Connected by their generous spirits and passion for both handmade pottery and food, ceramic artists love to share. Join Pottery Making Illustrated in celebrating its 25th volume year by enjoying a Potluck assortment of ceramic artists and pots curated from the submissions to our contest.

This collection showcases some of our readers’ best serving dishes, tableware, and functional vessels made for gatherings. Each selection highlights an artist’s method of making and their inspiration for creating in the studio.  

This potluck also brings together the spirit of Pottery Making Illustrated and our mission to educate potters of all skills levels, to connect ceramic artists around the globe with fellow like-minded creatives, and to inspire a continued love of craft in everyone. Cheers!

—Holly Goring, Editor

Alex Olson

Carved Platter
12 in. (30 cm) in diameter
Wheel-thrown Laguna Clay B-mix clay
Wood fired to cone 10 in reduction
2021
www.alexolsonarts.com


“In my work, I explore concepts of mark making and imprinting through both process and form. Found objects from the landscape make physical marks in the clay, leaving imprints of place on my pottery. Atmospheric firing methods such as wood firing add complexity to the faceted surfaces, creating gradients of color and texture that mimic patterns in nature; I also use this effect to reference the cycles and transitions of the natural world. More broadly, while crafting my work, I consider how experiences in nature stay with us in transformative ways—and how we hold on to those experiences by bringing elements of the natural world into our homes.”

Hong-Ling Wee

Wine Ewers
8½ in. (22 cm) in height
Wheel-thrown and altered stoneware
Fired to cone 10 in reduction
2020
Ceramicus.com

“I enjoy looking for extraordinariness in the ordinary. I hope to bring a contemporary freshness to a traditional craft by specializing in unique pieces that transform everyday utilitarian pottery into delightful, decorative objects. My primary focus has been ceremonial vessels and centerpieces, and my ceramics practice straddles sculptural objects and functional art.”

Don Reynolds

Wine/Liquor Sipping Set
8½ in. (22 cm) in length
Wheel-thrown and altered, mid-range porcelain, brushed underglazes, wax, glaze
Fired to cone 6 in oxidation
2020
Photo: Jane Neuss Cohen
DonReynoldsCeramics.com

“My work is all about ornamentation. Using simple forms as blank slates to adorn, I arrange repetitive marks into compelling patterns that celebrate both the objects and their users. I reference the rich history of decorative language throughout the ages, and combine those findings with my attraction to the colorful spectacles of modern times, including the circus, the rodeo, county fairs, Mardi Gras/Carnival, (punk) rock and roll, casinos, gay culture, and other assorted roadside attractions, which exude a gaudy allure. Contrasting colors and patterns celebrate the diverse range of personalities/possibilities that are revealed as the work progresses. On their own, the pieces add a bold choice to the daily ritual; while in a group, the similarities illustrate a harmony in their eccentricities.”

Andrew McIntyre

Perforated Sangria Set
8 in. (20 cm) in height (pitcher)
4¼ in. (11 cm) in height (cup, each)
Wheel-thrown porcelain
Soda fired to cone 11
2021
www.andrewmcintyreceramics.com

“I am drawn to aspects of nature and architecture through structure, volume, movement, and repetition of line. I am influenced by the relationship between light and color in stained-glass windows as well as Chinese rice-grain porcelain. Perforating patterned holes in the surface of the clay allows me to fill these voids with glaze to achieve a unique level of translucency. My goal is to make pottery that resonates a depth, color, and surface like the stained-glass windows in Gaudi’s Basílica de la Sagrada Familia. I combine these elements to balance the function of utility and beauty.”

Lauren Kearns

Red Palms Two-Part Serving Dish
10 in. (25 cm) in length (each)
Limoges porcelain, underglazes, glaze,
Fired in oxidation to 2282°F (1250°C)
2020
www.kearnsporcelain.com

“I create pieces to be used and enjoyed either in function or decoration. I have found that porcelain best suits my personality and aesthetic goals for creating work that incorporates function and color.”

