Describe the first pieces you made in clay that you thought had potential. There isn’t any one pot, but when I started faceting and stretching pots during undergraduate school, I was thrilled by the textural change and energy in the pots. That process fueled my motivation to be a maker.
What are you inspired by? I’m inspired by clay above all else. It’s always reporting new information back to me. Aesthetically, I’m inspired by moments where I feel awe: specifically, moving through architectural spaces, exploring intricate structures in plants, and absorbing profound geologic landscapes.
What is your process for designing new forms? It’s a meandering path—first, I use CAD or a sketchbook to hone a clear vision for a form. When I start working it out in clay, the form shifts according to what the material reports back over a sequence of steps. I pay attention to where the process really serves the product. I waffle between what is delightful to do and what generates a strong result.
Who are your mentors? I am fortunate to have several: Bruce Dehnert, Theaster Gates, Mike Jabbur, Kulvinder Kaur Dhew, and Jim Lawton. My graduate school advisors, too: John Gill, Yonatan Hopp, Walter McConnell, and Linda Sikora.
Best piece of advice you ever received? The studio is a fortress for joy.
Best advice you can give to other potters? Haha, the same as the best advice I received: make your studio a fortress for joy.
Best advice you can give to other potters? Haha, the same as the best advice I received: make your studio a fortress for joy.
Describe your studio. Right now, I have roughly 50 square feet (4.6 m2) of designated space in a group studio room at Umbrella Art Center.
Best thing about your studio? The folks I share it with. My studio mates and the students at Umbrella inspire me and are a wonderful community.
Wish list for your studio? A designated plaster casting area.
Describe a typical day or session in the studio. I am a morning person, so I start the day early, prioritizing the biggest steps of making pots—trimming, adding handles, assembling, throwing unfamiliar forms, etc. . . . whatever is needed that day. When I am a bit less poised after lunch, I do busy work: studio cleaning tasks, prep for the next session, emails, etc.
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Firing temperature: Cone 6
Atmosphere: Soda, gas reduction
Surface treatment: None. I’m always experimenting to see how surface can unveil new information about the form.
Forming method: Combined methods—usually handbuilding that starts with a solid base from the wheel.
Favorite tool in your toolbox: Cut-off wire
Website: www.katiefee.com
Social media: Instagram @k_feefifofum
Gallery representation:
Good Habit Pottery (www.goodhabitpottery.com)
Companion Gallery (companiongallery.com)
Clay AKAR (www.clayakar.com)
Describe the first pieces you made in clay that you thought had potential. There isn’t any one pot, but when I started faceting and stretching pots during undergraduate school, I was thrilled by the textural change and energy in the pots. That process fueled my motivation to be a maker.
What are you inspired by? I’m inspired by clay above all else. It’s always reporting new information back to me. Aesthetically, I’m inspired by moments where I feel awe: specifically, moving through architectural spaces, exploring intricate structures in plants, and absorbing profound geologic landscapes.
What is your process for designing new forms? It’s a meandering path—first, I use CAD or a sketchbook to hone a clear vision for a form. When I start working it out in clay, the form shifts according to what the material reports back over a sequence of steps. I pay attention to where the process really serves the product. I waffle between what is delightful to do and what generates a strong result.
Who are your mentors? I am fortunate to have several: Bruce Dehnert, Theaster Gates, Mike Jabbur, Kulvinder Kaur Dhew, and Jim Lawton. My graduate school advisors, too: John Gill, Yonatan Hopp, Walter McConnell, and Linda Sikora.
Best piece of advice you ever received? The studio is a fortress for joy.
Best advice you can give to other potters? Haha, the same as the best advice I received: make your studio a fortress for joy.
Best advice you can give to other potters? Haha, the same as the best advice I received: make your studio a fortress for joy.
Describe your studio. Right now, I have roughly 50 square feet (4.6 m2) of designated space in a group studio room at Umbrella Art Center.
Best thing about your studio? The folks I share it with. My studio mates and the students at Umbrella inspire me and are a wonderful community.
Wish list for your studio? A designated plaster casting area.
Describe a typical day or session in the studio. I am a morning person, so I start the day early, prioritizing the biggest steps of making pots—trimming, adding handles, assembling, throwing unfamiliar forms, etc. . . . whatever is needed that day. When I am a bit less poised after lunch, I do busy work: studio cleaning tasks, prep for the next session, emails, etc.
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