September 1, 2020
What follows are some highlights from two evolving conversations with Courtney M. Leonard and Paul S. Briggs as they grapple with our roles as makers, educators, and culture shifters in this time of COVID-19, civil uprisings, and an impending election.
June 1, 2020
She recalls how she wanted to be a geologist before discovering clay as art and continues to tell herself there is a beautiful connection there.
April 27, 2020
Trying times inspire revolution and innovation.
April 27, 2020
I had been following the mosaic fabrication of Montreal-based Mosaika for years. In February I invited myself to visit their studio for a behind-the-scenes tour. Graciously, they accepted my invitation.
March 24, 2020
I do not intend my voice to be the voice of all women. In this significant time of convergence between ceramics and fine art, we have the opportunity to contribute a more critical voice to our culture, which demands that we are represented by people from a wider range of perspectives. We must make space for critical writing from less represented viewpoints. We need to make space for more stories.
March 24, 2020
Perhaps it is years of conscious determination that create an air of inherent intuition. The first installment of a new Studio Potter series.
Mulberry Bridge with Diana Kersey, 2011. Photo Credit: Seale Photography.
February 24, 2020
Last month, in Part I, we left studio potter Diana Kersey, having just broken into the practice of public art. This month, while sharing her background from star athlete to ceramist, we explore further her approach to design, content, and community engagement as she completes her first major public art commission.
January 27, 2020
Greetings from the new Studio Potter Editor, "Let's not be reductive. Let's be expansive. If we make a list, let's do it to parse out the options rather than create an oppressive hierarchy. We can all benefit from the beautiful mosaic of potential within the ceramic medium. This is what Studio Potter has always done." Send your story proposals to editor@studiopotter.org
Eri Dewa Forest Porcelain Sculpture at Lacoste Keane Gallery
January 27, 2020
Lucy Lacoste generously shared the following catalog essay with Studio Potter, drawing our attention to the next generation of Japanese women in ceramics. The exhibition was inspired by two important past exhibitions; Soaring Voices (2009 – 2012) which traveled to 10 locations in the USA, and Touch Fire (2009) at Smith College, Northampton MA.
January 27, 2020
A three-part series on the ceramist as public artist. "Completing private and public commissions, in addition to creating, decorating, and firing thousands of vessels during my career as an artist/potter, is not unlike how I learned the game of basketball: through practice, study, failure, disappointment, victory, and determination. This artistic path, in addition to my recently completed public art projects, has allowed me to master my ceramic process and has prepared me to take on a project of any scale." – Diana Kersey, 2015
Illustration by Zoe Pappenheimer for Studio Potter journal, 2018.
September 30, 2019
It has been my pleasure to serve as the Editor of Studio Potter journal for the last five years. ... My parting request, dear readers, is that you get more people to read this journal.
Harriet Brisson Cube Striped in Half, 1989. Raku; 6 in. sq. 46th Concorso Internazionale, della Ceramica D'Arte, Faenza, Italy. From Brisson's 50NOW retrospective exhibition catalog.
September 15, 2019
Harriet had a mathematical mind, richly reinforced by her artwork and the life she created with her husband and fellow artist, David Brisson. Her modular ceramic creations, with components that fit together effortlessly, are evidence of her keen logic.