Artist Peter Karner's hand-built and hand-thrown ceramic pieces owe their distinct surface to Karner's technique, which involves multiple layers of free-hand patterns applied via a variety of methods including dipping, wax resist, and brushwork. Specifically designed to capture carbon from the kiln firing, this "carbon trap" effect adds a sense of organic randomness and variety. This ceramic mug is one-of-a-kind, as well as food and drink safe.
A curious ceramic creation by Mitchell Grafton. Insanely talented ceramic artist Mitchell Grafton has been working in his field since he was nineteen when he was hired by Odell Pottery in Panama City, Florida to help make their ceramic goods. Odell Pottery was run by three-time U.S. Pottery Olympics Champion Bruce Odell and Grafton spent seven years working under Odell making lamp bases while completing his degree in Architecture at a Louisiana technical college. Later in 1991, Grafton would enter the same competition as his mentor, which he not only won on his first time out, but three more times. None of Grafton’s early success seems surprising once you have seen his whimsical designs, often featuring animals—such as an octopus that has joined forces with a tank complete with a soldier in a gas mask riding on top of its head. On Grafton’s blog, it’s noted that he does take commissions and he has posted many examples of his custom orders there, as well as on Grafton Pottery’s official Facebook page. As you would hope, the imaginations of Grafton’s fans often rival the artist’s own, for example, the freakishly eccentric designs Grafton...
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I grew up in Nebraska and spent a lot of time on my grandparent’s ranch a few miles from my home. There, I played in the barn with the kittens and in the yard with Grandpa’s Airedales, watched cattle, rode on the old tractor with my Grandpa and adored walking through my Grandma’s garden full of county fair prize-winning blooms. She also had a gorgeous vegetable garden where I would sit in the dirt, eating tomatoes like apples with a saltshaker readily in hand. When I was older, I helped her can her sour cherries for the winter pies. I could sit for hours and marvel at the incredible insects on the farm and on some evenings, sitting on the back porch steps, watch little dust twisters on the horizon. I was the typical barefoot, grimy, scabby kneed, freckle-faced tomboy who lived to be outside, either at my childhood home playing with the other kids or at one of my grandparent’s or uncles’ ranches, roaming like a little savage. Whenever I was indoors, I was constantly drawing . . . on anything I could find. When I was very small, my Grandma gave me a set of colored pencils for my birthday and that set was my most cherished possession. We now live in rural Pennsylvania and as an adult, I’ve observed the decline of some of the insect and plant life I took for granted, back in the old Nebraska days. The decline of weeds, plants, and insects also affects bird and bat populations, which we’ve seen disappearing in our own yard and gardens. My appreciation of nature and the lush atmospheric floral and vegetative images which appear on my pottery is ingrained from childhood and sustained in adulthood. My functional pottery explores the beauty, whimsy and genuine concern inspired by my “nature girl” childhood. The colorful coneflowers, tulips, poppies, sunflowers, milkweed, random leaves, vegetables, fruit, the spiders, snails, my protective garden goblins all find space on my pots. The themes, although planned, seem to have a life of their own once implemented and often sustain the wistful atmospheric quality of a long ago dewy day. When my husband and I left graduate school we moved to D.C. and no longer had a place to make pots. We got entry-level day jobs and eventually discovered Glen Echo Pottery, where we were lucky enough to teach classes and work on our own pots on weekends. After about 5 years, we left the gridlock of The City and moved to our farmhouse in Pennsylvania. But my access to a place to make pots disappeared. We taught at the local community college for awhile, but found the teaching load was too much on top of the necessary but dreaded “day jobs”, so we left teaching. Bisqued Example of Gestural Slip Trailing - 5” W x 9 “ W Eventually, after about 20 years, I found an old wheel and an even older kiln (both of which I still use!) and began working on pots whenever I could find a free weekend . . . like so many potters – sadly, with very limited time. Happily, I retired about 3 years ago and have thus enjoyed the luxury of having days upon days to focus on my “real work.” And also, like so many potters, the transition from the academic gas fired kilns to the little garage electric kiln was