Ceramics Monthly Articles (Simple)

In 2009, in South Korea, I asked myself a question. Is tradition merely a past to be preserved or a value that is still alive today? Seventeen years later, I am still working from that question.

In a community studio, managing and processing reclaim can be a full-time job. One owner, looking for an efficient solution, added a floor-heating unit to his plaster table to better manage the needs of the studio.

Current and Upcoming Exhibitions.

What motivated you to write a technical book that focused directly on food-safe glaze recipes?

When did soda firings replace salt firings, and why? Take a closer look at the history, fired characteristics, and practical considerations of both firing styles for contemporary studio practices.

I have needed (and wanted) to do pottery every day since then, and have worked tirelessly to be able to call it my full-time job.

These four reliable recipes, pulled from our archive and provided by past Ceramics Monthly Working Potters Dawn Candy (2020) and Justin Rothshank (2022), get a lot of use in their studios.

Deadlines for exhibitions, fairs, and festivals.

My work investigates feminism and LGBTQ+ experiences through the lens of human/animal relationships, interweaving the beauty of the natural world, the poetry of the human condition, and the gravity of the sociopolitical issues.

Just a short walk from her home, Mel Arsenault’s studio boasts high ceilings, plenty of worktable space, and room to dream of more storage and a dedicated painting space for her richly glazed flora and fauna vessels.

My work in clay is inspired by ecology, culture, and historical context.

The immediacy of paper, paint, and drawing materials allows me to quickly make moves and generates ideas, provides templates, and loosens me up to play while using clay.

I aim to introduce at least one new form in every set of work, keeping the process fresh and exploratory.

I aim to introduce at least one new form in every set of work, keeping the process fresh and exploratory.

A year out from the devastating Eaton Fire, one potter reflects on the resilience of her community and how the artists of Altadena have begun to repair, rebuild, and re-imagine their lives and practices.

I believe that staying engaged and developing new forms requires giving myself permission to enjoy the process.

I often process and preserve my experiences in my work. I aim to highlight small moments and memories, and capture a sense of place, emotional truth, and wonder.

I enjoy repeating familiar shapes with subtle changes and seeing how they will respond to the soda atmosphere.

Using the reference photos I take from home interviews, I use a combination of underglaze and glaze to lay the foundational composition.