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2 january 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2019 3 “I've relied on my Tucker’s Cone Art Kiln MONTHLY since 1995 for an even firing and Executive Director Mark J. Mecklenborg Publisher Bill Janeri Editorial dependability...It's a work horse that has [email protected] telephone: 614-794-5869 paid for itself over and over again!” fax: 614-891-8960 editor Jessica Knapp - Joan Bruneau associate editor Holly Goring editorial coordinator Katie Sleyman editorial assistant Kaitlynne Phillips editorial support Emily Arbogast technical editor Dave Finkelnburg Advertising/Classifieds [email protected] telephone: 614-794-5834 fax: 614-891-8960 classifi[email protected] telephone: 614-794-5826 national sales director Mona Thiel advertising services Pam Wilson Marketing telephone: 614-794-5809 audience development manager Sandy Moening Subscriptions/Circulation customer service: 800-342-3594 [email protected] Design/Production production artist Kerry Burgdorfer design Boismier John Design senior graphic designer Melissa Bury Editorial and advertising offices 550 Polaris Pkwy., Suite 510 Westerville, Ohio 43082 Editorial Advisory Board Scott Bennett; Sculptor, Birmingham, Alabama Meira Mathison; Director, Metchosin Art School, Canada Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Michael Strand; Fargo, North Dakota Susan York; Santa Fe, New Mexico

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 550 Polaris Pkwy., Suite 510, Westerville, Ohio 43082; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. GST#:RT0001; BN: 12399 4618. Opinions expressed are those of the contributors and do Sole proprietor of Nova Terra Cotta not necessarily represent those of the editors or The American Ceramic Society. in Nova Scotia, Canada, The publisher makes no claim as to the food safety of pub- Joan Bruneau is part time faculty at lished glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate NSCAD, and has taught at Emily Carr recommended safety measures, according to toxicity ratings. University. Her work can be found in subscription rates: One year $34.99, two years $63.94, galleries across North America, as well three years $89.91. Canada: One year $49, two years $89, three years $130. [plus applicable GST and PST] International: One year as in Jingdezhen, China. Joan was a $60, two years $99, three years $145. demonstrating artist at NCECA 2017. back issues: When available, back issues are $7.50 each, plus Joan Bruneau $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and Joan counts on Cone Art, joanbruneau.com . $9 for shipping outside North America. Allow 4–6 weeks for delivery. how about you? change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address No other kiln can match the “The to: Ceramics Monthly, PO Box 8556, Big Sandy TX 75755-9799 features & benefits of a Tucker’s insulated contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. Cone Art Kiln. walls ensure indexing: Visit the Ceramics Monthly website at slow cooling www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, for the juicy daai (design and applied arts index). copies: Authorization to photocopy items for internal glaze surfaces or personal use beyond the limits of Sections 107 or 108 of that are a big part the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee of my aesthetic. I've is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; 978-750-8400; earned my livelihood with this kiln www.copyright.com. Prior to photocopying items for classroom bisqueing and glaze firing for over 23 use, please contact Copyright Clearance Center, Inc. Tucker's Cone Art Kilns This consent does not extend to copying items for general Tel: 905.889.7705 | 800.304.6185 years and have done zero distribution, or for advertising or promotional purposes, or to maintenance or repairs. It still has the republishing items in whole or in part in any work in any format. [email protected] Please direct republication or special copying permission requests original elements and switches!” - to the Publisher, The American Ceramic Society, 550 Polaris Pkwy., www.coneartkilns.com Suite 510, Westerville, Ohio 43082, USA. Joan Bruneau postmaster: Send address changes to Ceramics Monthly, PO Box 8556, Big Sandy TX 75755-9799. Form 3579 requested. Copyright © 2019, The American Ceramic Society. All rights reserved. Cone Art Kilns @Cone.Art.Kilns #CountOnConeArt www.ceramicsmonthly.org

4 january 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2019 5 contentsjanuary 2019 volume 67, number 1

editorial

8 From the Editor Jessica Knapp quick tip

10 Sponges Forever by Jared Zehmer exposure 12 Images from Current and Upcoming Exhibitions reviews 46 New Forms, New Voices: Contemporary Japanese Ceramics reviewed by Elizabeth Kozlowski An exhibition at the New Orleans of Art displayed contemporary and historical Japanese ceramics from the Gitter-Yelen .

50 Ceramics from Rankin Inlet reviewed by Heidi McKenzie The Art Gallery of Burlington exhibited contemporary ceramics from Rankin Inlet, Canada, showcasing figurative sculptures that tell stories in the round. techno file

58 Rapid Bisque Firing by Larry Camm Most beginning potters pay little attention to bisque firings until they experience an explosion. More often than not, glaze blemishes can be traced directly to improper bisque firings. Taking a cue from industry, we can learn better bisque firing techniques. tips and tools

62 Knockdown Cup Display Shelves by Madeleine Coomey Are you on the pottery show circuit? Or just want to show off some pots? Try these plans for simple, collapsible shelves. resources 66 Residencies and Fellowships Need some seriously focused studio time? Need a creative jump start? Need a place to work and make connections? Need a change of scenery? Apply for a residency! 77 Call for Entries Information on submitting work for exhibitions, fairs, and festivals. 78 Classifieds Looking to buy? Looking to sell? Look no further. 79 Index to Advertisers 12 spotlight 80 Finding an Artistic Voice Ronnie and Peggy Avants share the benefits of creating with clay for adult students at The Caddo Kiowa Technical Center in western Oklahoma.

6 january 2019 www.ceramicsmonthly.org clay culture

16 Sonoma Ash Project by Gregory Roberts This ceramic artist fostered healing within a community devastated by the 2017 Tubbs Fire by incorporating the ash of lost homes into the glaze on symbolic vessels.

20 Nurturing Community by Julie Wilson Stemming from one artist’s desire to mentor and reconnect, The Village Potters Clay Center offers a supportive and knowledgable community studio environment for artists to develop their skills and find their perspective in clay. studio visit 24 Kristine Poole, Santa Fe, New Mexico Built to suit the active practices of two artists, this home and studio features walls of windows that allow the surrounding mountains and landscape to serve as the backdrop for sculpting, researching, and running a business. features

28 Practice and Problem Finding by A. Blair Clemo In order to progress, A. Blair Clemo actively seeks out problems in his work. While this may seem counterintuitive, Clemo demonstrates how addressing the right problems can focus your creative exploration and lead to growth.

32 Neil Forrest: Ships and Voids by Glen R. Brown References to Norwegian ships, nautical equipment, and architecture abound in Neil Forrest’s recent sculptures. The pieces combine his interest in scale models, Canada and Norway’s interwoven history, cultural struggles, and current events. 36 Adrian King: The Potter’s Apprentice Comes of Age by Andrew Buck, EdD After receiving a BFA in ceramics and completing an apprenticeship with Mark Hewitt, Adrian King has set up shop in Portland, Maine. His philosophy for making and marketing pots that showcase his individual interpretation of traditional Japanese and American folk-pottery is simple and low key: be present and be pleasant. monthly method Warm Throwing

42 Becoming Grandma and Graduate by Kimberly Chapman Kimberly Chapman shares her experience of going back to school and becoming a ceramic artist later in life, hoping to encourage others in mid life or later to pursue an art degree.

53 Paper to Pots: Decorating by Teresa Pietsch Intimidated by the blank surface of your wheel-thrown or handbuilt pots? Don’t fancy yourself as an illustrator? Teresa Pietsch teaches readers how to transfer images and layer and glazes to create depth in beautiful surfaces. recipes

64 Versatile Slips and Glazes by Adrian King and Teresa Pietsch

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cover: A. Blair Clemo’s mugs, press-molded , slip-cast inclusions, fired to cone 6 in reduction, 2018.

www.ceramicsmonthly.org january 2019 7 from the editor respond to [email protected]

As I write this, California is in the grips of several devas- tating wild fires, including the Camp Fire, which is now the worst in the state’s history. Many lives have been lost, homes and businesses have been destroyed, and the land- scape has been decimated and scarred. Survivors, many having endured harrowing escapes, are struggling to meet their basic needs and find a way forward toward recovery. In times like this, it is important for everyone who is able to help in whatever capacity they can: fundraising and making donations; volunteering time, skilled labor, and supplies; and helping people to process their grief and loss. It can be easy to think that what we do as artists on an individual scale doesn’t make a difference or help those suffering after a disaster. When I found my thoughts veering this way as I read the worsening news about the fires, I reminded myself of Gregory Roberts’ Sonoma Ash Project—which I learned about earlier this year, and which he discusses in this issue—as an example of how artists can, indeed, help individuals and a community cope with losses like this. Roberts created the project in the aftermath of the Gregory Roberts’ Sonoma Ash Project installed at the Museum of Sonoma County, California 2017 Tubbs Fire that destroyed swaths of Napa, Sonoma, (wood display by 180 Studios, Santa Rosa, CA), 2018. The project included 130 porcelain vessels with lids that incorporated ash donated by residents from homes lost in the Tubbs and Lake Counties in California, including sections of the Fire. In the foreground, a tablet displays an area affected by the fire, with markers indicating city of Santa Rosa, where he lives. He invited residents of the locations of participants’ former homes. Courtesy of the Museum of Sonoma County. the surrounding areas to share ashes collected from their destroyed homes with him. He then cataloged, sifted, and incorpo- expectations that A. Blair Clemo uses extensively in his own studio rated each home’s ash into the glaze on a porcelain jar made for the and teaching practices. resident who once lived there. The lidded jars’ design is based on a The thread of artists finding ways to stoke their creativity and historic round barn that was also lost in the fire. The jars are meant that of their communities continues throughout this issue. Strate- to serve as a shared commemoration and acknowledgement of what gies include setting parameters to work within as well as mining past was lost, meaningful objects created out of what the fire left behind, experiences and the powerful pull of nostalgia, as Neil Forrest and and conduits connecting a now dispersed community through orga- Kimberly Chapman do. For artists still developing their own style, nized events where all who were affected and interested could gather. reflecting on what they want to accomplish as a way to move beyond The Sonoma Ash Project took shape while Roberts was processing experimentation toward making work with intention has proven his own emotions and thinking about the way that fire renders order effective for the potters studying in the Advanced Studies Program into disorder. He asked himself whether, and how, the sensation of at The Village Potters Clay Center. For adult students new to clay, loss could be mitigated in service of recovery. His solution to this the freedom to explore the material’s potential leads to active hands, problem was working with participants to transform the disordered minds, and community, as discussed by Ronnie and Peggy Avants in remnants of a destructive event into creative objects infused with this issue’s Spotlight. memory and hope. Read on to find out what these artists discovered when they asked “What if . . . ?” and to find inspiration for expanding your Cultivating Creativity own creative possibilities. What you discover may reinvigorate your Roberts’ response, finding probing questions to ask himself, then com- practice and potentially help others at the same time. ing up with possible solutions, is a skill artists use widely to cultivate creativity, which is the focus of this issue. A similar question-focused method can also be found in provotyping and problem finding, a discovery process meant to provoke questions to help challenge

8 january 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2019 9 quick tip

Sponges Forever by Jared Zehmer A handy and economical tip I’ve picked up from my community of potters is how to have a nearly endless supply of inexpensive 1 2 throwing sponges. Simply cut up an Armaly ProPlus polyurethane sponge—the large, yellow kind found in a hardware store’s grout and flooring aisle. They’re made of a durable fiber that lasts a surprisingly long time. One sponge, which costs around $2.50 (a contractor pack of 6 costs $12.50), can be cut down to make 12 small throwing sponges ($0.17 each). The easiest way to cut them is to use a sharp chef’s knife; however, a box cutter or scissors will also work. Using a Sharpie, trace cutting lines onto the sponge, dividing the face into sixths, then mark a horizontal line around the side of the sponge. The first cuts should 3 4 be into the face of the sponge to cut out six pieces (1), then each piece can be tilted up to cut it in half horizontally (2). You will end up with 4 square sponges and 8 with one rounded As an extra bonus, it’s simple to make your own sponge on a stick corner (3). I like having sponges with 90° angles, which can be used using a wooden dowel, a rubber band, and one of your new sponges. to get into hard-to-reach places for cleaning and drying. It’s easy to Hold one corner of a sponge across the tip of a dowel and repeatedly round off the corners if you prefer round sponges. loop the rubber band around the sponge’s base (4).

