December 1, 2021
I see all of Seisler’s works (whether it's her artwork or the programming she creates for A-B Projects) as a way of exploring the language of clay, investigating our personal relationship to this material, and its ability to connect us to others in the community.
November 1, 2021
FREE ARTICLE "I have never tired of it. There's always something more to explore in the world of clay and glazes and atmospheric firings. We're dealing with essential materials of earth and fire and water and air, and we're playing, but playing with a purpose – seeking more information," Daphne Roehr Hatcher.
August 1, 2021
Success is the mindset that the things you would like for yourself are coming to you. Failure is just a test to see how much you wanted something in the first place.
July 1, 2021
Welcome to the vibrantly intentional world of Brian Vu.
May 1, 2021
Deeper inside the tree, a wine-dark sea of grain fading to a gentle indigo, lavender, and deep green make up the heartwood. The wide range of color in melted ash surfaces that can be seen at the unloading of a wood kiln are continually surprising. I’ve found myself thinking, “How can such color come from simple wood ash?” Well, it seems it had been in there all along.
By
February 1, 2021
"You have to be mindful. You have to be cautious, but it doesn't always have to be a hard no," Tish Agoyo.
February 1, 2021
"As an artist trying to work with galleries, you should never feel like you have no power," Donté K. Hayes.
February 1, 2021
"I think it's really helpful if you can have an idea of what you want your life to look like, day-to-day, and also a year from now," Sue Tirrell
November 1, 2020
Studio Potter's Jill Foote-Hutton sat down with Sunshine Cobb and discussed the changing marketplace for studio artists.
September 1, 2020
Rather than lean in to an oppositional response, the administrators who chose to be interviewed by Studio Potter here, have allowed themselves to be vulnerable by sharing their honest struggles as they grapple with systemic racism.
September 1, 2020
It all has to do with who the person is. It’s about you. It doesn't deal with the school. It doesn’t matter if it’s the pedigree or the bucket. If you don’t know why you’re there... there ain’t nothing I can say.
September 1, 2020
There was an old index card box labeled “Deaccessioned, Missing, or Stolen Works” sitting on the top of a filing cabinet. I loved everything about that blend of categories...
July 1, 2020
An excerpt from a collaborative letter, "I refuse to sign any contracts to teach from this day forward without holding the institutions accountable for how they are actively pursuing/enacting an antiracist agenda."
June 1, 2020
It’s kind of an old-fashioned dream. Not obsolete, but grounded in tradition and backed by a love of labor that comes from knowing you hold the ability to make something from nothing.
June 1, 2020
The Im-ple-ment Archive is simultaneously a collection of objects to be used, a collaborative method of making, an interrogation of craft practices and intersections, and an ongoing contemporary artwork.
Signs and accessories in Jason Hartsoe in his Penland studio, January 2020. Photo Credit: Madalyn Wofford.
February 24, 2020
"Just when it seems the incline and hairpin turns won’t end, deep forest opens up to a passenger-side view of Horner Hall, the recently renovated home to the Penland gallery and visitors center." Join Sarah Kelly in conversation with Penland Resident Jason Hartsoe; captured last fall. A grateful recollection of deliberate advancement toward a goal.
Porcelain Extension Lighting Collection by Nick Moen and the Bright Angle
January 27, 2020
Nick Moen is discovering and designing bridges between materials, craft and design, and communities at The Bright Angle in Asheville, North Carolina.
November 27, 2019
We decided our first trip to the UK would be to St. Ives and Leach Pottery. This started our love affair with British studio ceramics
The illusion is that with plastic 3-D printers and how you have this tool, it can potentially fabricate anything in the world that you could possibly imagine.
Ahrong Kim. “Kimcheese,” 2017. Porcelain, stoneware, luster, stone. 7.5 x 8 x 19 in.
September 20, 2019
People read a visual artwork through many different things: a title, prominent color or patterns, etc., but they react quickly to something that’s more familiar to them.
Santiago Isaza working in his home studio. January, 2019. Photo by author.
July 20, 2019
On a research trip to Medellín, Colombia, I met a thirty-five-year-old anthropologist and ceramist who enlightened me to the role of indigenous ceramics in contemporary culture.