Ceramics Monthly Articles (Simple)

Current and Upcoming Exhibitions

If you struggle to keep greenware at a workable level of dampness when doing finishing work, I have a great tip for you. Seasonal or studio warmth can dry pieces too quickly, especially if you are doing intricate carving.

The artists and groups shared in this issue demonstrate the benefits of taking a collaborative and collective approach to clay.

The following recipes from the Ceramics Monthly archive provide ample opportunity for experimenting with wood-fired surfaces.

Kari Woolsey’s recent work, inspired by still-life paintings and her background in pottery, explores domestic spaces and everyday objects through clay drawings and multi-media collages.

Deadlines for exhibitions, fairs, and festivals.

All you need to create a simple, budget-friendly slump mold is cardboard, a knife, a produce box, and gravity.

As the ceramics world shifts toward lower cone firings and alternative fluxes, the Stull chart becomes less relevant, prompting artists to use their experience to interpret glaze behavior outside its boundaries.

Tyler Quintin demonstrates how he builds with bone-dry coils and slip to create fragmented wire-frame works that function as visual metaphors for building or evolving identities.

Lucy Baxendale’s continuous creative loop between her sketchbook and worktable has facilitated a body of sculptural works full of expression, whimsy, and unique handbuilt details.

Her exhibition of wood-fired works at Lucy Lacoste Gallery, “Marrow,” offered a meditation on physical, mental, and emotional experiences.

Zemer Peled’s childhood experiences with archaeological digs have informed her unique process of smashing porcelain into shards before using them to organically assemble small and large-scale works.

Ryan Coppage and Julia Krichev discuss the history and modern influence of Oribe ware, the 16th–17th century Japanese ceramic style known for its vibrant green glaze and irregular forms.

An updated building on her property in the woods of Vermont serves as the bright and organized workspace for Jodie Masterman’s pottery practice.

In the face of limited options for showing and selling work, Good Habit Pottery Company was established to showcase the work of emerging ceramic artists.

Current and Upcoming Exhibitions

As potters, I feel like we’re always trying to create our own tools as a workaround to the real deal.

In this issue, we highlight ceramic artists whose processes and finished products stand out and share just how they arrived at their methods.

Looking for advice and tips on designing a studio space for efficiency, clarity, and inspiration? Check out how Kim Mitchell transformed her two-car garage.