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www.baileypottery.com www.ceramicsmonthly.org january 2019 11 exposure for complete calendar listings see www.ceramicsmonthly.org

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1 Robbie Heidinger’s Indian Hollow Botanical, 15 in. (38 cm) in height, . 2 Mimi Logothetis’ Override, 20 in. (51 cm) in height, handbuilt porcelain. 3 Rebecca Zweibel’s Clarity, 12 in. (31 cm) in width, , slip, terra sigillata, wax. “Craft Forms 2018,” at Wayne Art Center (www.wayneart.org) in Wayne, Pennsylvania, through January 26. 4 Futamura Yoshimi’s 2 Rebirth, 26 in. (66 cm) in height, stoneware, porcelain slip, 2017. 5 Kaneta Masanao’s sculpted vessel with hagi glaze, 15 in. (38 cm) in height, stoneware, glaze, 2006. 4, 5 Photos: Richard Goodbody. “Five Elements: Gogyō/Five Japanese Masters of the Art of Clay,” presented by Joan B Mirviss LTD at The Winter Show at the Park Avenue Armory (www.mirviss.com) in New York, New York, through January 27.

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4 Annette Corcoran’s Great Egret (Teapot), 10 in. (25 cm) in width, glazed porcelain, 1989. 5 Ruth Duckworth’s untitled, 141/2 in. (37 cm) in height, glazed stoneware, 1999. 6 Philip Cornelius’ Grayback (teapot), 81/2 in. (22 cm) in height, glazed porcelain, 1981. 7 Richard DeVore’s R 384-1983, 13 in. (33 cm) in height, glazed stoneware, 1983. 8 Stephen Dixon’s The Choice of Hercules, 151/2 in. (39 cm) in height, glazed earthenware, 1998. 9 Betty Woodman’s Minoan Pillow Pitcher (BW24-80), 18 in. (46 cm) in width, glazed earthenware, 1980. 4–9 Photos: Jon Bolton. “Honoring Karen Johnson Boyd: Contemporary Clay,” at Racine Art Museum (www.ramart.org) in Racine, Wisconsin, through January 20. 6 7

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1 Jennifer Ling Datchuk’s Basic Bitch, print: 4 ft. (1.2 m) in length, rings: slip-cast porcelain, blue and white nails, 2017. Photo: Ansen Seale. 2 Horacio Casillas’ Community Well, 5 ft. (1.5 m) in diameter, ceramic, 2018. 3 Ron Geibel’s Experimenting with Couples, 51/2 in. (14 cm) in height, porcelain, 2017. “CraftTexas 2018,” at Houston Center for Contemporary Craft (www.crafthouston.org) in Houston, Texas, through January 6. 4 Ramiro Diaz’ Re-birth, 9 in. (23 cm) in width, earthenware, 2018. 5 Vincent Burke’s Unit A, 6 in. (15 cm) in height, cone 6 slip-cast clay, , 2018. 6 Carolina Alamilla’s Connecting Clouds . . ., 6 in. (15 cm) in diameter, slip-cast clay, wire, silicone, acrylic paint, string, vinyl, 2018. 7 Tom Vician’s Fowl Play, 25 in. (64 cm) in height, ceramics, 2018. “Casting Call,” at Clay Center of New Orleans (www.nolaclay.org) in New Orleans, Louisiana, through January 26. 8 Mindy Horn’s Narrative, 36 in. (91 cm) in diameter, porcelain, mounted to painted wood panel, 2018. Photo: John Robson. “Mindy Horn and Kiyoshi Otsuka,” at KMA Spot Gallery (www.katonahmuseum.org/artist-association) in Katonah, New York, through January 27. 9 Mizuyo 7 Yamashita’s core vases, to 93/4 in. (25 cm) in height, ceramics. “Beyond Form,” at Flow Gallery (www.flowgallery.co.uk) in London, England, through January 12.

14 january 2019 www.ceramicsmonthly.org Bailey has redefined the standards for excellence in electric kiln design. Not just by a little, but by a lot. Features: Shatter Proof Element Holders Emissivity Energy Efficient Coatings Built in UV Eye Protection Massive Long Life Elements Bailey Quick-Fix Brick System Bailey Quick-Change Element Holders Easy Fit Shelf Design Adjustable Door Seals 6” Compressed Fiber Roof System Stainless Steel Brick Edge Protectors Bailey Efficiency-Plus Radiant Heat Pattern Ventilated Exterior Frame Ventilated Spy Port Ventilated Door Seal Ventilated Interior Chamber

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Professionals Know www.baileypottery.com (800) 431-6067 Direct: (845) 339-3721 the Difference. Fax: (845) 339-5530 www.ceramicsmonthly.org january 2019 15 CLAY CULTURE sonoma ash project by Gregory Roberts

When the Tubbs Fire decimated his community in 2017, Gregory Roberts developed a project that used his skills as a ceramic artist to help survivors of the fire cope with their loss.

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1 Cataloging and processing the ash that had been left on Gregory Roberts’ porch by people who lost their homes in the Tubbs Fire, 2017.

The ash reminded me of the first snow flurries of late fall outside my ing people heal. This first attempt involved the university, but after childhood kitchen window in New England, a signal that change careful consideration and advisement, it was deemed too risky for was imminent. However, this change was not seasonal. Homes went the institution to take on. Agreeing with the university’s decision, up in flames. The loss of a family’s kitchen is the loss of its space to the project, which I named the Sonoma Ash Project, returned to cook, bicker about doing the dishes, make a mess, and clean it up. my home in Santa Rosa, California. Without these spaces, we can drift into a dark vacuum where a sense of community fractures and dissolves. The fear of lost memory was Hope for Closure and Reconnection bitter in the thick air last October during the Tubbs Fire of 2017. The Sonoma Ash Project is a profoundly intimate experience for By 10 AM on the second day of the Tubbs Fire, preparing by the participants and myself because the individuals involved need raking debris and jury-rigging a DIY sprinkler system on the roof of something that institutions can’t offer—the hope of closure and re- my house was done, and the university where I teach, Sonoma State connection. Participants would go to their property to gather ashes. University, was closed for the fourth time in its history. Rumors of Finding their way using the map of their charred home’s foundation, colleagues losing homes, including our university president, were they would pick up the ashes that were once bookcases that held a beginning to filter through the phone tree. The disorder of entropy father’s naval journals or a bedroom where a child had grown up. is a universal constant that can be sped up by heat. To arrest these The ashes—collected in plastic bags, Tupperware, and Mason thoughts, I wondered, if entropy is demonstrated to willing people jars—were driven to my house and dropped off on my front porch who lost their homes in the fire, could the sensation of loss be miti- in a bin marked “Sonoma Ash Project.” Each day when I would gated in service of recovery? come home from work, I collected them and brought the samples On the 12th day of the Tubbs Fire, I put out my first call for inside to be entered into a database. Hurried notes would sometimes ashes from homes lost in the fire to use in a project aimed at help- be attached to the containers of ash telling me about the 40 years a

16 january 2019 www.ceramicsmonthly.org couple had spent in the home that was now gone. By November, 95 ash samples were delivered. In December 2017, a deadline was suggested and ignored by the community. To date, 150 ash samples have been dropped off, with the most recent arriving in September 2018. I decided to incorporate the ash into the glazing of vessels I made for each participant. Wood ash drifts onto clay pots during a wood firing, melting the silica on the surface. The two elements flow into one another, combining to create glass, transforming into a new material. 2 The process speaks to the experiences of the people displaced by the fire. New homes are raised on old plots of land for some families, while others move to new parts of the county, and some still can’t decide what to do. The Inspiration The vessels are based on the Fountaingrove Round Barn, which was chosen for its iconic place in Santa Rosa’s collective mind and itself was destroyed in the Tubbs Fire. Built in 1899, the Round Barn was designed by and dedicated to Kanaye Nagasawa, and built by contractor John Clark Lindsay, later becoming a landmark. Nagasawa experienced displacement throughout his life. At age 13, he was one of 15 Samurai Satsuma students smuggled out of Japan and sent to the UK in 1863 to learn Western customs, technology, and systems. He was the 3 first Japanese student at Cornell University, and the first Japanese national to live permanently in the US. He migrated west and lived in the Santa Rosa utopian community of Fountaingrove, which was started by the Brotherhood of the New Life. He was integral to the property for the rest of his life, but as a result of the Chinese Exclusion Act of 1882 and the 1913 Anti-Alien Law, he could not own property in California or pass on his life’s work on to his heirs. In 1982, Ronald Reagan acknowledged his legacy in a Presidential Address. Nagasawa’s ashes now

Steps to create the lidded vessels for the Sonoma Ash Project:

1. Wheel throw the base vessel using 6 pounds of porcelain. 4 2. Throw the lid on the wheel using 3½ to 4 pounds of porcelain. 3. Bisque fire the vessel to 1950°F (1066°C). 4. Prepare glaze for 130 participants’ vessels: mix 40,000-gram batch each of cone 10 oxblood and glazes. 5. Wash bisque-fired vessels and lids to remove dust. 6. In a separate large bowl, dilute some of the oxblood glaze by 25% with water. 7. Measure 50 ml of the diluted oxblood glaze into a clean mixing cup. 8. Add 2½ tablespoons of ash to the glaze and mix until smooth. 9. Using a round form (like a biscuit or cookie cutter) to maintain its shape, pour some of the glaze and ash mixture into the middle of the vessel. Allow the water to seep in for one minute and remove the form (this should create a ¼-inch-thick patty). 10. When the patty is completely dry, pour undiluted oxblood glaze into the inside, then dip the outside of the vessel into 5 the same glaze. 11. Glaze the lid separately with tenmoku. 2 Cataloged ash samples, 2018. 3 Processing the ash samples. 4 Volunteer labeling vessel with ID number and 12. Fire to 2350°F (1288°C) in a reduction atmosphere, then allow address of lost home, 2018. 5 Making ash patties; ash the kiln to cool for 72 hours. samples are mixed with 50 ml of diluted glaze and formed into patties inside of each vessel. Glaze is then applied to the inside and outside of the vessels.

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rest in his home town and Santa Rosa’s sister city, Kagoshima, Japan. From Samurai 8 to being well known as “The Wine King of California,” Nagasawa’s legacy is strong in Santa Rosa. In 2007, a 33-acre park was named in his honor. The Process to the Opening The Sonoma Ash Project held a dinner for participants in June 2018 and open houses through the summer months. Volunteer days (to help with organizing ash samples, labeling, glazing, and transportation) were arranged to help push the project along to meet the hard deadline of October 6, 2018, the opening day of “From the Fire; a Community Reflects and Rebuilds” at the Museum of Sonoma County (MSC). As the project outgrew museum director Jeff Nathanson’s original vision, the Sonoma Ash Project was shown in its entirety at MSC and a portion was selected to move onto the Sonoma Valley Museum following the original exhibition. At the conclu- sion of both exhibitions in January, a ceremony will be held to give each participant the vessel that incorporated the ashes from their former home for their new home.

the author Gregory Roberts graduated from Alfred University and was the first artist to 9 utilize honeycomb ceramics. This body of work was first shown at Dorothy Weiss Gallery in

6, 7 Sonoma Ash Project (installation views), 12 ft. San Francisco in 1992. He has been on the faculty at Sonoma State University since 2001, (3.6 m) in width, 112 porcelain vessels with lids, (wood where he has served as chair of the Department of Art and Art History from 2010–2013 display by 180 Studios, Santa Rosa, CA), 2018. Courtesy and 2016–2018. Learn more about his work at http://www.studioc2.squarespace.com. of the Museum of Sonoma County. 6 Photo: Douglas Sandberg. 7 Photo: Steve Atilano. 8 Round Barn ID# 65, 9 in. (23 cm) in diameter, porcelain, cone 10 glazes, ash Post script: Fire continues to be a fact of Californians’ lives and Roberts’ work on the from lost home, 2018. 9 Round Barn ID# 68, 9 in. (23 cm) in diameter, porcelain, cone 10 glazes, ash from lost Sonoma Ash Project will continue, but in a new form. He is creating a template for home, 2018. Photo: Stephen Galloway. potters who would like to participate. See his web page for more information.

