Ceramics Monthly Articles (Simple)

I am trying to capture in my ceramic work that sense of soul and history I perceive from the buildings in these books and from buildings and objects I have seen while traveling.

From Polseno’s early raku work to her continuing investigation of both figurative sculpture and pottery, a pursuit of surfaces with visual depth has remained a constant.

McConnell’s sculptural groupings emphasize the importance of context on perception and question definitions of authorship, originality, art, and creativity

Cavener’s expressive, hybrid creatures, which can be seen as products of self examination and a desire to understand relationships and motivations, explore animal nature embodied in humans and human nature symbolized by animals.

Over the course of his career, Pharis has switched from salt firing wheel-thrown stoneware forms to low firing loosely geometric handbuilt vessels.

Until the mid 1990s, Vanier made mostly earthenware pots. After she set up her own studio in the French countryside she made the switch to stoneware, seeking surfaces that, while still expressive and decorated with nature-inspired motifs.

Here I throw, alter the forms, rough trim when the clay is soft leather hard, finish-trim at close to bone dry, clean up the formed surfaces, and then carve patterns.

The shortest distance between two points is a straight line. Check out this simple two-piece DIY tool to help make that line as clean and level as possible.

In the past potters used available materials such as locally dug clay and pulverized rocks, wood, and grass ash. Today a wide array of minerals is available to potters everywhere. Here’s the where and when to help you know why to use them.