stark. Eventually, I stopped trying to recreate the look of the reduction atmosphere and taught myself how to handle underglaze and brushes. Now my work is focused on one of the things oxidation does best: color and imagery. Floral Series Coneflower Pilsner Mug - 7” H x 3” W Almost everything I make is wheel thrown. Sometimes, after trimming, I’ll apply slip (made from my clay body) from a Clairol bottle, gesturally. After the pots have dried, I bisque them and subsequently do all the decorating on bisqued ware. The underglaze images are painted by hand. I sketch a design on the pots with a pencil and then, painstakingly, add the underglaze with brushes and with slip trailers to create the floral imagery. Sometimes I fill in an underglaze background around the imagery. Crab Apple Bowl - 6” H x 7” W Rather than mixing underglazes to find the exact color I want, I layer the different colors on top of each other on the pot. So, there are many layers of underglaze for each developed color. When all the imagery has been completed, I usually add a border around rims, handles and the base, either in black or in one of the darker colors of the designs. Garden Series Assorted Tumblers and Mugs The under-glazed pieces are re-bisqued to harden the underglaze, before the glaze is applied. I usually use a clear glaze for the first firing. There are usually more glaze firings to follow to develop color over the decorations. I like the initial clear glaze firing because I can see the design and it helps to figure out where to add the colored transparent glazes. I glaze each pot up to 4 times. Garden Series Plates - 3” H x 10” W Frequently, a luster firing will be added at the end so potentially each of my pieces is fired up to 7 times. All work is food safe, however luster work should not be washed in a dishwasher and cannot be microwaved. The investment of time and resources is quite large, as it is for most potters, and along the way, unique for potters, is the lurking potential for a devastating failure. I think many potters never “count chicks!” Garden Series Floral Pitchers - 11” H x 4” W Like most makers, what I create constantly evolves and it’s a wonderful journey, seeing where the creative process goes. Making things has been a constant in my life for as long as I can remember, and making pottery is the one thing that never ceases to be fulfilling, challenging, and yes, frustrating. For me, pottery never disappoints and frequently delights. I hope my pots can bring smiles and hope to others, along the way. Garden Series Shadows Mug - 3.75” H x 3” W This is Week 27 of 52 Artists in 52 Weeks. Thank you for reading and sharing Nikki’s story today. To connect with her and see more of her work, please visit the following links: Facebook Pinterest LinkedIn Washington County Arts Gift Shop Charlie Cummings Gallery
Throughout history, artists from around the world have created symbols and images that reflect their culture. Many of their ideas were inspired by their environment and beliefs. Their artwork is a visual record of their time and culture. Because of this record we have a better understanding of how they lived. We know that the Koi fish is often represented in the artwork from Asia. Aboriginal artists painted simple shapes and dots on their work as well as aquatic and human forms. Islamic artists created very ornate patterns that were inspired by nature. Those patterns can still be seen today in the buildings that have survived time. Pre-Columbian artists incorporated ornate geometric patterns in their work. They also carved ferocious animals and mythological creatures onto the walls of stone temples. The AMACO® multicultural textures can be used to reinforce your classrooms study of cultures from around the world.
Ceramic artist Tim Kowalczyk is drawn to objects of little material value—crushed tin cans, ripped up cardboard, and Polaroids that have been damaged during development. It is in these typical throw aways that he finds beauty, an attraction to the history embedded in their wrinkles and folds. To memorialize these items Kowalczyk creates their likeness in clay, creating works that look exactly like mugs haphazardly formed from cardboard with “Please Handle With Care” stickers still stuck to their sides. More
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Artist Jeanine Pennell's whimsical ceramic creations convey a thousand words with a single look, their faces set in inscrutable, magnetic expressions. Inspired by Pennell's sketchbook illustrations, each is kiln-fired, hand-built stoneware paperclay painted in underglaze washes with a matte glaze exterior, and displaying a gritty, illustrative quality.
If you like coil pots, you will enjoy this article about 18 of the most amazing famous coil pottery artists. With IMAGES AND VIDEOS.