18 january 2019 www.ceramicsmonthly.org “So in love with my SHIMPO VL-LITE for making it easy to move my work outside on this rare sunny day in San Francisco!”

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www.ceramicsmonthly.org january 2019 19 CLAY CULTURE nurturing community by Julie Wilson

The Advanced Studies Program at The Village Potters Clay Center offers emerging potters a chance to develop as artists in a community with established professionals.

Working the cash register at an Asheville coffee shop, Avery Wells I’m testing stuff that before I wouldn’t have had the confidence or lifted the mug a customer had brought in with her. She gripped the time to do. My work is much more honest to who I am. And I’m handle and peered at the mug’s base. “I like your mug. It balances also learning how to run a studio.” really well.” “You must be a potter,” the customer said. “I can tell by the way The Dream you picked up my mug.” The Village Potters Clay Center is the life’s dream of potter Sarah In fact Avery had recently completed a degree in ceramics at the Wells Rolland and her husband George Rolland. Sarah began her University of North Carolina Asheville, and had not yet found studio career as a potter in the 1980s in the renowned ceramics program space to continue her work. at Haywood Community College, studying with Gary Clontz, The customer was Lori Theriault, a resident potter and mentor at who would become her lifelong mentor. Following her studies, The Village Potters Clay Center. She invited Avery over to her table Sarah and George built a home pottery studio in Bethel, North to meet the center’s Operations Manager, Lindsey Mudge. They told Carolina. Sarah developed a distinctive line of functional ware with Avery about the studio’s Advanced Studies Program, which is built sculptural qualities. She learned to run a business. George learned on a model of independent study and mentoring. It is a low-cost to do wiring and install/fix plumbing, to build and fix kilns, and to program designed to help potters with foundational skills develop as make festival booths. artists in a community with established professionals. For monthly Sarah’s business thrived, but 20 years into her career she felt tuition and materials fees, students use studio and storage space, something was missing. With George working full-time as the IT shared equipment, glaze materials, and kilns. They are mentored by director at the community college, when their daughter left for col- resident potters, and study under visiting artists through the Master lege, Sarah was alone in her home studio. She gave demonstrations Series workshops. Scholarships defray the cost of tuition for a few and hosted workshops, and the opportunity to mentor an emerging participants with financial need, and apprenticeships are available potter, Amy Gelber, gave her a taste of the change she needed. “I got for skilled, aspiring professional potters. to a turning point in my life. It was essential that I get connected to Avery applied and was admitted. Once the resident potters saw people and not be in isolation anymore.” her skill level, they offered her an apprenticeship that covers her Sarah realized that her next career step had to involve community. tuition. Four months into the program, Avery notes, “I’m exploding. She wanted to work alongside others and mentor emerging artists

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1 Mentors in the Advanced Studies Program from left to right: Judi Harwood, Sarah Wells Rolland, and Lori Theriault. 2 Clive Earnhart wheel throwing in the Advanced Studies Program, 2016–2017. 3 Sarah Wells Rolland’s closed-form pitcher, 16 in. (41 cm) in height, wheel thrown, altered, darted, sculpted, glazes poured and sprayed, fired to cone 10 in reduction. 4 Tori Motyl from the Advanced Studies Program, 2016–2017. All photos: Tim Barnwell.

as she had been mentored by Clontz. She wanted to provide space clean, bustling workspace, where one can find quiet focus, intense and equipment to enable artists to start what can otherwise be a conversation, and occasional outbursts of laughter—a space dedi- prohibitively expensive career. cated to nurturing, in Sarah’s words, the next generation of potters. The Advanced Studies Program is designed for adults of all ages A New Community who may have other jobs but can devote significant attention to In 2011, the Rollands found a space for that community in Ashe- ceramics. Some potters participate after studying art in college, oth- ville’s River Arts District, a formerly industrial area between the ers after years of community pottery classes. Skill refinement is the Norfolk Southern Railway and the French Broad River that is now first order of business. Keira Ochab began the program after a gap home to over 200 artists. Its brick-red warehouses were built over in study. “The first three months,” she says, “I focused on building a century ago, and those buildings and walls not yet in reuse have back my muscle memory and getting a sense of what forms really been commandeered by graffiti artists. “Everywhere you turn,” Vil- appeal to me.” lage Potters student Keira Ochab notes, “there’s art.” The Rollands rented space in one of these warehouses, Riverview Others To Lean On Station, built in 1902 as a tannery. George oversaw major renova- The program’s current mentors are Sarah, who continues to throw tions, while Sarah teamed with a close-knit core team of resident and alter large sculptural vessels; Lori Theriault, who specializes in potters to create and run The Village Potters Clay Center’s array of restaurant and home kitchen ware, and Judi Harwood, a sculptor educational programs and services. In addition to the Advanced Stud- and raku artist. “They have vastly different bodies of work,” program ies Program, the clay center houses a gallery, resident potter studios, graduate Margaret Ellis says. “Yet I see them all lean on each other a teaching center, a clay distribution center, and incubator studios for opinions and support. That energy flows into the rest of us.” The for Advanced Studies alumni ready to develop business plans. It’s a mentors offer assignments and meetings over a series of twelve-week

www.ceramicsmonthly.org january 2019 21 CLAY CULTURE

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5 Julie Lee taking part in the Advanced Studies Program, 2017–present. 6 Julia Mann, a resident potter and mentor at The Village Potters Clay Center.

thematic units, but the self-directed nature of the program means Additional Opportunities and Growth students are mainly accountable to themselves. For those who want even more structure, the Teaching Center offers Program graduate Clive Earnhart remembers how he was men- additional classes, including Advanced Throwing, Surface Design, tored. “Sarah’s encouragement is to make six to twelve, if not more, and Alternative Firings. Each year also features six weekend Master of the same shape and repeat, and as you do that, you’ll discover Series workshops with acclaimed potters based in Asheville or in amazing things. At first, I was scattered, wanting to try all the differ- nearby Mitchell County, home to Penland School of Crafts. This ent possibilities. Over a year later, she continued to bring me back year’s roster of visiting artists includes John Britt, Kyle Carpenter, to repeating the same form. That’s when I started to find my voice.” Nick Joerling, Reiko Miyagi, and Liz Zlot Summerfield. Once they can consistently create forms they love, students learn Nearly a century ago, Virginia Woolf famously wrote, “A woman to mix glazes and to fire the studio’s electric, gas reduction, raku, and must have money and a room of her own if she is to write fiction.” kazegama kilns. With this expanded perspective, many shift from In 2018, The Village Potters have their own take on what artists experimentation to intention. need. Money and resources are absolutely necessary. George Rolland Catherine Healy had built a successful career as an interior de- expresses The Village Potters’ commitment to building a community signer when she uprooted her life from Orlando, Florida, to study of people with different financial means. “We want to make it afford- in the program. Her transformative learning happened when she able for people to learn to make pots and learn the craft business, to applied carbon-trapping shinos to sculptural wall pieces, and fired have a leg up. Sarah and I both know that starting a craft business, the work in reduction in a gas-fired kiln. This work opened a path for particularly in pottery, is expensive and time-consuming, and it her, where she now plans to integrate interior design with custom- requires a huge commitment of resources on a lot of levels that a lot made art. “I want my pieces to draw a person in,” Catherine explains, of people don’t have. We want to see them succeed, and for it not “and they don’t even know what is happening. It just touches them to be so hard for them as it was for us.” in kind of an unseen place.” These artists aren’t looking for the solitude that Woolf craved. Everyone in the program offers and receives constructive criti- Artists thrive in Advanced Studies because they find interconnected- cism, formally through small group critiques, and also organically. ness. Sarah, George, and the resident potters model how to mutually Clive Earnhart explains, “There’s something to being in the studio support one another; student artists follow suit, whether it’s offering with other potters and watching something unfold.” He remembers a throwing tip, collaborating on a surface design technique, or jointly one of the mentors stopping at his wheel. “She said, ‘Clive, I notice starting a new festival (the North Carolina Ceramics Arts Festival is I can help you with something you’re struggling with. Can I?’ After the brainchild of Advanced Studies alumni). she showed me, it solved a huge problem, and I was able to move “In the end,” Sarah says, “we are as committed to the success of on to something new.” others as we are to our own success. Whatever you want, that’s what Resident potter Lori Theriault explains, “People create their tem- we want, and we believe it with you. We’re partners in dreaming.” plate based on what they want to accomplish. For those who aren’t sure what they want to accomplish, we have our own structure: try the author Julie Wilson directs the Writing Studio at Warren Wilson this until something speaks to you.” College. She writes about education, social justice, and pottery.

22 january 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2019 23 STUDIO VISIT Kristine Poole Santa Fe, New Mexico

Just the Facts Clay Laguna’s Buff Sculpture Body and “Where do we go now?” I asked. “To stroll the fields of our imaginations,” he said, and off Red Sculpture Body, terra cotta for small, quick sketches we went. I met my husband Colin ten years ago when he asked me to tango and we have Primary forming method been dancing together through art and life ever since. coil and slab building Nestled in the foothills of the Sangre de Cristo mountains of Santa Fe, our studio and Primary firing temperature home originally belonged to Colin’s grandmother, renowned sculptor Una Hanbury. Manag- cone 5, oxidation gas firing, electric ing the space to accommodate two full-time artists with multiple bodies of work in various firing for smaller works disciplines requires versatility, creative use of space, and . . . lots of wheels. Favorite surface treatments using a curved wood gouge to Studio inscribe stories into the sculpture Our home is a traditional adobe house that we renovated to suit our “all art, all the time” surfaces and relief motifs; mixing powdered, earth-toned pigments into sensibilities. Forgoing nonessentials like a dining room, living room, and TV, we created a a stain base and brushing or spraying contemporary home that integrates indoor and outdoor spaces and features an 1100-square- the finish, replicating some of the foot gallery/exhibition space, a 600-square-foot primary studio and a 450-square-foot kiln/ natural color variations that occur in metal-working studio, which has two electric kilns, a front-loading gas kiln, and bronze finish- a gas firing ing equipment. Given our temperate weather much of the year, projects that are particularly Favorite tools noxious or messy are often tackled al fresco. Philippe Faraut’s eye tool (wood version), Mudtools yellow and red The studio is flooded with natural light via skylights and window walls that open onto kidney-shaped ribs the back gardens and aviaries (we raise exotic pigeons that often visit the studio as we sculpt). Wishlist Our work spaces have abundant track lighting that is color matched to daylight, providing more space a smooth transition for nighttime sculpting. The gallery has window walls everywhere that

