SPOTLIGHT 2

FEATURED 16

OVERTHROWN 31 Simcha Even-Chen Cynthia Lahti

Connie Norman Liza Riddle Antonella Cimatti
Shane Porter
JAPANESE ARTISTS 50
Blaine Avery

INSTALLATION 68 Arthur Gonzalez

Claire Muckian
Carol Gouthro
Roxanne Jackson
Carole Epp
NEW ARTISTS 76

TECHNIQUES 84
Gwen F. Chanzit
Clare Twomey Paul Sacaridiz
Katie Caron and
Del Harrow Mia Mulvey
Martha Russo
PROFILES 92 Linda Sormin
John Roloff Benjamin DeMott

Fujita Toshiaki
Kawabata Kentaro Murata Yoshihiko Takeuchi Kouzo
Jorie Johnson Niisato Akio Takeda Asayo
Tanoue Shinya Hayashi Shigeki Mariko Husain

Ian Shelly Ian F. Thomas

Mark Goudy Patrick Colhoun Chang Hyun Bang

Shamai Gibsh John Shirley

Margrieta Jeltema Jim Kraft

Merete Rasmussen
Maciej Kasperski Wim Borst

Arthur Gonzalez’s work is on the cover of the Ceramics Now Magazine Winter 2011-2012 issue,
introducing an amazing interview about his work. The issue also features Roxanne Jackson’s work, as
well as two partnerships with the Denver Art Museum (Overthrown: Clay Without Limits) and Keiko
Gallery (Japanese artists).

Issue nr. 1 also presents interviews and articles with new and world-renowned ceramic artists: Claire
Muckian, Carol Gouthro, Ian F. Thomas, Cynthia Lahti, Carole Epp, Simcha Even-Chen, Liza Riddle,
Patrick Colhoun, Mark Goudy, Chang Hyun Bang, Ian Shelly, Shamai Gibsh, Margrieta Jeltema, John
Shirley, Jim Kraft, Connie Norman, Blaine Avery, Antonella Cimatti, Maciej Kasperski, Wim Borst,
Merete Rasmussen.

On the front-cover of the Printed Issue nr. 1: Arthur Gonzalez’s Hobbled, Media: Ceramic,
horsehair, natural sponge, glass, iron rod, rubber hose, candles, fire. Dimensions: 50 x 38 x 19
inches. Collection of Bruna Lamy-Shidler, San Francisco, California.

On the front-cover of the Digital Issue nr. 1: Roxanne Jackson’s KISS Totem, Media: Wood,
ceramic, glaze, synthetic and real fur, gold-leaf brick, fox coat and tail, chicken wire. Dimensions:
84 x 30 x 14 inches.

2 | Ceramics Now
cn

EDITORIAL

It was a cold December night in 2010 when the idea of developing an online ceramics website came to my mind.
I was then in the 11th grade, and I didn’t know much about contemporary ceramics. At that moment, I haven’t
thought about the difficulties that would come along, at the so many sleepless nights and hard work. But time has
proved me I might be wrong in thinking that this job wasn’t meant for me.

I managed to get things work, to make

the project evolve by itself. And I couldn’t
EDITOR
Vasi Hîrdo have been able to do this without the help
and support of my friends, and without
CONTRIBUTORS the kindness of all our collaborators and
Miruna Pria, Iunia Raţiu, Vasile Coroian, Andra Baban, Alexandra artists. I have no idea how, but I was given
Mureşan, Cora Pojaru, Adrian Pop, Gavril Zmicală
to meet only good, inteligent and kind
DESIGN artists. I guess that artists are by definition
Andrei Sîncrăian, Radu Arieşan all of these above. With their help, we are
celebrating Ceramics Now’s first birthday
MARKETING with a fantastic printed issue.
Cristian Szemeredi

PHOTOGRAPHY In these pages, you will see that our

Alex Bogdan Pop magazine is like no other (sounds clichée,
but you’ll see for yourself). We are
MANY THANKS TO functioning as a sustainable and creative
Daria Dumitrescu, Radu Comşa, Stefano Calligaro, Ashley
platform that questions the traditional
Pritchard, Rose Beteem, Keiko Fukai, Irina Putineanu, Cristian
Lupşa, Vlad Rus, Flavia Lugigan, Tudor Oltean, Claudiu Pop, Roxana ways of doing a magazine. We are leting
Ciobanu, Eugenia Ciocoiu, Cristina Cîrligeanu, Anastasia Pop, Vasi’s the artists express their feelings through
family and friends uninterrupted phrases and ideas. They
have a more direct approach and they
PRINTED AT
invite you to learn from their real life
Delroti Print
experiences.
FRIENDS
Curtis Benzle, SABOT Gallery, Leivos.com Expect to discover an experimental
magazine that introduces you to the
MAILING ADDRESS
words of many interesting and young
Gheorghe Dima nr. 35, ap. 1
400342, Cluj-Napoca, Cluj artists from all over the world. And if
Romania you’re wondering why we made it this
way, it’s because this is how we wanted a
SUBSCRIPTIONS contemporary ceramics magazine to be.
office@ceramicsnow.org
- Vasi Hîrdo
ISSN 2248 - 115X