Contemporary ceramicists Ross Auld and Tania Rollond are Aussies based in New South Wales. Their styles are contrasting - Ros uses stoneware, slab built textural surfaces while Tania works with wheel thrown, hand painted, smooth porcelain. Their similarity lies with their spontaneous, free spirited designs and originality. Ros Auld : Australian potter Ros Auld works from a studio at Borenore near Orange, in Central West NSW, specialising in slab-built, or thrown and manipulated, stoneware forms decorated with wood ash glazes and trailed and incised slips, coloured oxides and gold lustre. Both her sculptural and functional work express surface textures and subtle colours
Inspired by memory jugs from American folk art, Memor's vases incorporate shells, stones, or — in this case — ceramic discards from Rachel Saunders' studio.
Inspired by traditional Japanese manga Japanese pop artist Yoshitomo Nara unveils a new series
Irina Zaytceva "Bird Lovers" porcelain 5.25 x 3.5 x 2.5" Jane Sauer Gallery
If you purchased a class prior to May 1st, 2023 you will still access to your classes through TerriKern.com. The email you received upon your class purchase
This article centers around the ceramic creations of UK pottery artists mostly based in the North of England who are members of the Northern Potters Association, an organization of over 400 members dedicated to providing support and encouragement in all facets of pottery. ◊ Juliet Blackman Central to all my work is an enjoyment of coiling, an almost meditative process where the form gradually evolves, together with raku, which provides the essential dark, earthy quality, capturing the mystery and unexpected iridescence of ancient archaeological finds. The contrast between a highly controlled, considered building process and the relatively
In her ongoing series Dust Furries, color gradients complement the supple textures of "fur" that has a knack for picking up detritus.
I have another round of incredible artists to share today! A great mix of ceramics and paintings and illustrations today! As always, I’ll share both their current shop or portfolio and their Instagram, so that if they don’t currently have artwork to sell but you see and love their style, you can follow along for …
Ceramic artist Joanna Powell begins her pots with a reductive process, dismantling conventional ideas of ceramic objects.
' When I do work that is going well, I try to stay in the moment, not worry about the future, and be content. I love all colors and enjoy observing forms in our existence here - a seed bursting from the earth, a fish alive with its glitter of color, a microscopic pattern. My wish is that my work transfers these precious miraculous moments of life. ' ...Helene Fielder ± Helene creates in both clay and metal and has maintained a full time studio in Prentiss County, Mississipi with her husband Ray, who is a painter, for the past seventeen years. She
Ceramic artist have their own inspiration and motivation. Their art work reflects uniqueness, personality and style. We have selected 8 ceramic artist on Instgram who have "eye catching" masterpiece. Enjoy! Lauren Lewis of @lalepottery loves to do shiny stuff. She makes sure to give joy and happiness to everyone. It'l
Ceramic artist Joanna Powell begins her pots with a reductive process, dismantling conventional ideas of ceramic objects.
I am talking about Maud & Mabel! This gorgeous little gallery stocks the most covetable collection of minimalist ceramics. They have a deep appreciation for the simple, the imperfect and the well-crafted. Their style is a combination of Scandinavian and Japanese and I like thinking of their aesthetic as minimalist wabi sabi. I've had a crush on this shop for a while and I am so excited to announce that my work is now at Maud & Mabel. These three vessels from the Lithic Collection are now on display there.
Ceramics artist Alberto Bustos uses porcelain and stoneware to craft astonishingly organic-looking sculptures of plants. Soft and delicate in appearance,
The Museum of Fine Arts, Boston, received a gift of art pottery decorated by talented women known as The Saturday Evening Girls. Read more on Incollect.
Vessels + Sticks is a curated, online gallery focused exclusively on presenting contemporary ceramic artworks by artists from around the world
A collection of female ceramicists, all with an interest in exploring African themes in their creation of figurines and sculptures. Michele Ludwiczak : Fascinated by working with clay, French ceramicist Michele Ludwiczak trained with various potters including Marc Uzan, Gilles Acker ( raku ), pursued the construction of ovens and the cooking of primitive home ceramics with Thiebaut Dietrich ( founder of the European Institute of Ceramic Arts in Mulhouse) and studied art history at the University of Strasbourg. ' I am a dreamer, an idealist and my art allows me to transcend my contemporary world and
Ceramic artist Joanna Powell begins her pots with a reductive process, dismantling conventional ideas of ceramic objects.