24 january 2019 www.ceramicsmonthly.org highlight our artwork against a backdrop of mountain vistas and Paying Dues (and Bills) xeric gardens. An illustrator friend of mine said he imagines my day as, “going into I am a ceramic sculptor and also work in bronze. Exercising both the studio, sitting around being all inspired, and making things.” disciplines provides a more diverse palette of sculptural options. Yeah, well . . . not exactly. Sculpting is only one part of how I spend Colin is a sculptor and painter. Accommodating the workflow of my days and, like most artists, it’s the part I wish I could spend two productive artists requires adaptability—consequently, just more time doing. I have a BFA in ceramic sculpture from Northern about everything in the studio, from furniture to equipment, is on Michigan University. After graduation, I apprenticed with John wheels. The studio is frequently (and quickly) reconfigured to suit Glick, where I learned about the daily operations of an effective art our current projects. When one of us is preparing for a show or we’re practice. In our studio, I spend more time on business than I’d like: sculpting a monumental commission, our workflow expands into providing information for shows, publications, and applications; the exhibition space. Flexibility is key and everything has its place, returning calls; attending to emails and social media; bookkeeping; which keeps the studio fairly tidy. photographing; working with models; preparing talks; and managing Even though things can get a wee bit congested, we revel in our commission/show/production calendar. sharing the same space—constantly talking, giving input, sharing My daily schedule is largely deadline-driven. Deadlines motivate ideas, and collaborating on sculptures. Our rapport, camaraderie, me and I generally say yes when asked to participate in events, so and support for each other are my favorite parts of how our studio my calendar is usually packed months in advance. Most days start at functions. We began combining our studio practices and renovating the gym around 6 AM with cardio (during which we study anatomy our physical studio space a decade ago. Learning and developing the videos on proko.com) and weightlifting (insurance for the sculptors’ myriad of skills required in a successful studio practice is a life-long, lifestyle where most things are big and heavy). After a quick walk ongoing commitment. with the dogs, the work day begins with critical need-to-do’s. It

www.ceramicsmonthly.org january 2019 25 releases them from my mind so, when I start sculpting, I can focus few years have been consumed by commissions, including a recent on my work. Usually we do art-related activities until 9 PM, with monumental sculpture for the Carnegie Library in Michigan. breaks for meals. Our schedule can be intense—there are times Visibility translates directly to more opportunities. As sculpture when we work literally from 5 AM to 11 PM for weeks on end to is something best experienced in person, I find online platforms less keep projects on track. desirable for sales and use social media primarily to increase my vis- ibility. I keep the focus of my threads relative to art, posting works Marketing in all stages, and information about upcoming events and places Selling through a variety of methods has the advantage of allowing where my sculpture can be seen. us to create works we’re passionate about while buffering the roller- Playing on many playgrounds has also been an effective market- coaster of a sometimes wildly fluctuating income. Most of my life- ing approach, professionally and personally. Our work bridges many sized ceramic sculptures are purchased through the gallery EVOKE genres and we continually seek out and nourish relationships in these Contemporary in Santa Fe, for whose time and efforts in placing my different communities. work I am ever grateful. We host collector events and studio visits regularly and participate in the annual Santa Fe Studio Tour. We Mind also teach the occasional workshop; take part in group shows; and While we don’t take days off, we do travel often for exhibitions and do two major art expos each year for sales, visibility, networking, talks, scheduling in museum getaways, which always inspire and and to connect and reconnect with other artists. We are fortunate invigorate us. We’re passionate about studying historical artworks to count as dear friends a number of insightful, enthusiastic, and and plan vacations around specific pieces and we want to generous collectors who host art events to share our work. The last visit, generally overseas.

26 january 2019 www.ceramicsmonthly.org We adore audiobooks, podcasts, and Pandora. When I need an Many years ago, in the wee hours of the morning, I sat alone, infusion of happiness, I have my go-to playlist of love songs. As part bathed in the warmth of the kiln that held the final pieces for my of my creative well-being, I fill sketchbooks with collages and ideas BFA exhibition. Quietly, I pondered the future, the relevance of what for future sculptures and shows. These function as a combina- I was doing, my self-doubts and excitement about the unknown. I tion of inspiration boards, journals, sketchbooks, and workbooks. wondered how I would know what the next steps on my path were. The process is enormously satisfying and in times when I’m spinning And I heard these words, as clearly as if someone had spoken them my wheels, flipping through the pages gives me a roadmap to get directly into my ear: “Do not doubt your muse. As I live, you shall back on track. When confronted with a serious mental roadblock, not fail.” Wherever they came from, those words resonated deeply I go for a jog. I take a few moments to define the problem clearly with me—then, as a young woman and still today. In them, I hear beforehand, then let my mind wander as I run. Invariably, potential “Trust yourself. Trust your voice and your vision. Respect and delight solutions surface and I’m re-energized to dive back in. in your artistic soul and enjoy every moment you have to create.”

Most Important Lesson I’m happiest when I am busy. Having many irons in the fire means that if one opportunity doesn’t pan out, there are several others I can focus on to keep from getting derailed. Juggling business, com- Website: kristinepoole.com missions, and my personal art is challenging. When the art that I’m Facebook: Kristine Poole most passionate about gets put on hold for too long, I feel lost—it’s Instagram: @kcpooleartists important to maintain the balance. Gallery: https://evokecontemporary.com

www.ceramicsmonthly.org january 2019 27 PRACTICE AND PROBLEM FINDING by A. Blair Clemo

Many professions refer to their vocation as a practice. Artists have problem finding, a term I first encountered in Richard Sennett’s studio practices. Surgeons are medical practitioners. We’ve all heard , The Craftsman. Artists need to be able to find problems the adage “practice makes perfect,” and anyone working with clay before they can solve problems. Problem solving focuses on the certainly knows the truth in it. But practice refers to both build- end product; following steps that result in the desired outcome. ing skill and using skill. When a surgeon cuts open a patient, we The process is a means to a desired end, in service of the result. hope they are not practicing to make perfect—accepting failure But problem finding—how we embrace the problems inherent in with an “if at first you don’t succeed” nonchalance. Charles Limb making and ask how they dynamically impact outcomes—flips this starts his TED Talk, “Your Brain on Improv,” by saying “I am a thinking. By allowing new problems to occur to us, and actively surgeon . . . and I’ve never had a patient tell me ‘I really want following their lead, the end result, our work, is destined to change. you to be creative during surgery.’” Practice here means skilled execution, being able to mostly anticipate outcomes, and deliver Identifying the Goal through well-honed proficiency and a deep knowledge of one’s Identifying the goal, whether finding new problems or chasing craft. Practice is problem solving, and having the tools to do it. solutions, is important in my practice. Take reading, for example. We talk about problem solving in the studio all the time, it is As an academic, I read in many different capacities: graduate thesis the lifeblood of any good how-to article. However, we rarely discuss papers and students’ artist statements, craft theory that supports the

28 january 2019 www.ceramicsmonthly.org assignments I give, art history that informs my studio work, and pulpy science fiction when my brain needs a break. The activity of reading is the same in all these examples, but the inten- tion, goal, and outcomes differ greatly. I find it helpful to identify my goal when picking up a new book or article: am I reading critically or just for fun? Identifying that I am reading for content sets up a careful scrutiny, and makes me reach for my highlighter without thinking. Identifying that I’m reading for pleasure lets me off the hook when I zone out, my eyes follow- ing the text while my brain wanders elsewhere. Identifying the goal matters. I apply this same thinking to my studio time. I actively identify what my goal is that day, not in terms of numbers or output, but in terms of how I focus my efforts. There are 1 days for practice (careful execution of skill) and days for research (problem finding with outcomes unknown). When gallery deadlines loom, I need to practice; to be able to antici- pate outcomes and know that the work will fulfill the obligation and be saleable. But when I’m feeling stuck or bored, and need to find some new problems, designating a studio day toward research and removing the pressure of production helps. On research days, I expect failure, welcome it in fact! My success is mea- sured not in sellable objects, but in knowledge gained, risks taken, and progress promised in future work. There is no need to fear failure or wasting time on these days, as both failure and lost time are integral to and inseparable from learning. 2

Provocation Prototype has many definitions, dependent on the industry. I typically think of it as a realized mock-up, with enough fruition to reveal the process and problems in making a new object. Every artist has their own unique relationship with the prototype. But what about provo- typing? Provotype finds its root in the word provoke, and in design industries, it refers to a prototype that provokes a challenge to the sta- tus quo. It is a prototype for problem finding, 3 not problem solving. Prototyping helps us solve Opposite: Mugs, press-molded porcelain, slip-cast inclusions, fired to cone 6 in reduction, 2018. technical and design issues in our practice, 1 Students with their finished provotype assignments. From left to right: Gabzy Rinker, Becca Low, Spencer Dewey, and Julie Schmitt. Photo: Steven Casanova. 2 Sketches show development provotyping helps us find new problems and of forms through the “what if” prompt. 3 Greenware pouring pots, made by collaging and previously unimagined new outcomes. improvising compositions.

www.ceramicsmonthly.org january 2019 29 for each generation. I may repeat the question and solution process 50 times or 100 times. These drafted provotypes, which intentionally challenge my own formal status quo, will inevitably lead to new forms, questions, and problems to work through.

Negotiation Just recognizing the need for activating problems doesn’t help in finding them. I must first take stock of the decisions I am making and find those places where I can challenge myself further. I need to actively negotiate change in the work. I take a good look at my work, either a whole series or just one pot I’m fond of. 4 Next, I make an exhaustive list of qualities found in the work. This is an objective list: just what I see, not how I feel or what I think about it. I take stock of what is there. Here is my sample list for the work pictured in figure 7. Objective observations about this work: • The work is pottery that appears to be utilitarian (they are mugs). • The work has seven colors that ap- pear related to the color spectrum. • The work is made from porcelain. • The work has patterns on the surface. To make my example simple, I’ll stop with only four basic observations, but the more, the better. Even something as seem- ingly insignificant as a fingerprint can be 5 a fruitful observation in this exercise. The deeper I dig into my work, the more I bring to light, and the more problems I can find! Much to my students’ dismay, I force them to provotype from Next, I separate each observation into two categories: negotiable time-to-time with in-class exercises. After a class period spent and non-negotiable. Those qualities that I am willing to shift, throwing whatever forms they choose, I inspect the work. Not change, or leave behind all together belong in the negotiable cat- for a critique, but looking for the right place to cut. With a wire egory. Those qualities that I am not willing to abandon or toy with cutter, I slice their hard-earned pots in two, sometimes down the too much are non-negotiable, the real core of my interest in the middle, sometimes askew. They are then charged with marrying work. Looking at my examples above, and gauging the importance the disparate parts to make new vessels. The resulting pots are of each quality, I find the following results: provotypes, intended to challenge expectations of form, object, and Negotiable (things I am willing to change): utility. There is no way for my students to anticipate and plan for • The work is made from porcelain. this challenge, no way to follow a pre-determined goal. • The work has seven colors that appear to be related to the Cutting my students’ pots up forces them to ask “what if . . . ?” color spectrum. About 90% of my sketchbook is filled with responses to that Non-negotiable (things I am not willing to change): question. Sketching through this question is a form of rapid • The work is pottery that appears to be utilitarian (they provotyping. I draw one pot, perhaps a cup or a teapot, and then are mugs). ask a simple what if question: What if it was taller? Had an extra • The work has patterns on the surface. handle? Was more bulbous at the bottom? I draw the solution to Based on my lists, I can now start to find new problems. The that question. I repeat the process, asking a new what if question observations in the negotiable column, in this example the clay

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4 A. Blair Clemo cutting student Gabzy Rinker’s pots into two pieces. Photo: Samuel Brown. 5 Handle explorations on a studio research day. 6 Pouring pots, press-molded, wheel-thrown, handbuilt, and slip-cast porcelain, fired to cone 6 in reduction, 2018. 7 Mugs, press-molded porcelain, slip-cast inclusions, fired to cone 6 in reduction, 2018.

and color palette I’m using, have been iden- tified as places to explore. Maybe I’ll swap porcelain for a dark stoneware? Maybe I’ll change the color palette, or remove the color altogether. Both are great new problems to work through. In challenging myself to shift aspects of the work in this way, I often find a chain reaction of new information is unleashed. New decisions lead to new work, and new work leads to new questions. The non-negotiable column is not spared from interrogation; on the contrary, the really difficult questions reside here. My example identifies that an object’s utility and a patterned surface are important to me. The 7 most critical question then becomes why? Why are utility and pattern so integral to this work? What potency do the objects gain through utility and has become my habit to ask this question of negotiability regularly pattern? My questions here can help establish what I find most in the studio and I no longer need pen and paper to do so. This meaningful and valuable in the work. It is these observations, find- practice has helped me consistently question my outcomes and ing the parts of the work I am not willing to abandon, that often keeps my decision-making process active and engaged. provoke deeper research for me. The non-negotiable may beg for Problems are typically something we wish to be free from in our more information about history, cultural context, or conceptual work. As uninvited guests, they frustrate as they stand in the way connections. These are the parts of my work where I uncover the of our expectations. However, problems are also a strong catalyst hardest questions and find the richest answers. for change and growth, as long as we invite them in, and they don’t With this method of inquiry, I can determine what values I overstay their welcome. hold and what is really important in the work. I can also see what may be ripe for change, those things I have stopped examining the author A. Blair Clemo is an artist and the area head of ceramics critically and taken for granted. For me, this method always helps at Virginia Commonwealth University. His studio is based in Charles to generate new questions and unleash new and useful problems. It City, Virginia. To learn more, visit www.ablairclemo.com.

www.ceramicsmonthly.org january 2019 31 Neil Forrest SHIPS AND VOIDS by Glen R. Brown

Three hulks stripped of sails, rigging, captains, and crews seem suspended in the hermetic silence of motionless, time- less, dimensionless space. No sea breaks against bows or heaves along gunwales; no wind sweeps the decks. Perhaps these vessels, representationally ships but materially and analogically pots, are—as the gapping, circular wounds in their hulls suggest—sinking into an aqueous uncertainty: one of identity as much as of fate. Though simple as forms, they prompt multiple and diverse chains of association. Monochrome red, green, and yellow, they recall colorful polystyrene toys. Thick with undulating glazes, they are as inviting to touch as Momoyama teabowls. Minimalistic and serial, they manifest defining characteristics of much modern and contemporary art. Representing sailing ships, they al- lude to archaic technologies. Their exteriors are frank and monumental, but their interiors are sealed and secretive, as if their cargoes were too fragile or too formidable to expose to the open air.