Ceramics Now | 3

Text and pattern is seen everywhere on your
works; they make a fantastic rhythm and
enhance the forms. When did you start to use
text on your works?
My current style using text started years ago,
I was making mixed media sculptures that
were mostly clay integrating text. I gave myself
the challenge to make something esthetically
pleasing. What I wanted to do was -to be able
to tell a story with pots. I suddenly had the
revelation of incorporating the text onto my pots.
But it is very ironic that I use words on my work,
because I have always struggled with writing.
And I still do! When I was working in sculpture I
only used single words, and now I have expanded
to phrases.
You recently came home from Ethiopia.
What did you experience there? Tell us your
impressions.
My journey to Ethiopia started approximately
four years ago, when my husband and I started
the adoption process for our son Vander. In 2009
our permanent relationship with the country of
Ethiopia started, we traveled to Addis Ababa, to
pick up our son. As the days, months and years
went by; I realized I wanted to give back to the
country that gave us our son. I started looking
for a way to go back to Ethiopia and volunteer.
I went to Ethiopia this past July for three
weeks. I worked with three organizations, One
Child Campaign, Vision on Africa and Mission
Ethiopia.
6 | Ceramics Now
2
CONNIE NORMAN
I worked with women to help restore their dignity
who are HIV positive and who have leprosy, and
women who are destitute. Through the language
of clay we were able to communicate, laugh and
be with each other without a common language.
The women of Mission Ethiopia are HIV positive
and suffer from leprosy; these women are
considered outcasts and unemployable. Women
like these and their children, spend their days
searching the garbage dumps for food. Now,
these women make pit fired beads, which are
fired on the ground in an open fire.Currently they
are able to feed their children and themselves.
I sat with the women much like an old fashioned
quilting circle, they showed me how to roll the
beads in my palm and decorate each bead. While
we were making beads their children ran in, out
and played outside with meager toys like old
tires, but were always smiling.
Vision of Africa is an organization that is helping
destitute women in many diverse ways, they
provide medical care for mothers and children
are educated on contraceptives, sponsorship
programs of orphans, and of course they train
women to be potters. Ceramics in Ethiopia is a
very hands’ on process I was asked to help the
women with their production process, but I felt
like I learned more from them, than they learned
from me. Tigist, the master potter gently guides
the women from mixing the clay they collect
from other regions of Ethiopia, to hand building
bowls, vases, spice cellars, and coffee pots, and
much more. While I was there, Tigist did a pit fire
working with Tigist, the master
potter of Vision on Africa.
with me. I was amazed at her skill; she laid the
green pots near the fire and slowly moved them
into the fire ring. Then just like in American raku,
she threw the pots in some dried leaves for a post
reduction process.
I also worked with One Child Campaign, Caleb
David runs orphan awareness trips to Ethiopia,
and the trip immerses you into the life of the
orphan and street children. I was on a team of
11 people we volunteered at several orphanages;
we helped build an orphanage, put in flooring,
painted, but most importantly we installed a
water purification system.
My wonderful Ethiopian friends taught me that it
doesn’t matter what our circumstances are, what
our clothes look like, how full our bellies are, that
we are all in this together, we all have the same
emotions, loneliness, fear, joy and love.
Do you remember your first works? When did
you realize that this career was ment for you?
It was my last 9 weeks of my senior year of high
school, and I asked the ceramics teacher if I
could start coming into her class during my off
hour. I started going in and just fell in love with
clay, soon I was coming in early in the morning,
during lunch and after school. At this point my
parents had told me that, “I wouldn’t be one of
those students who changed my major every
semester.” So I announced that I was going to
be an art major with a concentration in ceramics.
And 30 years later I’m still working in clay!
SPOTLIGHT
And Yes, I do remember my first piece; my Mother still displays it in
her house. It is a large coil built vessel stoneware vessel, with a mishima
design. I wish my Mom would hide it, but every time I see I am reminded
where I started. And that I am thankful for my parents forcing me to focus
on my life time goals that really have stuck.
From clear and objective, to soulful and funny, your messages
vary a lot. How do you choose them?
The text for my pieces comes from
everywhere. They are a path to look inward
to decipher a glimpse into my private thoughts.
They also can be snippets of conversation, mantras I
repeat to myself, and partial stories of my life.
The vessel I made called This is How Much I
Remember. This is How Much I Forgot, is about
my Father’s early struggles with Alzheimer’s.
As I watched the disease get worse, and his
memory fade. On the other hand, Gibberish is
My New Language, is about being a new Mom
and watching my son learn how to speak and
communicate.
You held workshops and lectures as a visiting
artist year after year. What did you learn from
these experiences?
I very much enjoy sharing my process to artists
who are interested. Each workshop is always a
different experience for me. I feel that I learn
so much from teaching workshops, it is such a
sharing atmosphere, and I love it.
Tell us about the process of constructing
your pieces; what materials and techniques
do you use?
I am a hand builder! I work almost solely in
slab construction and glaze to cone 04 - 06.
When I first set up my studio, I was really surprised
how much I was spending on raw materials. I was really
disappointed how few glazes I could make with the glaze chemicals I
bought. Instead of going into debt, I decided to see what my glazes would
look like on terra cotta, using both clay bodies gives me two different looks
with the same glaze.
All my forms are made with glazing in the forefront of my mind. Although
every step of my process is extremely time consuming, the glazing takes
the longest. When making my bowl forms I use coil built bisque molds
for my slabs to set up on. I will usually make 5 or 6 at a time, so I’m not
waiting for things to set up. When building all my pieces I like adding the
text while the clay is fairly leather hard. But the pieces usually get leather
hard, at the same time, and then I’m working fast and furious to keep up
the drying process.
I always get asked how I get my glaze into the letters. It’s a very simple
process, but I’m glad it looks difficult. I bisque my pieces, then I brush the
glaze into the text and wipe it off with a sponge. Next, I let my pieces dry
over night, and the taping process begins. I use masking tape and office
supplies for all my glazing procedure. I tape off the text, and draw designs
on to smooth bisque areas, and tape over it and cut out my designs with a
Xacto knife. This process is laid out in detail in the September – October
2011 Issue of Pottery Making Illustrated. Also, I have the article on my
website and blog.
SPOTLIGHT
What motivates you as an artist? Where do you find the strength?
I am a Mother of a very active four year, I have a full time job, and I am
trying to pursue a career in ceramics in my free time. I do have down time
from my studio, where I catch up on my sleep, and just hang out with my
family. I long for the day when working in my studio is my 9 – 5 job. One
way I make sure that I get back into my studio, is I apply for lots of shows
to make sure I have deadlines. Deadlines are a fantastic motivator for
me. Tim Rollins has a great quote, “It’s not passion,
its panic.” With that said, I work in intense bursts. I
am currently an art teacher at a junior high school
the students range from 12 to 15 years old. I feel my
students transformed my life of mediocrity, to a life full of
intensity and zeal.
My goal early in life was to become a rich and famous
artist. This didn’t happen; I floundered through my
youthful years right after graduating from college.
I didn’t produce a piece of art. After ten years, of my
feeble life as a cook, I stumbled into teaching; I started
teaching adults two nights a week who wanted to learn
pottery. I felt like a fraud. It had been years since I had
even touched clay. The first few months I struggled
making my hands remember what they had been so
good at years before. One day, one of my students
touched me in a way that changed my life forever.
She stopped me at craft fair and critiqued the
pottery. I realized I had taught her something. This
tiny moment has shaped and formed my life; from
this experience I discovered I loved teaching.
Now twelve years later, my junior high students
affect me in this way every day. My role as an
educator is to be an art cheerleader, I cheer to my
students, adults, and colleagues alike. I teach as if
this will be my student’s lastand only year of art.
I have to cover it all in such a short time. In this
year, they will make art, write art, talk art; dream
art and most of all appreciate art. Of course, I
want my students to grow up and become rich
and famous artists, but if they survive my “art boot camp” I
know they will be lovers and appreciators of the arts. I believe
my students have given me the most beautiful gift; they have
awakened the power of creativity in me. With so much artistic
potential in my classes my students give me the energy to create, and to
be a working, professional artist.
Where can we find you and your works?
My work is represented by Plinth Gallery in Denver, Colorado, Crimson
Laurel Gallery, Bakersville, North Carolina, and District Gallery, Park City,
Utah.
You are always welcome to drop by my website and blog at
www.connienorman.com
Ceramics Now | 7
 “Orange”, 2011, Soda firedceramic on painted
wood base, 10” x 4” x 5”
4
CYNTHIA LAHTI
What is your present project, what's its
history and how do you make the pieces?
I am working on several ideas right now:
people wearing disguises, busts of elegant
women, and male/ female couples. These are
all subjects that have always interested me but
that I have never fully explored.
I am also continuing to use some of the
broken piece from my discarded sculptures
that I have saved. This idea started in 2010
with the creation of the Vault Alarm sculpture
that was composed of broken sculptures.
In my current exploration of this idea: I am
experimenting with combining the broken
