Taken for granted; your eyes stray to me after every creation.

This cinematic volume will be steep reading terrain for all but the most empathetic, relentlessly inquisitive seekers of pottery forensics. Lacking such scholarship, crocks and jugs sit mute – defying us to imagine their origins: that synapse between touch and its evidence. To date, we have no comparable documentation of a single potter’s life.

Throughout Wild Clay, the authors' combined experience gives us a comprehensive look at clay deposits around the globe and how they share similar minerals but vary in important ways from one location to the next. Their geological exploration from Montana to North Carolina and across the globe to Japan perfectly illustrates the saying Hitomi brings from Japan, "Treasure every encounter, for it will never recur."

The expressions of a handmade pot – the quiet and understated manifestations of Michael's legacy – created a thoughtful and intentional movement within contemporary studio pottery. Michael's ability to integrate a pot's purposefulness with artistic philosophy is a hallmark of his creative wisdom.

Another animated short produced by Studio Potter's official Cartoonist Richard Nickel, showcasing the work of painter and ceramist, Zuzka Vaclavik. "The Kiln is a poem, a kind of curse against potters who choose to practice their craft in a less than virtuous manner."

Definitions of theft, plagiarism, and appropriation became vital to this evolving dialogue — and again, the value of commingling showed itself. Each student, of course, had a distinct opinion on the question of morality that came from how intellectual property boundaries were drawn in their respective discipline. But collectively, the cohort agreed that learning from imitation was vital to understanding this discipline.

Flash tattoo illustrations created by Studio Potter's own cartoonist, Richard Nickel!

I don’t trust anybody’s nostalgia but my own. Nostalgia is a product of dissatisfaction and rage. It’s a settling of grievances between the present and the past. – Murray Siskind in Dom Delillo’s White Noise In overwhelming times of uncertainty, as an artist, what I can offer is a coherence of values and priorities expressed in the tools of conviviality and of the solitude I craft. These pots inhabit the world I want to live in, nostalgic for a past that never was.

We will probably always wrestle with the thorny question of how contemporary efforts to honor the beauty and complexity of traditional ceramic art can operate on a deeper level than merely “sampling” visual aspects of past achievements for individual purposes.

A new animated comic from Richard Nickel for Studio Potter about the life of Adelaide Alsop Robineau and her masterpiece, The Scarab Vase.

Then, the Last Prisoner Project came onto my radar. Their purpose is to free the 40,000-plus nonviolent prisoners who are in jail for cannabis. These nonviolent offenders remain in jail in states where marijuana is now legal.

...as I sat at the computer, feeling the void of the nonexistent National Council on Education for the Ceramic Arts 2020 conference, I clicked and signed up for the online three day, twenty-four/seven ceramic marathon.

The first installment of a series on navigating the market as a studio artist, wherein we will share the wisdom of field and consider what the gallery/artist relationship might be in the future. Inspired by an inquiry from Osa Atoe.

An excerpt from Women, Surrealism & Abstraction – The Poetry Project, at the Nora Eccles Harrison Museum of Art on the Utah State University campus in Logan, Utah.

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.

Trying times inspire revolution and innovation.

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.

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.

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

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