Reflection on Cultural Difference The conditions under which Neil Forrest’s 2013 installation Transits was created provide context for the more obvious associations sparked by the forms composing it. Although produced as a contribution to the 7th Gyeonggi Interna- tional Ceramic Bienniale, Transits relates to Norway rather than Korea. In 2010, Forrest began a 5-year stint of teach- ing alternating semesters at his home institution, NSCAD University in Canada and The Oslo National Academy of 1 Art (KHIO). As a foreigner in Norway he was perhaps natu-

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1 Fram, 4 ft. 7 in. (1.4 m) in height. 2 Hard Transits, various dimensions. 3 Hard Transits (alternate view), various dimensions. 1–3 Stoneware, lead glazes, hardware, drawings, 2013. Photos: Øystein Thorvaldsen. rally inclined to reflect on cultural difference, but at the same time much of the Nordic environment felt natural, even familiar. “My interest in the Arctic and all things Northern—all those things that I learned as a grade schooler studying Canadian history—was reignited,” he recalls. “Growing up I’d had a chance to visit Canada’s North, because my father was involved in social housing for the people there. It was a time in Canadian history when we were thinking about ourselves as a Nordic country and how we related to our Northern people.” Before assuming teaching duties at KHIO, Forrest had been reflecting upon this and other early ex- periences, in particular the hours spent in a basement workshop with his father. “We built a lot of things together,” he remembers. “Some were plastic models of ships and aircraft. My father would bring home a lot of architect’s models and blueprints, so I became immersed in an environment of miniature buildings.

www.ceramicsmonthly.org january 2019 33 When I was still quite young, he brought home a block of clay, as a ceramic artist felt naturally drawn. Modeled roughly through and I started carving it.” Though distanced from this “homemade pinching, the forms are laden with dozens of layers of juicy glaze tradition of working in clay” by the sophisticated conversations in that frankly assert a physical presence. which he would later engage as a student at the Sheridan College The problem of firing the pieces—which, unlike most ceramics, School of Design, the Cranbrook Academy of Art, and Alfred are glazed on all surfaces and meant to be seen from every angle— University, Forrest would never forget the experience of modeling was addressed by running silicon carbide rods through the hulls, purely as material exploration. one through each of the circular holes, lifting the rods by means One would not be forcing a point to suggest that Transits— of a forklift and situating the projecting rods on supports in the which in addition to the three model ships consists of two lengths kiln so that no part of the glaze came into contact with the floor of nautical rope and a miniature glazed-stoneware medieval stave or walls (see 5). In subtle reference to this engineering solution, church—openly revisits Forrest’s childhood experiences of model Forrest chose to display the ships on Plexiglas mounts recalling building, exploring with fascination blueprints and architects’ ma- forklifts, with thick rods passing through the holes in the hulls. quettes, studying Canadian history, and discovering the malleable nature of clay. At the same time, these allusions to early interests Dark References and Vague Suggestions were consciously framed within an investigation of historical and Representation of an 800-year-old Norwegian stave church in cultural analogies between Forrest’s own country and his new Transits not only recalls Forrest’s interest in architectural models temporary home. “It became a way for me to determine who I and architecture in general, but also alludes to his association of was in relation to Norway,” he notes. “The Norwegians were the ships with buildings, a theme explored in greater depth in the re- explorers of the Arctic, but it was Canada’s Arctic. One of Oslo’s lated 2013 installation Hard Transits. Here sculptures of four ships, museums has the Fram, the famous ship of the great explorer the Fram, Northern Star, Gjøa, and Maud (built for Amundsen’s [Fridtjold] Nansen. It was the beginning of a true modern identity second trip to the Arctic) hang suspended on steel leaders like for the Norwegians when they struck out and started looking at trophy fish hauled up from the depths. Decks and hulls of these the North. The ships are recognizable to a certain generation of vessels are pierced with implicit passageways in various shapes. Norwegians who are familiar with their history. This is a kind of Four drawings, as precise and schematic as architectural blueprints, lore that still carries on today.” concisely describe the interiors, into which the viewer’s gaze only imperfectly penetrates. If the ships nod to the historically grounded Technical Challenges elements of Norway’s national ethos, these inner structured spaces In addition to the Fram, Transits includes glazed stoneware rep- acknowledge events that have laced anxieties into the country’s resentations of the Northern Star and the Gjøa, in which Roald more recent consciousness. Amundsen made the first journey through Canada’s Northwest Within Fram, a rectangular tunnel runs lengthwise through Passage. Weighing between 150 and 200 pounds, the ceramic the belly of the ship, halfway along opening onto a shaft, set at ships presented the sort of technical challenges to which Forrest right angles, that exits as a circular hole through the hull. The

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4 Gjøa (detail), 4 ft. 9 in. (1.5 m) in height, stoneware, lead glazes, hardware, drawings, 2013. 5 Kiln loading of Gjøa, 2012–13. Photo: Knut Natvik. 6 Transits, various dimensions, hand-modeled stoneware, lead glazes, 2012–13. Photo: Kim Yoonhae.

dark reference of these passageways is to the destruction wrought constituents of identity as well. “One of the first things that fright- by right-wing terrorist Anders Breivik, who, in 2011, detonated ened me as a kid,” Forrest recalls, “was a perfectly square hole in a van packed with explosives near the Ministry of Justice in Oslo, a remote Northern Ontario lake bed. My father grabbed a heavy creating a shock wave fortuitously mitigated by an underground rock and descended into the hole. He was gone about a minute. tunnel that channeled away some of the force. Equally sinister is There’s this little boy wondering if his father is ever going to come the inner chamber of Maud, which Forrest has described as the back. That worries me to this day.” Führerbunker—a subtle allusion to the nation’s painful struggle to Exploration of self through other is even more pointed in come to terms with the fact that Norway’s Nobel laureate author Forrest’s 2016 sculpture Dennis Smith House, in which childhood Knut Hamsun was an ardent apologist for Hitler. In light of this familiarity with, fascination for, and fear of voids is condensed into reference, the openings to the chambers in Gjøa are vaguely sug- a fantasized architectural model rippling under a sea of red glaze gestive. Shaped like curvaceous saz leaves on Turkish Iznik , and pitched dramatically like the stern of a sinking ship. Ostensi- they refer to “a small population of Muslim immigrants and the bly based on memories that ceramic artist Dennis Smith recalled fact that Norwegians were among the last in Europe to take on about his childhood home, in particular a basement and a room in responsibility for people so far away from them.” The least specific which he suffered through a protracted illness, the piece on another of the interior structures is born by Northern Star, which contains level materializes a procedure followed by Forrest in Transits and a sealed cache described by Forrest as a “black box: a recorder from Hard Transits as well. The concise, overtly structured nature of the an aircraft, a thing that helps us do an autopsy on something that’s sculpture reflects the fact that, in conscious adherence to conven- been destroyed.” tion in Conceptual Art, he set some non-negotiable parameters Despite associations of these voids—the tunnel, the Führer- at the outset. The mysterious, ambiguously articulated aspects bunker, the saz-leaf portals, and the black box—with anxieties and of the work—those suggesting glimpses into subjective recesses phobias specific to recent Norwegian experience, Hard Transits is of the artist’s mind—were, on the other hand, introduced by an tendentiously self-reflective—that is to say that the installation unrestricted process of association that ensured self-reflection. “I does not purport to serve as artistic ethnography, but rather as a thought of the work as a series of questions,” Forrest explains. “It self-examination through the artist’s response to a foreign envi- was bound to be a puzzle that I assembled for myself—whatever ronment. Hard Transits reflects a Canadian professor’s navigation happened, happened.” of the sometimes familiar, sometimes alien waters of Norwegian academia, history, and social conventions, but its voids, born in the author Glen R. Brown is a professor of art history at Kansas State the holds of implicitly sinking ships, conjure deeper and murkier University in Manhattan, Kansas.

www.ceramicsmonthly.org january 2019 35 ADRIAN KING The Potter’s Apprentice COMES of AGE by Andrew Buck, EdD

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Opposite: Two yunomis, 5 in. (13 cm) in height, red stoneware, flashing slip, soda fired to cone 11 in a gas kiln, 2017. 1 Mugs, 6 in. (15 cm) in width, red stoneware, nuka glaze, flashing slip, white slip-trailed decorations, soda fired to cone 11 in a gas kiln, 2018. 2 3 Canister pitcher, 11 in. (28 cm) in height, red stoneware with slip decoration, nuka glaze, soda fired to cone 11 in a gas kiln, 2018.

We shall try to formulate more specifically our problem in pottery, in the clay moves in exact directions from precise openings to mea- the following way: it is to create forms out of a formless and boundless sured pulls that shape the clay body into finished pieces that are multitude of clay masses, forms that have originated in the conception proportionally alike again, and again, and again. Height, width, of the potter, that have grown out of his idea of beauty, his skill as a depth, bottom thickness, wall thickness, rim shape, and subtle or craftsman and his total intelligence, feeling, and belief as a human straight side contours are spot on. It is a performative dance, a song being . . . . For not just any form, but expressive form, imaginative of motion, as practiced hands meet moving clay. As an attuned and and live form is the aim of a potter. —Marguerite Wildenhain¹ aware potter, King responds to each and every nuance of moving clay in a temporal act of creation. It is in this special place that we Successful helicopter pilots, surgeons, and potters have something find this youthful, easy-going, and sociable yet serious production in common—they become masterful in their respective fields potter hard at work. through experience. The margin for error is slight across the board for all three. However, happy accidents and chance events Beginnings 64 are more likely to occur and be accepted in the process of making Adrian King grew up in Massachusetts, north of Boston. He RECIPES pottery by hand. Serendipitous markings and idiosyncratic forms was introduced to pottery in high school, attracted to the fun- distinguish these as one-of-a-kind pieces of pottery. However, I loving atmosphere of a pottery class taught by Jennifer Rumbo. am fairly certain that Adrian King, an expert production potter, King liked throwing pots so much that he just kept making them. doesn’t rely primarily on chance events for his success. His ceramic His interest in pottery was stoked by the collections at the Museum work is measured and assured, which is a direct outcome of having of Fine Arts, Boston² and also those of the Pucker Gallery where created thousands of hand-thrown vessels on the potter’s wheel. he could actually hold pieces by Tatsuzo Shimaoka and his appren- We can easily imagine that muscle memory takes over in his ritual tices.³ As a high-school student, he began firing his functional work of throwing clay on the wheel, transforming a spinning mass into to cone 10 in reduction at an art center in Beverly, Massachusetts. a vessel for storing, eating, or drinking. Under his expert touch, He built a portfolio that was strong enough to gain admission into

www.ceramicsmonthly.org january 2019 37 several prestigious BFA clay programs. However, King decided to go to Maine College of Art because it was closer to home and he was impressed by their facilities. As an undergraduate student, he continued to throw pots and deepen his understanding of Japanese ceramics. His work was heav- ily influenced by the Japanese Mingei Folk Art movement. In particular, he admired the work of Shoji Hamada and Tatsuzo Shimaoka, as well as American practitioners such as Randy Johnston, Jan McKeachie Johnston, Warren McKenzie, and Jack Troy. At Maine College of Art, three of his professors, Marian Baker, Lucy Breslin, and Mark Johnson pushed King to think critically and deeply about his work. Through her professional practice, Marian Baker set an example of what it might be like to work as a studio potter.