pieces together to form a new figure. This idea
came from realizing that when I'm destroying
unsuccessful sculptures, body pieces that
remained were often extremely interesting to
me and I could not discard them. I am finally
inspired to see how they look combined
together and I have been very excited by the
results.
In what technique do you usually work and
what materials do you use?
I am focusing on hand-built ceramic
sculptures of human and animal figure(s). I
10 | Ceramics Now
like to use a wide variety of clay bodies, my
favorite being porcelain. I have used all types
of firing techniques to achieve the final surface
treatment on the pieces. I am very excited by
the results I have been getting from cone 10
soda and salt firings and low fire raku.
What is the starting point in your
investigation of figures?
I start by finding images of figures that
intrigue me in older books and magazines.
Then I do drawings, and I create sculptures
our of clay.
My art is influenced by human artifacts from
ancient times to the present, as well as by
my personal experiences and emotions. Like
the varied objects and images I draw on for
inspiration - from 1940s knitting catalogues
and outsider art, to Native American cedar
carvings and Degas' sculptures of dancers
- my artworks force an explanation of reality
and compel viewers to connect to a larger
human experience. There are so many figures
out there in the world, wearing so many poses
and costumes; I find those that resonate with
me, and interpret them in clay. Each sculpture
expresses an intense inner psychological
state, its surface effecting a fluctuating quality,
part beautiful, part grotesque.
SPOTLIGHT
5LIZA RIDDLE
What is your present project and how do you
make the pieces?
I am exploring soluble metal salts on low-fired
porcelain clay, a project I began two years ago
and am just now achieving the effects I desire.
All of my work is hand coiled, then carefully
burnished to a smooth finish. I bisque fire the clay
at earthenware temperatures, paint them with
water soluble metals – iron, nickel, cobalt and
other salts, and fire again at low temperatures.
Do you find working with soluble salts to be
hard?
I have been experimenting with soluble metal
salts for the past two years, a collaboration with
my husband, Mark Goudy, which draws on
the inspirational work of the master of soluble
metals, Arne Åse. Through trial and error, I have
developed my own techniques for applying
these almost transparent, highly sensitive
“watercolors.” The chemicals are toxic and
care must be taken while working with them,
so my experiences working with photography
chemicals and in a scientific laboratory have
been extremely helpful. Although metal salts
are challenging to work with, I love the sense
of anticipation as I wait for a kiln load to finish
firing, the joy of seeing their almost magical
effects. Some results are disappointing, but I
enjoy challenges. Because working with metal
salts requires continual testing, inventing and
learning, I am certain this project will keep me
engaged for quite a long time.
12 | Ceramics Now
Two Closed Forms - 2010, 7” h x 6’w x 5.5”d &
9”w x 4”w x 3.5d. Coil built earthenware, hand
burnished, painted with soluble metal salts,
with protective wax coating.
Where do you get your inspiration for your
pieces and what motivates you?
I seek to create work that evokes a sense of
wonder and mystery, forms that beckon to be
held and admired. I delight in closely observing
and then interpreting natural objects and events
– weathered boulders on a mountain slope, wind
ripples on a gray blue sea, complex designs on
a delicate bird egg – their rhythms, patterns and
forces have greatly inspired my work. I am an
avid traveler and hiker. During my adventures
I have discovered the magnificent pottery of
ancient cultures in the American Southwest,
South America, and Asia, which speak to me in
very profound ways.
Do you remember your early works?
I did my first work in clay during high school
and was excited to experiment with raku firing,
a technique that was just becoming popular at
that time. I enrolled in college as an art major,
but my passion for nature and wilderness soon
led me in another direction – acquiring land to
protect wild areas and create parks throughout
California and the western United States.
My early passion for ceramics was rekindled five
years ago when I participated in a raku firing,
and I have been working in clay ever since.
Because I am a haptic person who responds to
the sensation of touching – it helps me explore
and enjoy my work – I am drawn to processes
that color and pattern the clay without applying
SPOTLIGHT
Carole Epp
They said he had his head in the clouds, but likely
it was just pollution, 2009, Mid-fire clay, engobes,
underglaze, china paints, glass dome, wooden base.
In what techniques do you usually work and what materials do you use?
Since I create more than one line of work, I’m afraid this will be a long
answer! I have for a long time maintained both a sculptural and a functional
line of ceramic objects.
My sculptural work incorporates hand built and slip cast components;
found objects, and constructed objects of various materials (most often
wood). Through hand building and slip-casting the clay form is developed.
I then use underglazes, engobes and China Paints to decorate the work.
My functional line of objects varies in terms of techniques all the time. I
will sometimes throw porcelain, or hand build dark mid temperature clays,
or slipcast forms. This is a process for me in which I aim to simply have
fun, explore technique, and ideally, constantly evolve. I love throwing
with porcelain (Southern Ice in particular). My aesthetic leans towards
more crisp bright white objects with a bit of color added through glaze or
underglazes. Lately I’ve been developing a body of work that is inspired
by my young son. I’ve been stamping and drawing (sgraffito) a lot of cute
imagery on my work. Surprisingly this work has been incredibly rewarding
in that it simply brings joy and smiles to me as I make it, and to those that
use it.
Tell us about your ongoing project, and about it's history. How do you
make the pieces?
My present project is a series of figurative sculptures that reference kitsch
figurines, lowbrow art, DIY culture, and popular/western/consumer culture.
Drawing from very personal narratives the work is an investigation into the
human condition presenting figurative tableaus of death and love, hope
and failure, family and social pressures. The aim of my work is always to
stimulate conversation, thought and action in a pro-active method. I desire
to address issues of political, social, humanitarian concern. Issues are taken
from contemporary media, but addressed through my own personal voice.
I have been working on this type of work for over six years now. There is
always new subject matter to develop, more dialogues to be presented and
discussed, new imagery that floats into my mind. As life changes, this body
of work changes for me.
For this work I use vintage molds, handmade molds formed from found
or hand-built objects; and I also hand build a large amount of each piece.
I work with a cone 6 white clay body (manufactured by Plainsman Clay)
which I can purchase in both plastic and powder form. This way slip-cast
24 | Ceramics Now
and hand-built components can be easily attached without much fear of
difficulties with compatibility. Each piece goes through multiple firings
the top temperature being cone six. Once bisque fired I cover each piece
with a cobalt free black underglaze. I remove the bulk of this so that the
black remains in the cracks and highlights the details of the work. I also
like that this technique darkens the work. It removes the visual aesthetic
from that of the kitsch object and changes the viewer’s expectations of the
work. Sometimes I also use engobes (vitrified underglazes) to cover larger
sections of color as a base coat. Pieces then go through a number of china
paint firings. Each firing builds up layers of color. I enjoy working with
the china paints, as it is a process that allows me to achieve strong and
vibrant colors. There are always some finishing touches with these pieces,
some gluing of components of a sculpture together or the addition of non-
ceramic materials. The work is often displayed on wood bases and shelves
or under glass domes for aesthetic and conceptual reasons.
What was the starting point in your investigation with contemporary
ceramics?
I began this sculptural project years ago as a graduate student. I was
interested in tackling more political/social/humanitarian subject matter in
my work, but had a lot of fear as to how to present such dialogues without
them being overtly confrontational to the viewer. I also wanted to have an
ethical standpoint from which to speak about the issues I chose to address.
I didn’t want to further victimize the individuals that were directly impacted
by the events. So I chose to speak through the mouthpiece of a mass
produced consumer object; one that specifically held kitsch associations
that I wanted to subvert. My initial desire to work with the collectible
reference was in part due to its representation of aspects of childhood and
nostalgia, kitsch and stereotypes, and most importantly – consumption.
To speak of the subject matter that I was inspired to work with - I chose
to work from within my personal context as a consumer. This allowed for
the presentation of the subject matter to include the impact that one has
upon it through simple daily actions. Through bringing the overwhelming
and devastating nature of war, terrorism, poverty, starvation, genetic
technology, and environmental degradation back to a dialogue about the
individual consumer, I felt that I could offer more positive outlooks for pro-
active change in regards to the issues.
In the past I have tackled all sorts of politically charged subject matter,
however recently I have had more of a personal focus to my work in that
I have been working to present dialogues regarding my concerns for my
own child in our world. Becoming a parent brought all of these devastating
events in the world into a new focus. The challenges of being a steward of
FEATURED
ethical and moral behavior through personal action and
the teaching of another generation has brought lots of
new and exciting, albeit challenging subject matter into
the work. It is my hope that through presenting very
personal narratives and perspectives I might present
a more inclusive and universal narrative of the human
condition.
it unlike any other material in my mind. It is part of why I
work in clay. But more important for me is the reference
of material to the incredible history of clay production
and consumption globally.
Where can we find you and your works in the next
future?

