Ceramics Monthly Articles (Simple)

In the 1946 seminal text, A Potter’s Book, Bernard Leach declared the following: “A potter’s prime need is good clay. Whether he be industrial, peasant, or studio potter the raw material of which pots

The Bright Angle Design Studio is located in the Refinery Building on the south slope of downtown Asheville, North Carolina. The building hosts 18 artists working in a variety of mediums as well as th

Images from Current and Upcoming Exhibitions

I saw my first cut sponge in a friend’s kitchen next to their sink. The sponge was cut and propped up vertically, which allowed it to dry evenly.

While we’re all fascinated with the idea of life as a full-time artist, our annual focus on working potters helps to explain, through multiple artists’ perspectives, what it actually takes to make tha

Deadlines for exhibitions, fairs, and festivals

Justin Donofrio, Mike Gesiakowski, Ben Jordan, Patrick Kingshill, Adam Knoche, YehRim Lee, Mac McCusker, and Jamie Bates Slone share some of the clay, slip, and glaze recipes they use to make their wo

Allison Cochran, Adrienne Eliades, Adrian King, Shalya Marsh, and Didem Mert share slip, underglaze, and glaze recipes that they use to make their work.

I have a profound gratitude for this (nearly) lifelong companion: my studio practice. My life has been touched deeply by this gift, this blessing.

Bloating and carbon coring form from a reaction of sulfur and carbons. The percentage of contaminants and the kiln environment determine which of the two occurs. Both tend to happen almost exclusively

When I first attempted adding decoration onto my ceramic forms, the task was daunting. I was interested in translating some of my drawings and patterning to my clay, hopefully with reasonable similari

Using naturalistic yet somewhat stylized renderings of the human figure, Jamie Bates Slone explores memories of her family’s experiences with mental and physical illness, and emphasizes the relationsh

Semih Kaplan is one of the many versatile ceramic artists who works in Anatolia. After having completed his education at Anadolu University in Eskisehir, Turkey, studying with the fine arts faculty, h

The editors were drawn to Emre Can’s perspective on altering three-dimensionally printed forms to create something that is still clearly produced by a machine, but shows the presence of the hand and p

Advertising has a strong influence on how we perceive food, and what emotions we ascribe to brands and to specific types of food. Kazuma Sambe uses humor and surrealist substitution to ask viewers to

Andrew McIntyre’s pottery is designed not only for the home and everyday use, but also to enhance the user’s experience of consumption and celebratory events.

The ornate surfaces of Ben Jordan’s vessels combine with strong, refined, and striking forms. Jordan enjoys working within the context of utility, and having the finished work show a sense of the impo

Ahrong Kim’s figurative work explores a wide range of human emotions, experiences, and psychological observations from her own life. In her artist statement, Kim expresses that her goal is to analyze

Adrienne Eliades’ food-specific functional tableware helps heighten users’ experiences of serving and eating. Eliades’ clean, asymmetrical forms are often a combination of wheel-thrown, handbuilt, an

Sex sells, but at what cost? Allison Cochran makes ceramic vessels that raise awareness of the problems our culture faces with our values regarding physical appearances.