Transitions After King completed his BFA, his artistic life stalled briefly. He worked

3 as a cook in restaurants, and was reluctant to enroll in an MFA program because of the expense and debt load associated with graduate school. His struggle to make ceramics without a studio was a source of dissatisfaction and frustration. He decided to reach out to Jeff Shapiro, a renowned wood- firing potter in New York with strong Japanese influences, to serve as an apprentice. Shapiro did not have any openings and instead referred King to another well-established wood firer, Mark Hewitt, who maintains a studio in North Carolina. Hewitt gave King a one-week opportunity in the fall of 2012 to assess his skill levels and see how they would work together. Would they get along well, day in and day out, working year round in the busy studio? At the end of the week, Hewitt offered King the job.

Apprenticeship Training through apprenticeship is built on the notion of modeling. In this case, Mark Hewitt was a great role model for King. Hewitt is a legendary folk potter whose sprawling studio is nestled in the idyllic North Carolina countryside. Hewitt, a British-born potter, apprenticed with Michael Cardew decades ago.4 Hewitt’s work builds on European functional tradi- tions as well as a rustic American folk aesthetic drawn from the Carolinas. 4 Hewitt’s pottery is also wood fired using Japanese-style kilns. This matched King’s interest in fusing a hybrid of American and English with Japanese folk pottery. King toiled, worked, and learned from Hewitt over a three-and-a-half-year span. While the experience did not culminate in a cap-and-gown ceremony, King walked out a professional. Upon reflection, King learned to embrace the idea of, “staying close to what works.” He also came to the pragmatic realization that, “you are selling yourself, not just your work.” These guideposts accompanied all of the procedural skills he learned, which included how to throw pottery expertly; glaze work; stack, load, and fire the kilns; and most importantly, how to sell pottery effectively.

Exploration of Useful and Expressive Form King currently lives in Portland, Maine, where he produces and sells useful pottery. He also works part time as a ceramics technician and instructor for Maine College of Art. Studio production is a satisfying part of his life. His pottery business grows through new and repeat customers. His two-prong strategy is simple and low key. First, be present in the neigh- borhood (like being visible at crafts fairs, farmer’s markets, and holiday sales events); and secondly, be pleasant. He has found that if people like 5 you and your work, they are likely to become repeat customers. For now,

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3 , 41/2 in. (11 cm) in height, stoneware, white slip, shino glaze, wood fired to cone 12, side fired on shells, 2017. 4 Box, 41/2 in. (11 cm) in height, unglazed red stoneware, wood fired to cone 12, 2018. 5 Dinner plate, 11 in. (28 cm) in diameter, red stoneware, white slip-trailed decoration, tenmoku glaze, soda fired to cone 11 in a gas kiln, 2017. 6 Canister vase, 12 in. (30 cm) in height, red stoneware with iron slip, white slip decoration and nuka glaze, soda fired to cone 11 in a gas kiln, 2018. 7 8 Bellied pitcher, 12 in. (30 cm) in height, red stoneware with iron slip, and white slip trailing, nuka glaze, soda fired to cone 11 in a gas kiln, 2018. he prefers direct sales over gallery representation or the Internet, ing to know that King has found a path to happiness by creating though he uses Instagram to feature new work. genuinely useful pottery for which there is a growing, appreciative His current work fuses a Japanese folk-pottery aesthetic with audience. Ultimately, King’s pottery expresses as much about its an American folk-pottery tradition. King’s pottery is confident owner as it does the maker. and unpretentious as well as tactilely and visually pleasing. His portfolio includes plates, bowls, canisters, jars, vases, pitchers, Learn more about Adrian King's process on page 40. To see more of and Japanese teabowls. His steins and plates are robust, combin- his work, visit www.adriankingceramics.com. ing solidity with simplicity. His yunomi wares offer patrons the the author pleasures of drinking from a contemporary, though informal, tea Andrew Buck, EdD is an artist and arts writer who en- cup. The sculptural leanings and slip decoration of his canisters joys contributing to Ceramics Monthly. To learn more, please visit http://andrew-buck.net. effortlessly capture the viewer’s attention. It is a good thing that

King persevered in following his vocation. Individually and collec- 1 Marguerite Wildenhain. Pottery: Form and Expression. Photo Story by Otto Hagel. Enlarged Edition. tively, King’s pottery expresses his sensitive, disciplined touch and American Craftsmen’s Council. Reinhold Publishing Corporation, NY. 1965. p. 30-31. 2 www.mfa.org his awareness of historical antecedents. His pottery also expresses 3 www.puckergallery.com a sense of joy, strength, durability, and completeness. It is satisfy- 4 https://hewittpottery.com/about-mark

www.ceramicsmonthly.org january 2019 39 Warm Throwing: Large Work on the Potter’s Wheel by Andrew Buck, EdD

Artists get ideas from everything around them. Sometimes kit to dry the lower sections enough that they could support ideas lie dormant and take a while to take hold; but then they the weight of added sections.1 This literally kept the clay body spring to light and action follows quickly. In this case, King warm throughout the entire wheel-throwing process. felt the impulse to try something new and make large-scale King began by throwing the first segment (1). He developed vases. He was inspired by work he had seen his mentor create the thickness of the rim and cut a groove into it with a sharp several years ago. metal tool (2) before completing the final shape of segment one. After drying the first segment with the blow torch to MONTHLY METHODMONTHLY Four Sections Thrown and Warmed stiffen the walls (3), he then measured the rim (4) and threw To construct work of this height, he threw the pot in four the second segment. sections, used calipers to measure the fit carefully, created While the second segment was still attached to the bat, he interlocking grooves at the top of the sections (to nest them inverted it and attached it to the first piece (5). When those two together when joined), moistened the work-in-progress at were joined (6) and dried with a blow torch to achieve needed precise locations, and most importantly used a propane torch rigidity, he moved onto the third and fourth segments (7). He

1 2 3

4 5 6

1 Throw the initial cylinder and smooth the surface using a large metal rib. 2 Use the edge of the rib to establish a grooved rim for the second cylinder to rest inside. 3 Firm up the thrown form using a blow torch so that it can support the weight of added sections. 4 Measure and check the diameter of the second cylinder with calipers. Do not cut the form off or remove it from the bat. 5 With both cylinders created and dried to a sufficient rigidity, attach the second cylinder to the first. 6 Now stacked, smooth out where the two cylinders are joined together.

40 january 2019 www.ceramicsmonthly.org replicated the same process (8) without distorting the true together (12), making any final adjustments to the lip of the roundness of the form, which is much easier said than done. rim while the piece spun within his hands (13). After running a wire tool under the base (14), with pluck, and Focus on Consistency experience, he lifted the large vase off the wheel head and set Each segment tapered slightly outward or inward depending on it aside for slip decoration. Later, he applied slip to the entire the final contour he wished to realize for the finished vase (9). piece and embellished it with a simplified design of lupine, a This particular piece was tall and slender and, in his quest for lovely flowering plant that grows from Maine to New Zealand.2 consistency, was modeled on one built a few weeks previously. At the top of the fourth segment, King pushed the clay wall 1 Weed-burner style propane torch such as Lincoln Electric’s Inferno Propane Torch Kit or Flame Engineering’s Weed Dragon Torch Kit. While these products are available in most hardware stores, inward (10) to create a base for the finishing collar, which was use at your own risk. thrown separately (11). In contrast to a wide-open, bell-shaped 2 Australia is known for cultivating a sweet variety of edible lupine. However, most varieties have seeds (lupin) that may cause severe allergic reactions. This makes sense since lupine is a legume, a member of the bean flare, this collar extended straight upward to maintain a sense and pea family that also includes peanuts. Interestingly, in terms of its connotations for renewal and rebirth, of visual vertical motion. He joined and smoothed the pieces the lupine plant is also associated with robust increases in soil fertility through its nitrogen fixing abilities.

7 8 9 10

11 12 13 14

7 Begin to throw the third cylinder. 8 With the third cylinder attached, begin to shape this section to the form and its rim. 9 Attach the fourth cylinder. 10 With the final cylinder attached, begin to bring in the walls of the top cylinder. 11 While making the finishing collar, measure the inset needed to fit into the top of the cylinder. 12 Attach the collar to the form, then smooth the join and refine the transition. 13 Now that the collar is attached, the final shaping can be done. 14 The finished vase can be cut from the bat with a wire.

www.ceramicsmonthly.org january 2019 41 BECOMING GRANDMA AND GRADUATE by Kimberly Chapman

This is my story about graduating from art school at about the same time I became a grandmother. I’m sharing my journey of obtaining a Bachelor of Fine Arts degree in ceramics with you, hoping to encourage others in mid-life or later to jump off the deep end and enroll in school full-time. As older adults, we bring a lifetime of experience to the classroom, we realize it is a privilege and honor to attend a fine arts college, we know how to play well with others, and how to get a good night’s sleep. And, most of us have already acquired a solid work ethic. You’ll gain the skills you need to find your artistic voice. You’ll dig deep within yourself and know how to make your artistic vision a reality. You’ll gain the confidence to endure juried shows and talk intelligently about your work to strangers. And, you’ll become entangled in a network of fabulous clay artists both local and national. My father was a graduate of the Cleveland Institute of Art (CIA). He attended the then five-year college tuition-free thanks to the GI Bill. His professional focus was commercial art but he had the most fun painting,

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1 Prepping, painting walls, installing shelves and artwork, hanging copy boards and name plates, and displaying your published book and business cards are all part of the project for graduating seniors. 2 Forgiving Your Indiscretions or She Was a Saint, porcelain, glaze, gold leaf, 2018. 3 Mourning the Death of Childhood and All the Memories That Go Along With It, porcelain, glaze, 2018.