What form of exhibiting suits you the best? Tell us
about your past exhibitions or residencies.
I like to challenge myself by looking for different forms
of exhibitions; be it groups or alternative spaces. I’m
interested in how space impacts the presentation/
reading of the work; and also how exhibiting with other
artists can add different levels of meaning to your work
through the various threads of context that run from one
artist’s work to the others.
As for functional work, the best place to find it is either
at one of the galleries that sells it - Mysteria Gallery and
the Stall Gallery - or better yet find me and my work in Her worries were sprouting up like
person at some upcoming fine craft sales – all the details weeds, 2011, Mid-fire clay, engobes,
of when and where will be updated on my website - underglaze, china paints.
www.caroleepp.com

In past exhibitions I have tried to show the work in

different types of galleries, commercial, artist-run, craft
based, etc. I think each space attracts different audiences
with different perspectives and since so much of my
passion is about communication with an audience, I’m
always eager to find and build new audiences for my
work. I also really enjoy working online and sharing the
work in that form. Although sculpture isn’t adequately
presented in a two-dimensional image, showing work
online exposes the work in ways that would otherwise
be impossible. I also try to share the work in progress
online, to give an audience further insight into the work;
it’s process and techniques as well as my thoughts and
ideas that go into each piece.

A specific past residency that was very important

to the development of my work was a residency in
2010 at the Medalta International Artist Residency in
Medicine Hat, Alberta, Canada. It was there that I had
the opportunity to work with a variety of vintage molds
at one of the old factories near the residency site. I
started to think a lot more about the use of these molds
in my practice and have since been engaging with more
dialogues regarding high and low art and contemporary
perspectives on craft practice. It had always been an
underlying theme to my work, but it is now one that I’m
researching and developing to be more in the forefront
of my subject matter.

What did you learn from working with different

materials?

What I have learned is that I’m not the best spokesperson

for a purist approach to ceramics. Having the subject
matter of my work trump the technical process (not that
the technical process is irrelevant) means that I will do
anything necessary in order to present the themes of my
work adequately. I love clay, it’s process, and how it reads
and feeds into my work. But at the end of the day if I
have to paint something, glue something, or even build
something out of a different material so that the subject
matter of the piece comes across, I will do that. I respect
ceramic artists who are so compelled by the material
that they won’t alter their processes for purity’s sake.
Like the woodfirer who studies their kiln, their flame
path, their reduction atmosphere so that they can know
and understand it like the back of their hand. Purity of
material and process is an aspect of ceramics that makes
FEATURED
 Double-Walled Lattice I

You say that drawing is very important for you and

informs your work throughout all stages. How many
sketches do you make before constructing a new piece?

It very much depends on the work. I will always do quick

initial drawings in various scales for note taking and
problem solving purposes. Depending on the piece, I will
draw during the making stage. For example, if I am making
an amalgamated piece such as 'Travelling Through', I may
revisit drawing during it’s making to inform scale and form.
If I feel a form is particularly strong, I will do more involved
drawings, usually with pencil and watercolour, as work
in their own right and give them as much attention and
prominence as the sculptures.

What form of exhibiting suits you the best? Tell us about

your past exhibitions or residencies.

I have exhibited in institutions such as University galleries

and at the Craft and Design Collective’s exhibition space,
which have been fantastic experiences, but I would like the
challenge of responding to a particular space to make and
exhibit site-specific work. Also, it may be interesting to create
a space for my work in an unexpected location. I think that
finding the right space is key to amplify the meaning of the
work. In terms of exhibiting experience, I have participated in
group and two-person shows, so I am ready for the challenge
of a solo show and I hope that will happen soon.

Exhibitions I respond to are quiet but powerful assemblages

of related materials that make different connections, so I
hope to develop exhibitions in this way. For me, work doesn’t
necessarily need to be plinth-based and I like a mix of two
and three-dimensional work.

I interned as an assistant at the International Ceramic

Research Centre, Guldagergaard, Denmark in 2010 where I
treated the experience as an artist’s residency making work
in my spare time. I loved the variety of people and influences
I encountered there, along with the luxurious escape from
routine.

Where do you get your inspiration from and what

motivates you?

In terms of influences I am especially drawn to pure form,

objects such as menhirs or standing stones that are rooted
to their immediate space, but also draw attention to the
space beyond. I like ancient tools and find this language of
ancient craftspeople still relevant. I like to make work that is
multi-referencing and that alludes to the past and present.
I draw inspiration also from lattice and accreted structures,
referencing forms such as industrial turbines, architecture,
geological and ice formations or sea-creatures.

28 | Ceramics Now FEATURED

 What do you want to discover through your works?

We started off with the idea of a chaotic tangle, which led us to look at all
kinds of forms, both from biology and industry. My personal interest was
in power lines. For years, I have looked upward at utility poles, and found
their functional aesthetic inspiring. After undergoing major spinal surgery
in 2009, and looking at x-rays of all the hardware in my back, I began to draw
connections between the aesthetics of my hardware and the power lines.
Both aesthetics were determined by utility and appeared parasitic to their
host forms.

While creating the work, I discovered I was pregnant. I believe this change
in my biology positively affected the work to create an illusion that the work
was alive, and powered by an external energy force. Creating cell-like forms
with illuminated interiors became my focus for the work.

Where can we find you and your works in the next future?

We are currently looking for another site for the work on both east and west
coasts. I have two solo shows in 2012 in Denver, at Ice Cube Gallery and
Hinterland Gallery, where I look to explore the progression of these ideas
and materials further. You can find my work online at
www.icecubegallery.com, and www.katiecaron.com

Please give an advice to young ceramic artists.

My advice to young ceramic artist is two fold: First, make, make, make!
Ceramics is such a challenging material, so practice exploring all the ways
to manipulate the clay is very important. Don’t be afraid to fail or let the work
lead you. Too often ceramic artists try to control the clay, rather then using it
as a guide. Second, explore other materials as well! Do not limit yourself to
just clay, but build confidence with other materials, processes and concepts.
The more interdisciplinary your work becomes the more questions it can
raise.

“A poptosis is a floating swirl of motivated

chaos that inhabits the museum’s
architecture. The cascading mass of
morphing cell-like forms evokes growth
and development, lightness and weight,
and connects biological membranes
with intertwining industrial lines. With
a cacophony of sculptural forms, colors,
textures, cables, utility poles, and lights it
conjures up a tangle of beauty, grotesquerie,
buoyancy, and energy. Our goal is to
create a state of suspended wonder.

36 | Ceramics Now OVERTHROWN

PAUL SACARIDIZ
P aul Sacaridiz, born in 1970, Brooklyn, NY, lives and works
in Madison, WI. He received an MFA (1998) from the
School of the Art Institute of Chicago, and a BFA from Alfred
University (1993).

