Ceramics Monthly Articles (Simple)

I was greatly impacted by the fables and rich illustrations of Ukrainian storybooks as a child. I recently revisited them and this led me to research Ukrainian embroidery.

My research and work are deeply rooted in my desire to capture the vibrancy of the Mexican landscape and culture that shape my perspective of the world.

My work is inspired by my desire to make both sculptures and functional pottery. This is fueled by my curiosity to understand reliable building structures and details that make a successful functional object.

The iterative process continually reveals new work for me, a truly inexhaustible source to draw on.

My artwork is driven by my curiosity about the rhythms of the natural world and the intersections of landscape and home.

Negative spaces play a huge role in how I develop forms. I often look at the inner space of handles and use that shape to parallel the swell of the belly or the spout.

My work focuses on the parallels and interconnectivity of environmental and social issues.

There’s a fine line between forms that feel good in one’s hand versus one that is purely there to interact with glaze and the kiln.

My work in clay is inspired by utility. More specifically, it is an ongoing observation between historical ceramic, metal, and stone implements, as well as the modern tools used in my day-to-day life.

Currently among the ceramic community I see trends of bold colors, the use of mixed media, and a push against the two-category system that classifies objects as either functional or sculptural.

I count myself among the countless makers who use the vessel as a vehicle to capture a human experience. My current body of work tells the story of a family haunted by alcoholism/addiction.

I love the clay community and all the people I have connected with over the years. The meditative self-reflection in the studio followed by the gatherings and communal firings keep my life in balance.

Milo Berezin crafts anthropomorphic functional ware, which resonates with both humor and vulnerability.

Common surface issues like pinholing and bubbling, particularly on dark clay bodies, can be remedied with adjusted firing schedules and the use of colored slips to achieve desired clay colors and glaze effects.

There is something primal about taking a piece of the earth in hand and shaping it. Even when clay objects are covered in glass in a museum, they still seem to invite us to touch them.

The following recipes, shared by Ceramics Monthly 2024 Emerging Artists Alex Olson and Will Talbot, create finished, high-fired surfaces with plenty of variation.

Since being recognized as a Ceramics Monthly Emerging Artist in 2018, Shalya Marsh has integrated techniques such as digitally cut stencils and screenprinting into her work.

Deadlines for exhibitions, fairs, and festivals.

By utilizing readily available tools and materials such as stainless steel, a brass rod, and a drill, you can create an affordable and versatile solution for customizing textures and cutting pots directly off the wheel.