sculpting, and woodworking—simply creating. He had a huge MacBook Pro and made daily visits to the Apple Store to learn amount of natural, raw talent. He said he owed a lot of his success how to use it. I took classes at a local camera store and became to his CIA education, and claimed it gave him the building blocks proficient at taking decent photos of my work. Lastly, I wrote what to create whatever he liked. In fact, he was so good at art I never I hoped would be a compelling essay. I delivered the portfolio in pursued it. How could anyone measure up to such talent? I went person with a nervous stomach. A few weeks later, the acceptance into marketing instead and earned an undergraduate and graduate letter was delivered with news of a merit-based scholarship based degree. I realized I could be creative through writing, photography, on my portfolio. I was now a college freshman in her mid-50s! My and design. I worked on branding campaigns and served as corpo- husband told clients he was married to a coed and my three grown rate spokeswoman and liaison to the media. I wrote press releases, kids thought it was rad that their mom was going to be an artist. articles, radio and TV commercials, and pitched local, national, CIA was challenging from the start—70-hour work weeks were and international press to gain publicity for my employers and their the norm. Some classes were harder than others. I hired student products. After 25 years, it was time for a change. If understanding tutors for help with anything related to computer-aided design. the foundation, the building blocks of art, was critical to becoming My life drawing skills were non-existent. There were days when I an artist then that’s what I would do! Years later, unfortunately after left that class and secretly cried in the ladies’ bathroom. I worked my father passed away, I followed his advice. hard. And harder still. Summers were spent preparing for the fall classes. For the first time, I maintained a 4.0 average and wished Following in My Father’s Footsteps my parents were alive to see it. There were times when I thought I quickly learned that organizational skills from my previous ca- of quitting, like when my younger daughter required unexpected reer came in handy. I created a six-month timeline outlining tasks surgery. I took a few weeks off to care for her. My foundation needed to complete an art admissions portfolio. I took numerous design instructor and fellow students sent cards to our home with summer courses in areas where my skills were weak, like life draw- clever drawings urging me to stay the course, literally. One student ing, at community art centers and colleges. I got my hands on a found a “Kimberly” pencil nub and mailed it to me. He said my

www.ceramicsmonthly.org january 2019 43 presence was missed during class. I had to stay enrolled, so I did. I At the end of my senior year, with three shelved walls display- was so impressed with the quality, patience, and dedication of the ing my artwork behind me, I delivered my one-hour defense to instructors. I continued to make friends with students. They were an audience of nearly 100 people. What’s Left Behind, the title of respectful and their kindness, talent, and confidence blew me away. my book and presentation, commemorated, memorialized, and My expectations were exceeded daily. I knew I was fortunate to be preserved my nostalgic memory. It detailed the history of nostal- learning from ceramic greats Judith Salomon and William Brouil- gia, its impact on our lives, and its importance. Through research lard. The critiques were tough and got even tougher. There were I learned that in the 1600s, a young Swiss medical student by the some accolades too. I arrived early, listened intently. My past career name Johannes Hofer coined the word nostalgia by combining was my secret weapon—I already knew how to write, document, and the Greek words for homesickness and pain. Hofer was troubled research. I also knew how to get through a 14-hour day. I needed an by the frequent occurrence of mental and physical ailments suf- edge desperately; my fellow students were exuberant and youthful fered by soldiers fighting on foreign soil. He thought if he could with boundless energy. More importantly, they were tech savvy. locate and remove their nostalgia bone he could cure them. I was awestruck by his idea. I quickly suspended my disbelief in the idea that the nostalgia bone was real and built an ornate porcelain reliquary (influenced by the gold reliquar- ies of the Middle Ages that held fragments of saints) upon which was perched a 24-carat gold-gilded nostalgia bone. I began to hand sculpt porcelain nostalgia bones and use them to build structures reminiscent of my childhood. My brother’s tree house, our childhood home, and the gurney that wheeled my mother to the van headed for the crematorium were just a few.

Object Permanency As a kid, I always loved making things. In the 1960s, Mattel manufactured my most memorable toy, Incred- 4 ible Edibles. Complete with metal molds and Gobble Degoop liquid candy in foil packets, one could make bugs, worms, and other disgusting things to eat in six delicious flavors. The baked, rubbery candy smelled and tasted -aw ful but watching it transform from a liquid to a solid was mesmerizing. Somewhere I have a picture of me in my white quilted robe beyond jubilant because on Christmas morning under the tree was, you guessed it, my Incredible Edibles set. I guess you could say this was akin to what I do today—pour slip into molds and minutes later unearth a solid sculpture. My kiln is larger than the oven I used to make candy, but still does exactly what the toy oven did; transform something into a permanent object. Even at age nine I was interested in object permanency. As I grew older, naturally family members started slip- ping away. The more family that died, the more nostalgic I became. About ten years ago, my mother died. Her loss hit me the hardest. I was inconsolable. Months later, my husband sent me to Ox-Bow School of Art and Artists’ Residency for two weeks to study under Tom Bartel, an Ohio clay artist known for his often disturbing yet humor- ous figures. It was just the immersion I needed. Under Tom’s tutelage, I made two busts, a king and a queen. I didn’t realize until months later that I had sculpted my parents. The royal couple symbolized two people I loved deeply and would never see again. I love these pieces not because they would win any art prize, but because when I 5 gaze upon them I smile and think fondly of my parents. It’s

44 january 2019 www.ceramicsmonthly.org life story. And what better material for keeping precious memories safe than recreating them in porcelain? Prized for its durability, delicacy, and exotic origin, porcelain was historically referred to as white gold. While some ceramic artists devote their lives to it, kings and emperors have long demanded it. It’s been a year since I graduated and I’ve been fortunate enough to be included in several juried shows and have even won a prize. My marketing experience has proved useful in sending pitch letters to gallery and submitting work to shows. At the annual National Council on Education for the Ceramic Arts (NCECA) conference last year in Pittsburgh, Pennsylvania, I had the pleasure to be a presenter. My topic? Nostalgia, What’s It Good For? Turns out, a lot. I was so pleased that a few women approached me afterward, eager to learn what it was like going back to school in mid-life. I was only too happy to share my story. And, there’s an impending trip. To my great surprise, I received one of CIA’s most prestigious prizes, the 6 Second Agnes Gund Traveling Award. 4 Fellow students and teachers gather for a group photo minutes after my defense was completed. The support from both groups was overwhelming during my four years in art school. 5 Reliquary For Nostalgia It funds my dream trip to Limoges, Bone, porcelain, glaze, gold leaf, 2018. 6 Treehouse, porcelain, glaze, 2018. France, one of Europe’s first porce- lain production centers and the city with the world’s largest collection a bit comical because the king and queen are obviously fed up with of porcelain objects. There’s even a contemporary consortium of each other in a lighthearted way. I guess that’s why I had always porcelain artists there using clay in new and unexpected ways. I’m kiddingly referred to my parents as The Bickersons. hoping to meet every one of them. I’m also tying in trips to Paris and London. I’d die a thousand deaths if I could arrange an audience A Testament to Time with autobiographical and narrative English contemporary artist What’s clay got to do with it? Because of its malleability and tre- Grayson Perry. His heavily illustrated ceramic vases layered with mendous capacity for memory, clay allows me to mine what I know complex societal messaging fascinate me. I’m also hoping to cross and create objects relating to my past and that of my ancestors. paths with contemporary British potter, artist, and writer Edmund Like nostalgic memory, white porcelain clay oozes purity and in- de Waal, whose life ambition revolves around his love of porcelain. nocence. It is the white knight saving the damsel in distress (if for Who knows if they will see me, I can only try. I have five years to some odd reason she cannot save herself). White is what rescues use the stipend. Either way, it’s going to be one heck of a trip, just us from the dark. Clay, like the human mind, has a tremendous like going back to college—I can’t lose. capacity for memory. Each time I touch it, a permanent record of my hand is recorded. Like memory, clay stands as a testament to the author Kimberly Chapman is an Ohio-based ceramic artist who time, and its finicky nature demands nothing short of complete at- simultaneously received her degree from the Cleveland Institute of tention. As I age, I realize that keeping memory alive and honoring Art while becoming a grandmother. Her delicate porcelain work is the past is critical. Just as nostalgic memory forms the backbone based on childhood and ancestral nostalgia. She can be reached at of the mind, tangible objects serve as physical evidence of one’s [email protected].

www.ceramicsmonthly.org january 2019 45 NEW FORMS NEW VOICES Contemporary Japanese Ceramics by Elizabeth Kozlowski

I consider myself fortunate when a show such as this lands in supports this. First published in the 1980s, Earle has had a long my backyard. I live within walking distance of the New Orleans engagement with the subject. He explains, “Japan’s ceramic cul- Museum of Art (NOMA) where New Forms New Voices, Japanese ture is among the oldest in the world, dating back some 15,000 Ceramics from the Gitter-Yelen Collection was on view last spring. years—ceramics are deeply embedded in Japanese culture.” He The exhibition showcased a largely formalistic collection, with the cites several distinguishing features of Japanese ceramics, includ- majority of the works spanning the early 2000s. Privilege and a ing a “rootedness in technique and in clay, unmatched technical discerning eye have led to 40 years of objects that are refinement, and an absolute ‘rightness’ of the relationship between much loved and revered by Kurt and Alice Gitter-Yelen. As with form and decoration.” most collectors, the relationships that have developed with the The 82 works by the 40 artists chosen for the exhibition reflect artists are reflected in the objects they chose to live with. the couple’s distinct vision and taste. The show was thematic rather NOMA considers guest Joe Earle as one of the foremost than chronological, accompanied by historical examples utilized as authorities on contemporary Japanese ceramics and his resumé an introduction to the collection and framing device. Five themes

1

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1, 2 Exhibition view of "New Forms New Voices, Japanese Ceramics from the Gitter-Yelen Collection" at NOMA. 1 Foreground: Ryuichi Kakurezaki's fish bowl in the Shigaraki style, 39 in. (99 cm) in height, 1999–2000. Left-hand glass case: Satoshi Kino’s Fall Wind 16-32, 345/8 in. (87 cm) in diameter, Seihakiju glazed porcelain, 2014. 2 Foreground: Yo Akiyama’s Metavoid 8. Views of the exhibition's sections Masters of Porcelain (left) and A Love of Decoration (right). 3 Ryuichi Kakurezaki’s large flower vase, 21 in. (53 cm) in height, stoneware, natural-, 2003. All images: Courtesy of New Orleans Museum of Art. Photos: Roman Alokhin.

served as an index for the exhibition: inspired by ancient kilns; hewn from earth, inspired by nature; embracing the avant garde; masters of porcelain; and a love of decoration.

Inspired by Ancient Kilns The exhibition opened with representations from the 4th–14th centuries, including a Haji earthenware jar (produced from the 4th–11th century) and a Shigaraki food storage jar (14th–16th century) made of stoneware with natural ash glazes. These handbuilt, historical examples also serve as inspiration for the post-war potters included in this grouping. Stoneware paired with natural-ash glazes are indicative of Japanese aes- thetics—as is the focus on form and surface with equal attention. Textural Shigaraki clay, although difficult to control, reveals a type of magic in the firing process. Expansive, tactile surfaces capture the desired characteristics of ash glazes. You can almost feel the life of the clay through the process of creation. The historical kiln sites are in continued use by artistic choice, not through a hereditary lineage of male potters. Contemporary artists who are inspired by ancient kilns include Ryuichi Kakurezaki (b. 1950). He has reached prolific status in the tradition of Bizen ware (the grayish stoneware that is characteristic of the region). It often reveals the open structure of the clay body. His concepts are geometric in form and approach. Ash glazes spill over vessels, trays, and large platters. Shiro Tsujimura (b. 1947), who also draws on historical kilns and 3 styles in his work, is largely self-taught, creating large wood-fired platters

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reminiscent of Iga wares in glaze application. The manipulation Akiyama Yo (b. 1953) pushes his clay body to the extremes. He of his kiln results in controlled accidents captured on the surface exploits drying times with a blow torch, resulting in the cracking of large jars and flower vases. open of wheel-thrown rings on the exterior of massive forms. Iron Kazuhiko Miwa (b. 1951) studied with Peter Volkous and filings are inserted into the clay substrate as further manipulation follows the Hagi ware tradition, located west of Bizen (which is of surface and firing process. Metavoid 8 (2005), quietly evokes where he was born), using a viscous white glaze that encapsulates the inner workings of the earth. traditional forms for flower arrangements. Embracing the Avant Garde Hewn from the Earth, Inspired by Nature The section of the exhibition titled “Embracing the Avant Garde” “Hewn from the Earth, Inspired by Nature” was the largest section showcased a generation of potters working in Kyoto and fits of the exhibition, with artists looking to geological striations and chronologically after World War II. These 20th-century artists formations in nature for source material. With largely earth-tone re-examined the traditional approach to clay by restricting the color palettes, these subtle forms are closely related to natural standards of functionality in favor of sculptural forms. Ideologi- phenomena in form and surface treatment. Environmental forces cally, they promoted ceramics as anti-vessel. including earthquakes, volcanic eruptions, and tectonic shifts are Sodeisha, an avant-garde Japanese ceramics group (1948–1998) emulated in the firing process, in turn pushing the limits of clay. was formed during the post-war era. While the works vary greatly Shoko Koike (b. 1943), whose work references sea life—il- in form and style within the group, their sources for inspiration in- lustrating where sky and water meet—is recognized as one of the clude Abstract Expressionism and the work of Jean Arp, Constantin earliest female studio potters from Japan. She is also one of the Brancusi, Paul Klee, and Joan Miró—reflecting an international first women to gain the respect of fellow Japanese potters, and conversation. Founding members Osamu Suzuki and Hiraku subsequently paved the way to success for other women in the field. Yamada engaged in political and sociological discourse through The Japanese traditional lineage of potters was once a hereditary the dismantling of structures within Japanese traditions. The system dictated by the male line. Sodeisha group (including Junkichi Kumakura and Kazuo Yagi) Machiko Ogawa (b. 1946) is an obvious favorite of the collectors demonstrates a creative autonomy that is paired with an avoidance and, perhaps, the guest curator. She had the largest number of works of convention and tradition. Many of the slab-built forms elimi- on display in the exhibition. TheLunar Fragment Series (2014), high- nate any physical reference to the vessel and contain no openings. lights fractured forms and unglazed surfaces. The reflective pools or chunks of silica glass read as minerals or gemstones, grown at depths Masters of Porcelain unattainable for humans. Ogawa’s symbiotic relationship with the The work in porcelain was a sharp contrast to the rest of the exhi- clay material is a delight for both viewer and critic. bition. These eight artists are referred to as the stars of the current

48 january 2019 www.ceramicsmonthly.org Japanese ceramics scene. It is quite easy to become enamored with paper-thin forms bathed in the palest of blue, diaphanous glazes. Satoshi Kino (b. 1987) is the youngest artist in the exhibition. He uses the wheel to throw long, flowing ribbons of clay to which he applies the finest layer of Seiji glaze (what we refer to as the translucent blue-green ). Sueharu Fukami (b. 1947) constructs wing-like sculptures that are quintessentially Japanese—the perfection of form and glaze through aerodynamic forms, as seen in Sky III (2002). Tsubusa Kato (b. 1962) imports New Zealand porcelain to cover with oozing, dripping, glassy glazes. Rough-hewn porcelain structures such as 6 Large Standing Form (2014), support mounds of glaze that form at the foot of his vases.