Since 1997 he has been active in solo exhibitions, collaborative

projects and group shows at a diverse number of venues
including: The Philadelphia Museum of Art, The Madison
Museum of Contemporary Art, the Icheon World Ceramic
Center, Icheon, Korea, The Dubuque Museum of Art (IA), The
Alfedena Gallery, Chicago, The Northern Illinois University
Art Museum and the Ceramic Research Center at Arizona
State University. His work has been the subject of reviews
and articles in Ceramics: Art and Perception, The New Art
Examiner and Art Papers among others. Sacaridiz has been
the recipient of residencies at the Watershed Center for the
Ceramic Arts, The Ragdale Foundation, The Vermont Studio
Center and the Art/Industry Program at Kohler Company.

He is currently an Associate Professor in the Art Department

at the University of Wisconsin-Madison.

46 | Ceramics Now OVERTHROWN

 Tell us about your work exhibited at the Overthrown: Clay Without Limits
exhibition.

An incomplete articulation is a new work designed for the Denver Art Museum. The
piece utilizes the conceptual framework of a schematic diagram to point towards
differing ways of articulating form. Sagging mounds of ceramic extrusions are
situated alongside precise mathematical models and awkward structural forms.
Individual components are physically and conceptually networked together,
creating an elaborate three-dimensional system of mapping that becomes
suggestive of propositional models and utopian systems. The work is comprised of
objects that are intentionally fabricated in a variety of ways, ranging from digitally
rendered and prototyped to more direct, analog processes.

Does your work, An Incomplete Articulation, trying to reach an agreement

between simple/ decorative and geometric/architectural forms?

For a number of years, my work has looked at the visual correlation between domestic
objects, such as decorative food molds, and the actual structures of built architecture.
In many of these works, the approach to abstraction has relied upon decoration and
pattern becoming something structural, rather than simply applied to a surface. An
incomplete articulation follows this approach, but is less metaphorical than past
projects. Ultimately, the piece is a response to considering systems of abstraction
and the seemingly impossible task of understanding something in its entirety.

You have an amazing ability of transforming everyday forms and simple objects
into a complex statement. Isn't it hard? From our experience, keeping it simple
is sometimes the hardest thing.

There is a tipping point in every piece, that place where what you have done is
simply too much. One of the greatest challenges that I set for myself is figuring out
what can be removed before the overall work starts to break down. This results in
a very slow pace of observing and responding to a piece of sculpture. As time has
passed, I am most interested in exploring a sculptural logic that is both pragmatic
and highly allusive at the same time. This relies on a specific balance, which has to
be reevaluated with each project.

What advice can you give to those who look at your works? Should they be
aware of something in particular?

Looking at sculpture should be experiential; the scale of the work and its materiality
are as critical to the overall reading as conceptual concerns. Viewing work should
never be a passive activity and one needs to be engaged in deciphering images and
objects at a multitude of levels. If I have done my job correctly there will be multiple
entry points in any given piece. There are many tropes that allow this to happen,
and they should be taken as such. If an object appears to be beautiful or illogical, it
has the capacity to operate on an emotive or philosophical level. Both are equally
valuable, and afford a jumping off point from which one can look at something from
a position of curiosity, questioning and wonder.

Where can we find you and your works in the near future?

I am on the faculty at the University of Wisconsin-Madison, and will be teaching

a workshop next summer at the Haystack Mountain School of Crafts, in Deer Isle,
Maine. Over the next year I will be working on a project that seeks to explore
the limitations of three-dimensional scanning and the possibility of translating
that information into tangible objects. Scanning is generally successful with
objects that are solid volumes and therefore “readable” as a continuous surface.
My primary interest is in scanning things that are not single surfaces, but rather
conglomerations of multiple layers. Such information may prove challenging, if not
impossible to fully record, resulting in a surface that is technically a failure in terms
of the computers ability to read and render it in a complete mathematical state. I see
this research as being as much a question of physical possibilities and limitations
(of machinery, technology, etc...) as a philosophical investigation into abstraction
and the limitations of understanding something that is perhaps impossible to fully
grasp.

OVERTHROWN Ceramics Now | 47

TANOUE SHINYA CERAMICS
What was the starting point in your investigation with
ceramics? Do you remember your early works?
When I was a Theology student at the Doshisha University, I
was also a member of the ceramic club. I was just absorbed
to make something with clay in the club's room. I worked for
a textile company for two years after graduation, and later
entered Kyoto Saga Art College because I wanted to learn more
throwing techniques. I remember very well the pieces I made
in the college. The ones created in my freshman year are at the
origin of my current series.
The details, lines and curves of your works are very sinuous.
Tell us about how you construct your pieces.
After creating the vessel or sculpture’s shape with coil
techniques, the slip is applied on the surface. Then I groove the
surface with needles, one by one, and at the end, I rub iron into
those grooves.
58 | Ceramics Now
The important theme of my pieces is the shell - egg shells, shells
of fruits or seashells, because they are deeply related to the
natural life circles. The cobalt blue on the pieces represent the
ocean, which is the origin of life on Earth.
The wombs are considered to be the shell of human beings, so
if I could express in my pieces the memory of us leaving the
wombs (leaving behind and for all the feelings of protection and
comfort), it would be wonderful.
You worked as an Associate Professor at Kyoto Saga
University of Arts. How do you relate to teaching?
From 2006 to September 2011, I had been working as a lecturer
at Kyoto Saga Art College, but I am no longer a teacher there. I
am now working as a full-time ceramic artist.
I feel that being a teacher and being an artist are two different
things. I learned that it is easy to teach techniques, but it's very
JAPANESE ARTISTS
 difficult to teach how to express emotions through your pieces. I You have been a very active ceramic artist in the last years,
always advised my students that the valuable ideas might be in with a lot of exhibitions going on. What are your future
your pockets all the time. plans?

How would you characterize the contemporary ceramic art I am planning several solo exhibitions in the near future and I
scene in Japan? have to create many pieces for a new resort hotel which will be
opened in Japan in 2013. I also work on a project in Singapore.
I don’t like to draw a borderline between traditional and I would like people around the world to see my pieces, as I
contemporary ceramics, because it is almost impossible to bundle imagine that through my pieces I am observing them back.
the different perspectives over the definition of contemporary
ceramics. Some artists believe that the contemporary should
be the end of the extended track of tradition and others are
thinking that developing traditional skills is the most important KARA-10: FU-A, 2010, GLAZED CLAY, 7” X 26” X 4 1/2” (H)
thing. The last ones should always keep an eye on the stream
of contemporary crafts and arts in the world. In other words, it
looks like two famous sports in Japan - Sumo and Judo. I always SHELL 11: 10-9, 2010, GLAZED CLAY, 12 1/2” X 13” X 12” (H)
wanted to be on the Judo side, but honestly speaking, I also
emphasize with Sumo.

JAPANESE ARTISTS Ceramics Now | 59

MURATA YOSHIHIKO
SILHOUETTE 05, 2010, MAPLE
WOOD, LACQUER, 7 1/4” X 2

LACQUER ART SILHOUETTE 08, 2010, MAPLE

WOOD, LACQUER, 16” X 3 1/4” X 5 1/4”

ORNAMENTAL CREATURE 07, 2008,

MAPLE WOOD, LACQUER, 4” X 4” X
3/4” EACH

You are a very young and talented artist. What was your first experience very happy if the audience evoke
with art and with lacquer? those memories while looking at my
pieces.
I wasn’t exposed to the artistic environment that much and Japanese
lacquer works were not very familiar to me until I entered the art Living in Kanazawa, a famous
collage. I was interested in design and woodwork demains and entertainment district, exposed
wanted to elaborate the furniture for our daily life when I was you to images of courtesans whose
a teenager. When I was a sophomore student, I chose the extravagant attire and richly
Urushi department for my major, but it was something ornamented hairstyles had captured
uncomfortable for me. At first, I made many chaotic pieces, a little bit of your imagination. Where
however those pieces are supposed to be an origin of my else do you get your inspiration from?
work today.
I have lived in Kanazawa for seven years,
Your works have an extraordinary sense of space and but haven’t seen the real Geisha. However
light, their shadows contrasting with the colors and when I was looking at a book for woodcuts
the surroundings. How do you make these fantastic in the college library, I found the images
lines of dark? It has to do with the slim silhouettes of a Geisha decorated with some gorgeous
of your works. hair ornaments. Those images grabbed my
heart and I immediately decided to make the
I simulate the three dimensional shapes in my Urushi hair ornaments. (Although, if I think
mind... For example, how lines will be flowing or better, I made them four years later.)
how they are placed on the pedestals or attached
on the walls. I believe that only the lines which look What can you tell us about the status of a
beautiful from any angles can make the lithe and young lacquer artist in Japan? Are you a
sharp silhouette. full-time artist?