Editions: Unique & handmadeMaterial: Beige StonewareSize: ~27 cm high, 17 cm wide This handbuilt, clay bodied sculpture draws inspiration from the concept of molecules changing shapes. By using a combination of pinching, coiling and slab methods, artist Abid Javed has created a tactile and timeless piece, reminiscent of the work by great artists such as Jean Arp, Isamu Noguchi and Brancusi. In contrast to Abid Javed’s day job in biochemistry, where he looks at the complexities found in structures in biology, his ceramic work strives for simplicity. By shedding all details and looking at objects transparently and into their skeletal architecture, Javed’s work takes an abstract turn to bringing biological concepts and forms to life via sculptures and vessels. Artist Abid Javed’s background is a culmination of his time spent in Hong Kong, England and Pakistan - picking up three different languages and three different cultures. Javed’s artistic journey has been as dynamic and non-traditional as his background is. During his PhD in biochemistry, while dabbling with painting and illustration on the side, Javed was enamoured by the visual aspect of biology with its array of storylines. This enamourment compelled him to find a medium that would allow him to translate these storylines in 3D - carefully exploring and finding his happy place in ceramics. Read more about his journey in Abid Javed's artist portrait. Details: It's signed on the bottom by the artist. Please note that this is foremost a sculpture and has limited use as a vase, due to the shape and the unglazed doesn't hold water.
Each of Gareth Mason’s ceramic jars represents a small cosmic explosion. Intensely expressive and energetic in character, Mason’s work reflects his eagerness to capture the dynamics and the mysteries of creation. Immersed in the transformative power of fire, Mason’s spirit is, as it were, freed through earth – his artistic medium – and in turn his ceramics acquire a life of their own. Indeed, the ceramic jars undergo a metamorphic process when, guided by intuition and improvisation, Mason first throws them by hand and subsequently manipulates them by multiple firing, glazing, and the inclusion of varied materials over a period of up to several years. The result in each case is an astounding richness in texture, form, and visual density. Unconventional in his approach, Gareth Mason is one of Britain’s most individual ceramicists. He has extensive experience as a teacher of ceramics, and has been published in many books and articles about ceramics. His work is widely collected in the UK as well as internationally. Gareth Mason is a Fellow of the Craft Potters Association and Brother of the Art Workers Guild, London. He exhibits regularly in solo and group exhibitions in the UK and abroad. A short film about his practice entitled ‘White’ won Grand Prix at the Projections D’Argile Film Festival, Montpellier, 2002. In September 2006 he participated in the International Keramik Symposium, Gmunden and accompanying European touring exhibition. A major solo exhibition entitled ‘An Unfolding Narrative’ took place in 2007 at Blackwell, the Arts and Crafts House. In 2011 he had his first solo exhibition, ‘Other Forces,’ in New York at Jason Jacques Gallery. In 2013 Mason was featured and lectured at the American Museum of Ceramic Arts Exhibition “Friendship Forged in Fire: British Ceramics in America,” as well as at the Korean Cultural Center for their exhibition Moon Jar: Contemporary Translations in Britain.’ In 2014 Mason had his second solo show, ‘More is More,’ at Jason Jacques Gallery. He is a member of the International Association for Ceramic Art Education and Exchange and contributed to their conferences in Farnham (England), Nairobi (Kenya) and Icheon (Korea). He exhibited at the World Ceramic Biennale, Yeoju, Korea 2009. Talks and demonstrations include being the invited speaker at the CAAI International Ceramics Conference, Tel Hai, Israel, December 2008 and invited speaker at Ege University Art Days symposium, Izmir, Turkey, December 2009. In the summer of 2013 he was a speaker at the Symposium, ‘Joining the Hemispheres,’ at the London Korean Cultural Centre. In 2011 he presented the lecture, ‘Firing the Imagination’ at SOFA Chicago, prompting a subsequent exchange of ideas with the ceramics collector and emeritus professor Richard Jacobs. They lectured together at the American Museum of Ceramic Art in the Spring of 2013. Their text, An Odd Couple, explores the synergies and dissonances in experience between artist and collector.