Amanda Bury

Large Basket—Avocado Pollination
13 in. (33 cm) in diameter
Wheel-thrown and handbuilt red stoneware, slip, glaze, nichrome wire, hemp cordage
Fired to cone 6 in an electric kiln
2021
aburypottery.com

“My drive to make functional pots comes from a deep reverence for the abundance of nature. I rely on the role of pots as vehicles for nourishment and their place as everyday objects in our homes. The formal language of my work is rooted in function and based on growth patterns found in nature. Each surface pays homage to the origins of food and systems of production. I strive to bring a broad focus to the food on your plate through abstraction and quiet association. The work serves as a reminder of the joy and wonders to be found in the natural world, our vital place within it, and our responsibility to care for it.”

Posey Bacopoulos

Oval Bowl
10 in. (25 cm) in length
Terra cotta, majolica
Fired to cone 04 in oxidation, decals fired to cone 017
2021
www.poseybacopoulos.com

“Function is vital to what I make. My goal is to integrate form, function, and surface in a manner that brings a sense of excitement to my work. I am continually exploring the relationship between surface decoration and form, using line, pattern, and color to create vibrant surfaces. The floral motifs on my pots are patterns rather than actual representations, and they serve to divide the space in interesting ways. I use gold decals as a contrast to my painterly surfaces.”

Scot Cameron-Bell

Vase 214
8½ in. (22 cm) in length
wheel-thrown and altered red clay, underglaze colors, wax, oxide wash, borax glaze on rim
Fired in an electric kiln to cone 5,
2021scotcameron-bell.com

“My vases are much more than flower vessels. I think of them as little pieces of table architecture. After applying wax to the wheel-thrown forms, I alter and stretch my vases, causing cracks on the surface. An oxide stain applied to the surface results in a rough and weathered look and feel to the surface. I decorate the vessels with contrasting underglaze colors influenced by 15th-century Asian Indian miniature paintings.”

Jennifer Rosseter

Viridescent Moose
10 in. (25 cm) in diameter
Wheel-thrown stoneware, hand painted, sgraffito carved, underglaze, glaze, Liquid Quartz sealer
Fired to cone 6 in an electric kiln
2021
jenniferrosseter.com

“My ceramic work is informed by my love of graphic design and illustration. Animals and birds appear prominently in my work and reflect many wildlife encounters both at home and while traveling. I employ a variety of methods to create imagery on clay, including sgraffito, mishima, and traditional printmaking techniques modified for my own purposes.”

Kate Marotz

Primary Pitcher
8 in. (20 cm) in height
Handbuilt stoneware, glaze, terra sigillata
Fired to cone 4 in an electric kiln
2021
https://marotzceramics.wixsite.com/my-site

 

“I make pinched stoneware objects that combine sculptural qualities with functional ware. This is one of the important dichotomies that influences this work and makes the forms both familiar and unfamiliar to the user. The organic forms are inspired by chrysalides, shells, seed pods, and other vessels created by nature. Every vantage point of each piece is different, inviting the user to handle and investigate every object. Modern designs influence the final terra-sigillata surface that wraps around layers and connects the interior to the exterior. Subtle patterns are only visible upon close inspection, while speckling is reminiscent of concrete or stone.”

 

Mandy Henebry

Chocolate Kiss Jar
6 in. (15 cm) in height
Laguna Clay B-mix stoneware, Speedball underglaze mixed with slip, clear glaze
Fired in oxidation to cone 5
2021
mandyhenebryceramics.com

“I make functional pottery with a flair for patterns, and create pieces with both wheel-throwing and handbuilding techniques. I incorporate Mason stains to make colored slips and custom-cut plastic stencils to add soft, tactile patterns on the surface of my pots.”