Talking about Silhouettes, what can you tell us It is hard to live as a full-time lacquer artist.
about this series "whose lines twist and turn, I am working as a part-time teacher in a
swell and fade, like the sounds of a musical middle school and as a conservator for the
instrument"? cultural heritage in my prefecture as well.
I have been working as a lacquer artist for
I use maple wood for my work, especially about ten years, and really appreciated the
because it is flexible and doesn’t snap easily, support of many people. My artist friends
although hard and difficult to carve. invited me to join group exhibitions
I got a lot of inspiration from nature’s creatures. offered me the possibility to introduce
I currently live in Toyama prefecture in Japan myself to galleries, so I truly can’t thank
and it is filled with the beauty of nature and enough to those friends. I also feel that
many birds and animals play around my I could help young artists who are
house. You can encounter snakes, wild cats, struggling.
weasels or frogs every day. Since I was raised
in a farmer's family, the surroundings were Where can we find you and your
not very different, but after seven years works in the next future?
of college life in the city, the nature in
Toyama was just perfect for me. I think I will have a solo exhibition at KEIKO
verybody carries memories or episodes Gallery in April 2012.
with animals of the bottom of their heart,
but we usually don’t focus on those
reminiscences that frequently. I am

60 | Ceramics Now JAPANESE ARTISTS

NIISATO AKIO CERAMICS
You are about to start working as an artist in residence at
the Harvard Ceramic Studio. What do you hope you'll learn
from this experience?
I am very interested in the different perspectives on craft
art, especially ceramics between US and Japan. I feel that
the vessels are more appreciated in Japan rather than US, as
well as the ceramic art itself. I would like to acknowledge the
reasons and I plan to operate research on these issues during
my stay at the Harvard Ceramic Studio. I am looking forward
to meeting new people who will inspire me.
62 | Ceramics Now
BLACK TEA BOWL, 2008,
GLAZED PORCELAIN, 5” X 4 3/4”
The lightness and pureness of your works makes them
unique. Tell us more about the uniqueness of your
creations.
White is a simple color, but it can express the subtle nuance
between sensibility - pureness, and light - shadow.
After I throw the pieces, they are razed as thin as possible, and
then I drill the holes with an electric drill, one by one. After the
firing, I sand the surfaces and I manually apply the glaze into
the holes. Another glaze is applied all over the surface with a
compressor and then the pieces go into the kiln at 2246(F). It
is not so easy to make the smooth surface with a single firing,
because the holes absorb the glaze quite easily, so they need to
be fired two or three times in order to get a good result.
JAPANESE ARTISTS
 INSTALLATION

Ian Thomas In 1975, the year before I was born, my grandfather,

an industrial arts instructor, willed me a collection
of unrelated curiosities. Among these seemingly
unrelated objects were tools, measuring devices,
and jars full of oddities.

As a child, through play, I would create/construct

identities and stories for these bizarre unrelated
objects. The older I got, play shifted to questioning,
and I searched these groupings for meanings, while
trying to understand the disconnected relevance to
myself (or, even, my life, or, who I am).

This innocent comparative analysis of visual objects

to create a dialogue has been a model for my creative
research. A non-linear exploration conflates past
and present, while objects of commonplace import
are imbued with simultaneity, coupling personal
narratives and sociological observations with
a symbolic mythos developed through years of
refinement. Metaphoric and anthropocentric, the
work sorts my declarations, my attempts at personal
and social understanding, and my opinions of the self.

70 | Ceramics Now INSTALLATION

 I a n S h e l l y
1. You are a very prolific artist, with lots of exhibitions, lectures and workshops being held in the last years. How do you find the
time for all of this? Do you also teach?

Thank you for the considering me prolific, that is an adjective that has been used before to describe not only the breadth and
quantity of what I do and what I call “My” art but a diagnosis that I find most properly describes my unyielding need to make. I
don’t know how to make art any other way... never have. I think that the only way to find the time to work “prolifically” is by making
the best out of all the other tasks that you do. Be it exhibiting, lecturing, and teaching workshops. All of these moments and all of
the moments not making provide us with a unique opportunity to think, plan and daydream. I need my time spent talking about
other artists to think of how I am different. I also need my time as a Sunday-afternoon mechanic fixing things around the house to
remind my brain that my hands like moving this way or that. All of this activity then tells my wallet what kind of clay and glaze I
need to use to keep my brain and hands satisfied. My brain still cannot keep up with my hands.
The teaching that I also do is like a buffet. In some ways it provides me with necessary exercises that a growing artist needs
to flourish. It also provides me with a multitude of materials and technologies to further understand the science and dexterity
needed for ceramics. I find one of the most helpful aspects of teaching to be the communication development. When I started in
education, I couldn’t walk a person through making a paper airplane, and now, through all of the practice I can teach all kinds of
different styles of airplanes. Most importantly, I, myself, make a better airplane. This has been very helpful. Inevitably though, if
you do too much, like any buffet, it isn’t healthy.

SUPPLY

74 | Ceramics Now INSTALLATION

 Patrick Colhoun
In what techniques do you usually work
and what materials do you use?
I am self taught and started throwing
on the wheel in the very early days and
quickly progressed to handbuilding,
to experiment with form and shape.
Sometimes I combine the two and start
from a thrown vessel and handbuild
onto it. I work mostly in black clay. I like
the way I can handbuild with it and the
darkness of the body suits the finished
work in terms of texture and the overall
mood of the piece I am trying to convey.
80 | Ceramics Now
The subject of my work can be quite dark
and masculine and so this process suits
what I am trying to achieve. My palette
of glazes is very restricted. I rarely use
bright colour, mostly dark and metallic
finishes.
What is your present project and what’s
its history?
My current work is centered around the
development of a series of partial heads,
which are usually looking downwards in
a brooding, contemplative way. I have
introduced various piercings to the heads.
Because people do not expect to see
these, they add an element of shock and
intrigue to the piece. These pieces are in
some ways a series of self portraits both
in physical terms but also in terms of the
mood they convey, I started making these
after the death of a close family member
and it meant the making of these pieces
became a very therapeutic process. The
pieces are handbuilt by coiling and are
refined as they dry.
NEW ARTISTS

