Bailey Pottery

It’s spring but it’s hard to know what to do some days in these times of COVID-19. With social distancing and the complete disruption of our work and play schedules, some days are just plain difficult. Here in our local community, we have found ways to take care of each other and to make sure people at risk are getting what they need while confined to their houses. We've included links to resources.

“That was the nice thing about clay,” he said. “If you didn’t like the way something really was, you could always fix it up,”

The exuberant, playful work of David James Gilhooly made him an international sensation in the late 60s through the early 80s. His whimsical ceramic creations began with animals, including zebras and anteaters, and then there were frogs, lots and lots of frogs.

"I love that working with clay is a metaphor for life and involves important life skills such as patience and being “centered”. I’ve learned and re-learned these lessons and sure enough, pretty much every time I try to force something or move too quickly to the next part of the process, the results are not satisfying."

Born into a long lineage of accomplished, traditional pueblo potters in 1970, Cavan Gonzales has added his unique 21st-century interpretation. He has been a leader in the revival of San Idelfonso polychrome pottery. This technique involves the application of three or more layers of colored slip to create designs. Cavan's fine graphic arts skills have been applied to creating new designs inspired not only from the past but also the present by adding elements of technology such as solar energy.

"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.

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.

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.

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.