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Articles

Golden Light on 18th. 2009. Gouache on mulberry paper, 15 x 15 in.
Crossing Over
By
Kathy Erteman
I decided to take a creative sabbatical, giving myself a year, or as long as my savings would allow I wanted to continue working in the studio, but in an open-ended way.
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Casbon. Cages and Three, 1998. Clay, glaze, and stain.
Visual Translations
By
Holly Walker & Linda Casbon
Where is the boundary between two-dimensional drawing and three-dimensional form? Longtime friends - a sculptor and a potter – we find ourselves in the midst of the two, and we ponder the relationships that exist there.
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Entrance to Dragon Kiln, Guizhou
The Spirit of Chinese Pottery
By
Marie Woo
My recent China experience has been immense, and the influences seem elusive, but with the flow of time an unconscious expression may prevail.
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A Residency in China
By
Marie Woo
In 2007 a group of American potters was invited to a residency program at Fuping, in Shaanxi, China. This is the location of the International Ceramic Art Museum, a large tile-factory complex occupying many acres of fruit-orchard land.
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Holly Hanessian, My Taste Your Bones. 2010. Sculptural book edition, 1 of 4. Porcelain containers and book covers, laser-engraved acrylic lid, test tubes, nails, hair and fishing line. 9.5 x 7 x 4.5 in.
The Digital Future
By
Holly Hanessian
Consider the state of ceramics today, as our culture settles into the information era. Those of us who work in clay have more options than ever seemed possible.
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Trivet, 2009. Vinyl wall pattern, dark stoneware, silk-screened transfers, 6in.
In Search of Boundaries
By
Sanam Emami
The concept of the pot is this kind of boundary: a set of qualities that differentiate one kind of object from an­ other. When that became clear, the decision to make pots provided me an entry point into a creative practice.
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