///SHAMAI
//////////////////GIBSH
///////////////
What was the starting point in your
investigation with saggar firing and terra
sigillata painting?
Terra sigillata painting intrigued my imagination
when I was a teenager. At first, I saw Venetian
vases decorated with black and white figures and
later with color painting, as part of the history
and heritage of the eastern Mediterranean board.
Years later, when I was already a ceramic artists,
I researched terra sigillata and the rediscovery
of it in the 20th century, and started to apply it
to my work. I tend not to use glazes in my work,
except for exterior mural work. Thus, the use of
terra sigillata over the last 15 years enabled me
to reach a non shiny and a very appealing color
palate, and when fired within saggar vessels in
the presence of organic materials or smoked
firing, appears to have exiting results. I fire within
a saggar, which is an enclosed clay vessel that
holds the specific organic material, to get the
desired results. Over the years I have used many
forms of organic materials like saw dust, salt
Marché, pine needles, various seeds and fruits.
These days, I mainly use pine needles collected
from two forests; one in the Carmel mountains
and the other one close to my studio.
Tell us more about the process of constructing
your works. Do you make many preparations?
The manual part of my work: wheel throwing,
hand building murals and sculpting occupy a
large part of my time. However, these come after
an idea has been formed following considerable
thoughts, planning and designing. Naturally,
I am influenced by my roots, the immediate
cultural and social environment and by the
86 | Ceramics Now
“STELAE 2011” INSTALLATION, 235X213X55 CM.
STONEWARE, TERRA SIGILLATA, SAGGAR FIRING
exposure to anything that touches us as human
beings. Therefore, yes, it is a lengthy process.
My preference of the use of sagaar firing also
contributes to the prolonged preparatory phase
in my work. Bone-dried vessels, made out of
white stoneware clay, are covered with three
layers of terra sigillata, occasionally decorated
with copper cuttings and bisque fired to cone
06. Metal soluble are also used for decoration,
and the objects are inserted into clay vessels
(saggars) which are just a bit larger than the
fired object, and filled up with organic materials,
mostly pine needles, pretreated with different
oxides. I fire in reduction to around 1000C.
Preparation of murals varies. At times terra
sigilata is applied in different layers on a plaster
board in a reverse pattern, followed by a thin
layer of liquid clay. When in a leather-hard state,
the board is lifted and cut into tiles, bisque fired
and only then saggar fired. In other instances,
tiles are painted with terra sigiillata, applied
with layers of various copper cutting and even
painted with oxides and metal solubles, bisque
fired and saggar fired.
In my sculptural work I use high grog stoneware
and treat similarly to my other work with terra
sigillata and saggar firing.
You tried many techniques and materials - like
saggar fired clay, copper and soluble salts,
organic materials. What did you learn from
working with them?
Though in the beginning of my work with clay
I started using terra sigillata in oxidation, over
CERAMIC
the years I have tried various glazing techniques
but always returned to work with terra sigillata
and saggar firing. I love the end results and
feel connected to its texture and surprising
colorfulness. Some of my worked was Raku fired
and others in various primitive firing techniques.
In addition, about 11 years ago I have started to
fire my work in a soda kiln, during the summers
when I work at the Harvard University Ceramic
program. The results of these soda firings give
yet another dimension of depth and texture to my
work. Overall, I feel that one has to experiment
with different techniques as well as different
firing methods. At a certain point, most of us find
their preferred method and start to perfect it and
adapt it to their own needs. In a way, although
much patience is required, we contribute to
the evolution of older, sometimes ancient,
techniques and apply them in our modern world.
You get your inspiration from the environment
and the nature. Tell us more about Jaffa, the
city you live in.
My studio is located in Jaffa, which is a city along
the eastern Mediterranean shore. It is a very old
city with a known history of over 10,000 years.
Jaffa’s port is still and has been a functioning
port for the last 4000 years. It used to be the
main port for pilgrimage to the Holly Land for
centuries, an important trade cross road and
even an important site in old world legends as
well as in the Jewish and Christian religions. It
is a multicultural city where Christians, Muslims
and Jews live together, and the shrines, temples
and prayer places for all three religions are side
by side. The landscape, the culture and the
colors have an immense influence on my work,
CERAMIC TECHNIQUES
TECHNIQUES
BOTTLES, DIAMETER - 8 TO 14 CM. HEIGHT 12-20 CM.
STONEWARE, GLAZE, SODA FIRING.
which can be detected in my murals, sculptural
work as well as in other ceramic work. I often
walk through the city, through its amazing flee
markets, the sea shore and streets that display
layers upon layers of architecture from Greco-
Roman, Byzantine, Arabic, Crusader, Turkish,
early 20th century and modern styles.
You've worked every summer in the last
decade at the Harvard Ceramic Studio. Do you
remember the first years? Make a comparison
and tell us how did you evolve there year by
year.
My first summer at the Harvard Ceramic
program in Boston was 11 years ago when Ms
Nancy Salvage managed the studio. Nancy was
an excellent inspiration for me; she was always
full of suggestions concerning what I should
do, as well as what I shouldn’t; which master
classes I should attend and in general was very
much attentive to the newbie I was. Meeting
and observing many known ceramic artists in
residence and visiting artists, enabled me to
widen my horizons at an amazing pace. During
the years there were various symposia including
the Islamic symposium. This is where I met
Alan Caiger Smith, who thought me his luster
technique. In 2008 I was invited by the studio
as a visiting artists and gave a lecture about my
large mural commission by the city of Tel-Aviv,
“Voyage through Jaffa”.
Nancy’s retirement, two years ago, passed
the management of the studio to Ms Shawn
Penepinto. Last year, I was invited by Shawn to
talk about my “China experience” after being
CERAMIC TECHNIQUES
invited to participate in the “Tea Pot Biennale“ Lately, we were fortunate to have a new ceramic
in Shanghai. Last August I was invited again center, “The Binyamini ceramic Center” recently
to give a talk about my two trips to Korea: the opened in Tel-Aviv. The venue is dedicated
Celadon Festival” in Gangjin and the Tea Bowl to promote ceramic teaching, and hopefully
festival in Muengjeong, South Korea. will become a tool for the advancement and
development of young artists in Israel.
The Harvard ceramic studio is my second home.
I am very fortunate to be able to investigate, learn, Where can we find you and your works in the
progress and experiment new ideas and venues. near future?
Over the years, I have met some wonderful and
accomplished artists, like Michelle McClure I hope to continue to evolve and participate
and Wayne Furst, who became colleagues and in international exhibitions like I have done
“fellow fanatics” sharing interest in soda firing. in the last few years. I tremendously enjoy
meeting ceramic artists from other countries
How would you characterize the contemporary and exchange ideas and knowledge. I feel very
ceramic art scene in Israel? fortunate and proud that my work is being shown
in our cooperative “Altogether 8” in Jerusalem
The ceramic scene in Israel as well as in museums in
is very active. Although this Israel, China and South
region had a magnificent and Korea, and being sold in
long tradition of pottery and The Israel Museums in
ceramics, there hasn’t been Jerusalem and Tel-Aviv,
continuity between past and and galleries in London
modern ceramics as in other and the US. Recently, I
places in the world. Israel is am drawn to sculptural
a relatively young and small work, which was greatly
country with an impressive influenced by my trips to
number of ceramic artists. the Far East.
The Israeli ceramic It is my conviction that
association is very active, ans we should all teach others
has around 500 members. our techniques and
We have annual meeting, knowledge, and therefore,
exhibitions, biennales, I give workshops a few
workshop meetings and times a year and hope to
invited master class artists. be able to continue to do
We also have one dedicated so in the future.
museum for ceramic art.
Ceramics Now | 87
 MERETE RASMUSSEN_PROFILE
I work with abstract sculptural form. I am interested in the idea of one continuous
surface, with one connected edge or line running through the whole form. Clear,
clean shapes; soft smooth curves in contrast to sharp edges; concave and convex
surfaces; the discovery and strength of an inner/negative space - these are all
form expressions that appeal to me and results in my continuous exploration and
expression in many different variations.

