Pottery Making Illustrated Articles (Simple)

  • Tangible Fiction
    I’ve always been fascinated with the tangible realities of history and the boundless fantasy of science fiction. In my work I attempt to create objects that live in that fictionalized universe where t
  • An Unexpected Canvas
    Handbuilt ceramic objects are an exciting and often unexpected canvas for drawings. Imagery on functional ceramics can have a life that imagery on paper lacks. The narrative can exist in the home, und
  • Creating Subtlety and Complexity
    I strive in my work for clarity, subtlety, and complexity layered with a bit of humor, whimsy, or irony. Slab construction and coiling offer gesture and nuance. Each cup quietly leans, each thimble sl
  • Inlaid Slip Casting
    As an obsessive collector of objects, I’m constantly on the lookout for items with alluring shapes and patterns. In 2014, I found a plate at a dollar shop and was drawn to its thin strips of plastic i
  • Pattern and Social Media
    As a student at Nova Scotia College of Art and Design in the 1990s, I used to photocopy design books from the library stacks—especially patterns by William Morris and his contemporaries. After leaving
  • In the Studio: Cold Connections
    POPJCTs are my most recent body of work and investigate the materiality of objects and identity. From disparate materials, contrary textures, and incompatible forms, POPJCTs are intended to manifest h
  • In the Studio: Know Your Rights
    Until 1990, when the British comedy group Monty Python (whose work included television, film, theater, audio recordings, literature, etc.), won a lawsuit restricting the broadcast of edited programs,
  • In the Studio: Tops and Bottoms
    Inspired by nature’s beauty, the organic forms in my works are an extension of what I see in my every day life. Handbuilding allows me to endlessly expand on my ideas and explore my creativity as a se
  • Editor's Note: Reader Mail
    In the age of digital communication and quick posting to social media, the letter to the editor has become a lost art of critical writing.
  • In the Potter's Kitchen: Custom Condiments
    I grew up in a family of artists. One of the greatest inspirations in life was visiting my grandparents’ house filled with pottery and sculpture. Each piece, made by hand, adorned the kitchen and the
  • Pottery Illustrated: Ceramic Drawer Pulls
    The drawer pull can be any form or shape, as long as it's comfortable and thick enough to allow for the hardware.
  • Adding an Edge
    When planning the shape of the bottle, I often look to historical pots for inspiration while layering in my own personal interests onto the composition. Over time I’ve gravitated toward incorporating
  • Pitcher Perfect
    Designing and making pitchers is both exciting and challenging. There are considerations such as leverage, balance, and the movement of liquids as well as aesthetic concerns. Making a pitcher perfect
  • Anything is Possible
    In my pottery, I try to create an opportunity for reverie or a feeling of emergent possibility. I have vivid childhood memories of reading stories filled with magical gardens and underground forests m
  • Comforting and Enriching
    Bread and pots, comforting and enriching, come together to make an exciting baking experience using a bread cloche! A cloche is a covered container that traps steam from the dough while baking, result
  • Pentalobe Plate and Mollusk Set
    The inspiration for the pentalobe plate and mollusk set came primarily from my direct experiences with the natural environment. As a child, I spent countless hours at the beach or in the bays at low t
  • Soft Story Telling
    Functional ceramics provide a unique opportunity for collectors to interact with fine art on an intimate level. These pieces are often designed to be held in the hands or placed against the lips. They
  • In the Studio: Glazing Large Work
    Glazing large work requires some special techniques. For work that’s larger than any bucket you may have, there are still several ways to get an even coat of glaze. These techniques can require more t
  • In the Studio: Empirical Learning
    The sound of an entire stack of pots falling over in a wood kiln at peak temperature isn’t as bad as you’d think. There’s no loud crash. Instead it’s a low, hollow sound dulled by the sticky, pyroplas
  • Editor's Note: Mingei-Sota
    When I first walked into the clay classroom at the University of Minnesota-Twin Cities, I was simply clay curious.