Describe the first piece you made in clay that you thought had potential:A raku teapot that resembled a Sinclair Gas petroleum can. The concept and form were original, the glazing method was inventive and distinctive, it was also raku-fired porcelain. It taught me not to follow trends or play it safe. This ceramic piece led to a new aesthetic in ceramics.
What are you inspired by? I am inspired when I see a texture, pattern, color combination, or form in a new light. Everything has the potential to inspire, but it’s exciting to discover new inspiration during our routine, everyday adventures.
What is your process for finding/designing new forms? My forms are ceramic interpretations of iconic items. I might see a heart-shaped candy box, or recognize the potential of a postage stamp shape, or recall making paper airplanes as a boy. The form then becomes a vehicle for layered meanings and intentions.
Who are your mentors?My family and friends.
Favorite piece in your ceramic collection: A small square terra-cotta anamorphic skull tile by Richard Notkin. It is both a tile and a 3D sculpture. It’s amazing.
Best advice you can give to other potters? Look outside of ceramics for inspiration—look at what excites you in everyday life—your art will be authentically you.
Describe your studio: My home studio has multiple rooms: a wet clay area, a workshop, a kiln room, and an office. The wet clay area is small, but well organized like a small New York City apartment: tables fold up and down, storage racks roll out from under countertops, lots of labeled bins, and cabinets.
Best thing about your studio? It is very practical and efficient. I am obsessively organized so everything has a specific place and is easy to find. I clean my tools and my wheel after use . . . yes, I am one of those neat-freak personalities.
Wish list for your studio? I want to add a long countertop and a window! I would love a window to see trees, blue sky, and sunshine.
Describe a typical day or session in the studio: I plan my day the night before, so I know how my energies will be focused. I start at 9am. At noon, I meet my wife in the ‘cafeteria’ (our kitchen) to gossip about office politics. I’m back working by 1 pm. I sneak away for a half-hour nap at 3ish. Then, back at it until 5:30pm.
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Clay Body: Aardvark Bone White Paper Clay and Rovin clay bodies
Firing temperature: Cone 5
Atmosphere: Oxidation
Surface Treatment: Speedball underglazes with stencils and printing plates
Forming Method: Combination of slab building and wheel throwing
Favorite tool in your toolbox: X-Acto knife
Website: www.frankjamesfisher.com
Social media: Instagram @frankjamesfisher
Gallery representation:Charlie Cummings Gallery (charliecummingsgallery.com)
Describe the first piece you made in clay that you thought had potential:A raku teapot that resembled a Sinclair Gas petroleum can. The concept and form were original, the glazing method was inventive and distinctive, it was also raku-fired porcelain. It taught me not to follow trends or play it safe. This ceramic piece led to a new aesthetic in ceramics.
What are you inspired by? I am inspired when I see a texture, pattern, color combination, or form in a new light. Everything has the potential to inspire, but it’s exciting to discover new inspiration during our routine, everyday adventures.
What is your process for finding/designing new forms? My forms are ceramic interpretations of iconic items. I might see a heart-shaped candy box, or recognize the potential of a postage stamp shape, or recall making paper airplanes as a boy. The form then becomes a vehicle for layered meanings and intentions.
Who are your mentors?My family and friends.
Favorite piece in your ceramic collection: A small square terra-cotta anamorphic skull tile by Richard Notkin. It is both a tile and a 3D sculpture. It’s amazing.
Best advice you can give to other potters? Look outside of ceramics for inspiration—look at what excites you in everyday life—your art will be authentically you.
Describe your studio: My home studio has multiple rooms: a wet clay area, a workshop, a kiln room, and an office. The wet clay area is small, but well organized like a small New York City apartment: tables fold up and down, storage racks roll out from under countertops, lots of labeled bins, and cabinets.
Best thing about your studio? It is very practical and efficient. I am obsessively organized so everything has a specific place and is easy to find. I clean my tools and my wheel after use . . . yes, I am one of those neat-freak personalities.
Wish list for your studio? I want to add a long countertop and a window! I would love a window to see trees, blue sky, and sunshine.
Describe a typical day or session in the studio: I plan my day the night before, so I know how my energies will be focused. I start at 9am. At noon, I meet my wife in the ‘cafeteria’ (our kitchen) to gossip about office politics. I’m back working by 1 pm. I sneak away for a half-hour nap at 3ish. Then, back at it until 5:30pm.
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