My sculptures are either asymmetrical or with a repetition of form:

- Asymmetrical where I mainly work with the idea of continuous surface. The form
has only one side and one edge connected throughout the shape.
- Repetition of form with three symmetrical parts that are connected; three being
both a strong number and a balanced repetition of form. The negative space - the
shape of the space in between, is equally important.

My work is hand built in coiling technique. Stoneware is my chosen material

for its qualities - I like to challenge the material and my own skills by building
complicated shapes; fragile in the building, drying and firing process which upon
firing attain the strength to be handled and positioned without support.

I often get an idea for a new form while working on another. I also find my
inspiration in form I see in nature as well as architecture and design; clean curves,
sparse decoration, simplicity. To emphasize the form I use a matt surface and
monochrome colours.

I was born in Denmark but grew up in Sweden. I returned to Denmark to study at

Design School Kolding in 2000, and moved to London in 2005 after graduating. I
have since then predominately worked with sculptural forms.

94 | Ceramics Now PROFILES

EXTRA!
ADVICES FOR YOUNG CERAMIC ARTISTS

Well, I know that the field of ceramics comes with lots of rules and traditions. I think it is exciting to see what happens when rules are
broken and traditions, challenged.
Roxanne Jackson

My advice to young artists is to find a way to keep making the work. Just make the work any way you can, and try to show it as much
as possible. Get it out there. Keep growing as an aritst by contiuing to work, learn, explore and find ways to nurture and sustain your
source of inspiration whatever that may be.
Carol Gouthro

Never let go of your dreams. For years I dreamed of devoting my time to art, but spent most of my career in other professions – I was a
park ranger, a director for a conservation organization, a lab technician. I explored photography as my artistic expression, I traveled
around the world. Now that I have returned to ceramics, I find my past experiences influence my artistic sense, my way of seeing, and I
now draw on a unique set of skills that have proven invaluable to my current work as a ceramic artist.
Liza Riddle

Follow your bliss! as Joseph Campbell said. It’s quite likely to lead you through a satisfying life.
But also, balance this out by acquiring a few additional money-making skills! From what I can tell, those who make a decent living as a
full-time ceramic artist are few and far between.
Mark Goudy

Create your own visual language!

Do a lot of research, concentrate, and focus on what you are doing. Avoid editing away ideas too early.
Simcha Even-Chen

Knowing yourself first will lead to your goal.

Chang Hyun Bang

Establish an internet presence. This could be from creating your own website (or ask nicely to someone who knows how!) creating a blog
or something else which spreads your name and work around. Marketing your work in a professional manner is paramount.
It can be very difficult to make your complete living from being an artist. Be realistic and be prepared to work full-time/part-time
somewhere in order to make some money. You can still make your work and spread your name around on a part time basis until you
are fortunate enough to earn your full salary from your work.
Shane Porter

Let the work come from your gut, not so much from your head. I feel art is another language, not one of words and ideas, but a visual
language that speaks to your senses. Also, make what you want to make, not what you think you should make.
Jim Kraft

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102 | Ceramics Now EXTRA!

calendar 2 0 1 2
CERAMIC ART COMPETITIONS, AWARDS AND FAIRS IN 2012

International Cup 2012 4th Contemporary Clay Biennial 2012 Arts in Action
3 February – 24 February, 2012 18 May – 23 June, 2012 19 – 22 July, 2012
Missoula, Montana, USA Western Colorado, USA Oxfordshire, UK
Entry Deadline: 18 November 2011 Entry deadline: January 18 2012 www.artinaction.org.uk
www.theclaystudioofmissoula.org www.gjartcenter.org/call_for_entries.html
30th International Ceramics Fair Oldenburg
Ceramic Art London 2012 Ceramics Biennial of Andenne 2012 4 – 5 August 2012
The Leading Fair for Contemporary Ceramics 27 May – 3 June, 2012 Oldenburg, GERMANY
24 February - 26 February, 2012 Andenne, BELGIUM Entry Deadline: 14 January 2012
London, UK www.biennaledelaceramique.be/en www.werkschule.de
www.ceramics.org.uk
The Contemporary Craft Fair IV International Festival of Postmodern
Emerging Artists 2012 15 – 17 June, 2012 Ceramics
11 April – 5 May, 2012 Bovey Tracey, Devon, UK 25 August – 31 October, 2012
Hudson, New York, USA www.craftsatboveytracey.co.uk Varazdin, CROATIA
Entry Deadline: 30 November 2011 Entry Deadline: 31 March 2012
www.slowart.com/prospectus/ea2012.htm 2012 Taiwan Ceramics Biennale www.kerameikon.com
30 June – 4 November, 2012
SOFA Expo, New York 2012 Yingge, TAIWAN Paperclay - Firing Fibres II - International
20 – 23 April, 2012 http://competition.ceramics.tpc.gov.tw Ceramic Symposium
New York, USA 6 September – 27 September, 2012
www.sofaexpo.com III Moscow International Biennale for Young Kecskemét, HUNGARY
Art “Qui Vive?” www.icshu.org/ics.html
Feats of Clay XXV July – August, 2012
Lincoln Arts & Culture Foundation Moscow, RUSSIA 2012 Sidney Myer Fund Australian Ceramic
28 April – 27 May, 2012 Entry Deadline: 15 December 2011 Award
California, Lincoln, USA www.youngart.ru 20 September - 18 November ,2012
Entry Deadline: February 3, 2012 Shepparton, AUSTRALIA
www.lincolnarts.org XXII International Biennial of Artistic Entry Deadline: 1 February 2012
Ceramics www.sheppartonartmuseum.com.au/
IV International Ceramics Biennale of Contemporary Creation and Ceramic exhibitionprogram/smfacaa/
Marratxi 2012 July – November, 2012
12 - 20 May, 2012 Vallauris, FRANCE 100% Design
Marratxi, SPAIN Entry Deadline: 30 December 2011 20 - 23 September, 2012
Entry Deadline: 2 December 2011 www.vallauris-golfe-juan.fr Earls Court, London, UK
www.bicma.es www.100percentdesign.co.uk
Art in Clay Festival
2nd International Ceramic Triennial 6 - 8 July, 2012 2012 Australian Ceramics Triennale –
UNICUM 2012 Hatfield, Hertfordshire, UK Subversive Clay
15 May - 30 September, 2012 www.hatfield.artinclay.co.uk 28 September - 1 October, 2012
Maribor, SLOVENIA Adelaide, AUSTRALIA
www.unicum.si www.australianceramicstriennale.com

Ceramics Now | 103

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WWW.CERAMICSNOW.ORG/EXHIBITION

DEC 9 - JAN 6 2011 2012

THE PAINTBRUSH FACTORY

C L U J - N A P O C A , R O M A N I A
HENRI BARBUSSE 59-61

Opening reception: 18.00, Dec 9

first edition

CERAMICS NOW EXHIBITION

ROXANNE JACKSON, CAROLE EPP, CLAIRE MUCKIAN, CYNTHIA LAHTI, LIZA RIDDLE
SIMCHA EVEN-CHEN, CONNIE NORMAN, ANTONELLA CIMATTI, MARGRIETA JELTEMA, JIM KRAFT
SHAMAI GIBSH, MARK GOUDY, PATRICK COLHOUN, CHANG HYUN BANG, MACIEJ KASPERSKI
104 | Ceramics Now