Angelique Tassistro

Lotus Punch Bowl
13 in. (33 cm) in diameter
Handbuilt white earthenware clay, layered underglaze that is partially washed off, underglaze pencil, clear glaze
Fired to cone 04 in an electric kiln
2019
Photo: Tim Barnwell
www.Angelique-Tassistro.com

“I recall a childhood filled with wondrous adventures of fort-building, playing dress up, and elaborately themed birthday celebrations with larger-than-life cakes. Those rich and imaginative adventures stoke my creative endeavors and inform my unique style of handmade ceramics. Each piece is approached with the attitude of playing dress up, demanding playfulness, and imagination. I use clay to create simple forms embellished with enchantment, raw and colorful patterns that exude a definite child-like—but not childish—quality, like a tea party for adults. My style is fun and a bit outrageous.”

Sam Scott

Salt and Pepper Shakers
3¼ in. (8 cm) in height (each)
Wheel-thrown porcelain, brushwork
Fired to cone 11 in reduction
2021
samscottpottery.com

“My work is high-fired porcelain. I predominantly produce functional pieces that center around food and gathering. The best part of a potluck is seeing wonderful food served in diverse and marvelous pottery. I enjoy seeing my work in that environment.”

Jennifer Mecca

Aqua Brownie Baker
10 in. (25 cm) in length
High-fire Helios porcelain, wheel thrown in two parts and assembled wet, semi-matte glaze, stamps, inlay stain drawing, accent glazes
Fired to cone 8 in oxidation
2021
jenmeccapottery.com

“I create pots that are visually pleasing and unique in character, but also useful in everyday life. I enjoy making serving pieces and tableware that bring delight to the daily activity of eating, setting a table, and enjoying a meal. I enjoy creating each piece with its own unique character and personality, whether I change a foot, rim, glaze color, or decorative element. All of my pieces are wheel-thrown and altered. I use porcelain because the translucent quality of the material allows my glazes to be bright and vivid. I embellish my pots with handmade stamps, clay sprigs, and incised drawings with inlaid stains. My inspirations for surfaces come from patterns in fabric, nature, and historic dishware pottery.”

Marcy Neiditz

Yellow Plate
10 in. (25 cm) in diameter
Wheel-thrown clay, hand painted, incised sgraffito drawings, underglazes, glazes
Fired to cone 5½
www.marcyneiditz.com

“My work is influenced by plant life and the microscopic world, and I am fascinated with the idea of biological plant-like forms coming alive. My process includes wheel-thrown and handbuilt forms, and a layering of glazes, slips, and underglazes with incised sgraffito drawings and hand-painted surfaces.”

Lansing Wagner

Mackerel Bowl
13 in. (33 cm) in diameter
Wheel-thrown porcelain, blue slip, carved, clear glaze
Fired to cone 6
2021
lansingwagner.myportfolio.com

“I’ve mostly made soda-fired pieces, and that is my preferred medium. This year, I moved to Maine and don’t yet have access to a soda kiln. In the meantime, I’ve been working with cone-6 porcelain and adapting my love of illustration and subtractive methods to this format. I’m finally working out methods I enjoy.”

Lindsay Scypta

Tea & Accoutrements
16 in. (41 cm) in height
Wheel-thrown porcelain, stamped, slip trail, sprigs
Fired to cone 6 in oxidation
2020
Lindsayscypta.com

“I am using food as a way of seeing the world, the tableware to create rituals through decorum, and the table to build camaraderie. As the maker, it is my greatest wish to see these objects in use in the world, although beyond this notion, my greater desire is through their utility; the necessity of the table within the home becomes indisputable.”

Clay Leonard

Triune Rectangle Server
15 in. (38 cm) in length
Slab-built and slip-cast porcelain
Fired to cone 6, gold luster added then fired again
2017
www.reclaimingthetable.com

“Some of my favorite childhood memories were formed around the dinner table with family and friends, eating and engaging in conversation. My work continues this dwindling tradition, focusing on the importance of these experiences. Through my ceramic vessels, I investigate the important ritual of sharing a meal. This work is my contribution to reintroducing the lost art of communication around the dinner table.”

Topics: Functional Pottery

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