Ceramics Monthly Articles (Simple)

There are many situations where you want to dip a piece in slip or glaze without using tongs or your fingers to keep hold of it including greenware being glazed for a single firing, a piece that’s too

Self-employed artists have careers that are as varied as their interests, personalities, skill sets, locations, and artwork. Those who find a successful mix of income streams have often done so throug

Information on submitting work for exhibitions, fairs, and festivals.

Matthew McGovern reflects on the role of the handmade maker in contemporary society, and strives to serve as an example through his practice and the pottery he produces.

By designing ceramic pieces from finish to start, this duo considers how to move through each step of fabrication with ease and what tools to customize to facilitate that process.

Years ago, I put a glossy, transparent, gray/off-white glaze into a wood kiln and it came out matte, opaque, and super white. After scratching my head for a while, I realized the large, well-packed, w

Hands are the place I often start as I think about and build my work. Our hands are powerful instruments for communicating with one another. I make sculptural hands with painted layers built up on a c

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

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

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

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

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