to help communicate mood and life so beautifully; the possible combinations and resulting intentions are endless. In my attempt to communicate life

With an array of vessels to choose from, I most often seek out the cup as my primary pottery form. Humble in both size and intended utility, the cup as an object retains a recognition that is universa

Going to the studio every day is the most important tool in my process. If I have enough pieces in progress, there is no time to sit down. Additionally, if I find myself stalling, I move on and start

I’m always thinking about the bulges and folds found in human anatomy when I cut my slabs, loosely referencing historical anatomy illustrations and wax models that I have encountered in person, such a

In the last six years since I started working with clay, I have found that the clay community is made up of individuals who are selfless, friendly, tolerant, helpful, and open to collaboration. Seeing

The clay-drawing installation process begins with putting wet clay on a wall. The clay dries slowly and eventually peels off. As time passes, the installation decays to fragmented clay scattered on th

I use a combination of wheel throwing, altering, and handbuilding. I throw because I enjoy the immediacy of manipulating the clay, the subtleties of using muscle memory to create form, and the bulbous

Rolling, dipping, pinching, squishing—you name it. Each work requires something different of me as a maker, and I stay open to that. I work from a question or feeling first and try to marry it with a

All of my forms start on the wheel. Throwing is what initially attracted me to making pottery and it continues to be one of the more fulfilling parts of my process. It may appear that the lines and pa

Thin coils of porcelain are modelled piece by piece with a wooden stick on a balloon. I start at the bottom of the bowl and slowly work toward the top edge. Sometimes I draw the pattern I want to foll

I come up with the forms by fabricating a story. I’ll start with a single strong emotion or a memory that weighs persistently on my thoughts. I work to build a narrative that plays on these ideas, cho

I love how everything is constantly changing. People continue to find innovative ways to challenge themselves and their studio practices. I once had an undergraduate professor, Tim Mather, remind me t

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 to