"I find the frustrating part with ceramics is also the exhilarating part. All could be lost in the kiln if a glaze doesn’t work out, or if something was too wet or too dry. It doesn’t happen often but it is also the addicting part — that moment of opening the kiln is like Christmas morning! Did all my hard work pay off? Did something exciting happen that I wasn’t expecting?
“This technique provides a wide range of bright, sharp colors. More importantly, I feel the majolica technique best allows me to convey the kind of attitude or feeling I want my pottery to invoke – that is one of lightheartedness.”
Stanley Mace Andersen’s functional earthenware tableware certainly achieves his goal. The exuberance of his flowing brushstrokes creates a rush of good feelings, like a walk through a meadow on a perfect summer day.
Bringing movement to the traditional forms of pottery has always been on James Lawton’s mind. Early work has floating furniture, falling pots, and clothing flying by as if inhabited by the Invisible Man. In many pieces, there are several constructed forms coming together to make a flowing, cohesive statement, while always maintaining the utilitarian functionality of his vessels, teapots, vases, and flasks.
Tania Rustage's photos on Instagram @taniarustageceramics capture the charm of her whimsical ceramics with attitude. Tania uses commercial glazes, underglazes, and stains; sponging, brushing, dipping or spraying them to get the effects she wants. She generously shares before and after pictures of the glazing process on Instagram.
Kiki Smith Visits Bailey Pottery and Kingston's Midtown Arts District with Her Columbia University Graduate Students
On Friday, March 8, 2019, artist Kiki Smith and her Columbia University graduate students toured four arts-related businesses in the Kingston Midtown Arts District.
In England, where Richard Batterham was born in 1936, he is considered the leading living maker of domestic stoneware. It’s a reputation that has been made by a life spent diligently working with discipline and talent to perfect his functional forms and lovely muted glazes.
Interested in craft and design from a young age, Richard studied at the Bryanston School. He was taught pottery by Donald Potter who had worked with Eric Gill and Michael Cardew. After his National Service, he apprenticed with Bernard Leach at St. Ives for two years. He married Dinah Dunn in 1959, and they set up housekeeping in Durweston, Dorset.
Fifteen years after graduating from High School, Tom Guell returned to the pottery wheel that he had loved so much during a senior year Independent Study in Pottery. He tells us about his journey juggling a full-time job as a union ironworker, a young family, and aspiring potter in rural Wisconsin.