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A table of contents complete with a short summary of each article for Vol. 43 No. 2 of Studio Potter.
Donald Clark at his home in Springfield, Massachusetts. Photograph by Elenor Wilson, 2015.
If you write a book, you can’t change it. TMP wanted the ability to add information to what already exists, as artists grow and their work changes and their marks change.
Del Harrow shows students how to take accurate measurements for use in creating the CAD model. Photograph: Kim Hudson, 2014. BEHIND, RIGHT: A sketch of Del’s ideas for the interior design of the Artstream, 2014.
The first pot I ever bought was from the Artstream. I was living in Austin, Texas, and the Artstream Nomadic Gallery came to the city at the invitation of the Art of the Pot, an Austin-based pottery collective.
The Studio Potter Vol.43 No.2, p. 18. Design by Zoe Pappenheimer.
What is so remarkable about Picasso the potter is his understanding and bold utilization of ceramics per se. For him, the medium was more than just another creative adventure. He was acutely aware that he was entering a distinct artistic space and specificity.
HP Bloomer. Vase (detail), 2015. Porcelain, soda-fired to cone 9.
As a studio potter, I frequently complete upward of 400 glaze tests. The majority begin with the unity molecular formula and build outward as I see the results.
Digital Calligraphy, 2015. CNC painted plates with handmade brush. Porcelain, cobalt, glaze, 8x8x1 in. Photo by artist.
I propose that we alter our thinking and ask if it’s all right to let in messiness and unpredictability. Digital Craft is a burgeoning field that explores what it means to integrate digital technology with traditional crafts.
Optimism, 2015. Porcelain and decals, thrown and altered, fired at Cone 6, 03, and 014 in oxidation. 3.75 x 4 x 3.5 in. Photograph by Grace Sheese.
My small sculptures, drawings, and decals became characters while the protrusions, dangles, colors, lines, and drips became settings and props.
Tribal women of Kutch embroidering garments. Photo by author.
My interest in surface began very early. As soon as I could crawl, I successfully horrified my mother one afternoon as she sat getting her hair styled by my sister.
Nature, Sculpture, Abstraction and Clay, Bernard and Barbara Stern Shapiro Gallery, Museum of Fine Arts Boston
The past century has been marked by unprecedented experimentation in the field of American ceramics.
Cambric applies her luster overglaze to her footed bowls. Photo by artist, 2015.
Touch forms the ultimate surface. Pinching a pot is both a way of making and a choice about surface. The pot’s pinched canvas tells a story of exquisite labor.
Mugs on a shelf in the author's home.
Glazed or not, every object made from clay has a surface. But what does that surface tell us?
Ingredients, 2014. Porcelain and decals, 1.75 x 5.25 in. Photograph by Grace Sheese.
My epiphany of appreciation for a mass-produced pot significantly shaped the way I think about and value my own work. Not only did my reaction to it change my process, but it also altered my philosophy regarding surface decoration and form.