Ceramics Monthly Articles (Simple)

I do not put limitations on what can inspire me; however, what is represented in my work are the common threads, the deeper roots that cross cultures. These represent the essential truths.

In my artistic practice, my main challenge is to create not an object, but a creature that can exist in another universe. Due to this purpose, my designs are primarily based on anatomical structures o

Color is deeply tied to place and memory, emotion, and nostalgia. When I use a pink mug, I remember the Red Dye 40–infused candy of childhood and the glowing pink of Denali, North America’s tallest mo

I handbuild my work in terra cotta because of its historical relation to the decorative arts—from its use in ancient pottery, to architectural facades, to red clay bole used in Medieval and Renaissanc

I use porcelain because of its characteristics, strength, translucency, and its white color. I make my ceramic art by using paper, cotton, and porcelain slip to form thousands of thin, circular porcel

Form, texture, tension, and balance are always at the forefront of our process. The function of a piece develops alongside form, sometimes in harmony and other times through tension. Harmony and tensi

When I was a child, I was the one to put on every single color, texture, or pattern from my closet. Color was a way of presenting how I felt; it was a way of talking without having to do so. I now mak

I draw inspiration from a variety of organic forms including coral, trees, vertebrae, chrysalides, shells, stones, and seed pods. My pinched pots must be functional and capture the making process in t

I am influenced by the imagery, objects, events, and experiences of my surroundings and use photography as a tool to design my work. Taking inspiration from 15th- to 17th-century production pottery, p

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