A Love of Decoration The work exhibited in this final grouping is at radically different ends—imperfection within a free and uncontrolled process versus formalist discipline. Surface treatment is explored through various methods of adornment, coloring, and incising. This theme has the least continuity, which is to be expected, as there are myriad ap- proaches to decoration. An incredible technique invented by Eiko Kishi (b. 1948), is Saiseki-zogan or colored-inlay. Eiko fills the clay surface with thousands of small holes, which are then painted with colored-slip inlays. She is inspired by Noh theater and its elaborate costumes that serve as 7 8 sculptural abstractions. A personal standout in this grouping is Ryoji Koie (b. 1938) an anti-war activist from the 1960s generation. Koie’s large, oribe-style jar (2004, glazed with a copper-green hue that is 4 centuries old), serves as a critique of what he considers to be superficial—the notion of perfection. Whether referring to vessel traditions or purely sculptural forms, these works are unified by un- paralleled technological and artistic achievements. I would argue that in an attempt to subvert the ideals of flawless beauty, most artists in this exhibi- tion achieved just that—a natural and unforced relationship between maker and material. The exhibition was accompanied by a full-color, 94-page catalog, published by NOMA. The catalog features an interview with Kurt Gitter and Alice 9 Yelen-Gitter on the formation of the collection, as 4 Machiko Ogawa’s Lunar Fragment-2, 161/4 in. (41 cm) in height, unglazed porcelain, glass, well an essay and artists’ biographies by Joe Earle. 2014. 5 Yo Akiyama’s Metavoid 8, 297/8 in. (74 cm) in diameter, unglazed stoneware, 2005. 6 From left to right: Haji ware jar, 141/2 in. (37 cm) in height, 4th century CE; storage jar with natural-ash glaze, 181/2 in. (47 cm) in height, 15th century CE; the author Elizabeth Kozlowski is an independent storage jar with natural-ash glaze, 131/4 in. (34 cm) in diameter, 14th–15th century CE. 7 Eiko Kishi's Noh-inspired form with colored-clay inlay, 227/8 in. (58 cm) in height, 2006. 8 Shoko curator, craft scholar, and editor of Surface Design Koike's Shell Vase, 161/2 in. (42 cm) in height, 2003. 9 Sueharu Fukami’s Sky III-I, 3 ft. 4 in. (1 m) magazine. Learn more at www.surfacedesign.org. in diameter, glazed porcelain, wood, 2002.

www.ceramicsmonthly.org january 2019 49 CERAMICS RankinFROM by Heidi McKenzie Inlet

Last fall, when I happened upon an array of Inuit sculptures displayed in the Michael Lee Chin Gallery of the Art Gallery of Burlington (https://artgalleryofburlington.com), a stone’s throw west of Toronto, Canada, I was disoriented at first. I assumed I was amidst an exhibition of soapstone carv- ings, as this is the media that is most traditionally—and I would suggest, bordering on stereotypically—associated with sculpture and art production from the indigenous people of the far north in Canada. My second in- stinct was that something wasn’t quite right. And, when I peered into the Plexiglas cases, upon closer examination, my heart leapt as I realized that what I was witnessing were Inuit ceramics. As a ceramic artist myself, I could tell from the patina of the works that they were not stone, and from their mottled organic hues of gray, charcoal, and tawny browns, I assumed they were or smoke fired. I came to know later that the works were actually finished in a unique way that circumnavigates the need for high-temperature glaze firings with the use of terra sigillata on bisque work that is subsequently fired with sawdust.

Generosity of Spirit The exhibition to which I am referring was entitled “Ceramics From Rankin Inlet.” All of the 32 works came from the collection of an individual who prefers to remain anonymous, but to whom we owe a great debt of gratitude for their generosity of spirit in bringing these works into the public domain, if only for a brief moment in time. To understand this work and the artists who made it, a little history and context is in order. The North Rankin Nickel Mine opened in 1953 close to the Inuit community of Kangirqliniq. Many locals settled in the mining town for work, but the mine closed in 1962. Regionally, a number of Inuit communities had 1

50 january 2019 www.ceramicsmonthly.org 2

government supported art centers and were producing handmade Gallery established the Kangirqliniq Centre for Learning and Arts fine art objects, prints, and carvings for Western markets, and so (KCLA), where individuals were offered a broad education from the federal government invested in an experimental arts center in analytical problem solving and Inuktitut language skills, to paint- Rankin Inlet. Two years after the mine closed, Chicoutimi, Que- ing, drawing, doll making, printmaking, and ceramics. becois ceramic artist, Claude Grenier took the helm of the arts center and actively engaged workers to pursue sewing, carving, and Distinguished on Many Fronts painting, and introduced ceramics production. Three years later, The works distinguish themselves on many fronts—they are nar- the exhibition “Keewatin Eskimo Ceramics ‘67” was presented at rative and include one or multiple human figures in virtually all the Toronto Public Library to much acclaim. Sadly, the center was instances. Roger Aksakuiak’s Beneath the Sea II tells an intricately unable to sustain itself and closed in 1975. By 1993, the privately sculpted story of the relationship between man and seal, drawing owned Matchbox Gallery revitalized ceramic production in Rankin on the Inuit people’s complex spiritual and shamanic tradition, Inlet. By 2002, with the assistance of Jim Shirley and veteran local with figurative work applied to a coil-built, amphora-like vase. ceramic artists, Yvo Samgushak and Laurent Aksadjuak, Matchbox The vessel affords the maker a visual storytelling in the round. His Trip to Marble Island skillfully depicts a freeze frame of eleven individuals on a boat, engaged in their own tasks and gives a strong sense of the communal seal hunting expeditions. These stories break Western stereotypes of Inuit bludgeoning seals, and depict respect and symbiosis between man, the land mammals, and the sea mammals. Many of the works are collaborative, insofar as they are worked on sequentially by multiple artists. This practice resonates with a core value that is simpatico with the customs and belief system of the Inuit peoples, distinct from Western solo studio production styles of making. A Man Saves his Drowning Brother is a superb example of a porcelain non-smoke fired piece created by Pierre Aupilardjuk and Leo Napayok. The details in the solo kay- aker’s clothing and the totemic-like carving on the boat are masterful. The abstract way in which the undulating waves

1 Pierre Aupilardjuk and Leo Napayok’s Messages for the Afterlife, 2014. 2 Roger Aksadjuak’s Trip to Marble Island. 3 Pierre Aupilardjuk’s Two Friends Sharing Gossip, 2014. 3 Works on loan from a private collection.

www.ceramicsmonthly.org january 2019 51 suspend fragments of drowning men straddles verisimilitude and abstract realism with a level of expert sophistication. Another of their collaborations, Messages for the Afterlife, broaches the super- natural realm with a messenger within a messenger and a multitude of messengers’ faces covering the figures’ clothing, all with upward cast gaze. The smoke firing on this work is remarkable and lends the piece a strong sense of being grounded in the organic matter of the earth, in counterpoint to the piece’s inherent unearthly subject matter. Aupilardjuk’s solo piece, Two Friends Sharing Gossip, carries similar heightened meaning through the inclu- sion of multiple faces applied in the round to the coats of the two friends. Is the artist trying to tell us that we are all much more than our individual selves? Do we carry the stories of generations? One of the collaborative pieces that stood out strongly for me was the four-artist work, Enchant- ed Polar Bear by Jack Nuviyak, John Kurok, Roger Aksadkjuak, and Leo Napayok. As a Canadian, I am somewhat familiar with the animal totems, carvings, and paintings of the West Coast Haida peoples. It’s hard not to draw parallels with this work where the goose and the humans depicted seem to emerge from the bear— whose stance is at once that of the gentle provider and the fierce predator. What this piece manages to achieve is to take narrative out of the realm of the literal and into the world of the viewer’s imagination. 4

A number of the ceramic artists whose works were featured in the exhibition come out of the soapstone carving tradition, or straddle both media, and find the additive nature of clay modeling to be more responsive than stone carving. One such artist, Lucy Sanertanut, adapted her carving skills from ivory and stone to clay. Four Winds draws on her people’s shamanic heritage, again working from the coil-built pot as a base for storytelling in the round. I am heartened to bring to light this work to a broader North American ceramic community. The challenge for its survival is public access and viewing of the work that will sustain a demand for its contin- ued creation within commercial, public, gallery and museum markets.

With thanks to Denis Longchamps, then Chief Curator of the Art Gallery of Burlington, and currently Executive Director of the Cana- dian Clay and Glass Gallery; Alysa Procida, executive director of the Inuit Art Foundation; and Angeliki Bogiatji, guest writer from Manitoba whose essay contributions to the exhibition catalog, Ceramics From Rankin Inlet published by the Art Gallery of Burlington, 2017, informed the writing of this article. 4 Roger Aksadjuak, John Kurok, Leo Napayok, and Jack Nuviyak’s the author Heidi McKenzie is an artist, author, Enchanted Polar Bear. 5 Roger Aksadjuak’s Hunter’s Last Journey. and curator living in Toronto, Canada. Learn more Works on loan from a private collection. 5 at http://heidimckenzie.ca.

52 january 2019 www.ceramicsmonthly.org PAPER TO POTS Slip Decorating

by Teresa Pietsch

My primary process for decorating pots is monoprint slip trans- I use red clay to give an earthy background to my colorful slip ferring. This allows me to constantly keep things changing—the transfers. Many of the images I draw come from flowers and plants I images, the texture, the colors—so each piece becomes its own see on walks with my dog. I translate vegetation into loose drawings little world. I was first introduced to monoprinting on clay in a that represent the natural world around me, and use these drawings workshop led by Jason Burnett at Penland School of Crafts in the to bring color and texture to my functional pottery. fall of 2014. In the spring of 2016 I assisted a workshop at Penland When throwing cups, I aim to keep the forms fairly simple to with Susan Feagin where I learned several different techniques make transferring the slip onto them a bit easier. I often give my cups involving slip transfers and layering of images. From there, I have a gentle curve and a section that has a directional change that I leave developed ways to transfer slip onto clay to get my desired effects. as the bare clay. This non-slipped area represents the ground/earth

Three cups with cut feet, wheel-thrown and altered red clay, slip, glaze, soda fired to cone 1 in a gas kiln.

www.ceramicsmonthly.org january 2019 53 and also provides blank space to expand some element of the image move to using a medium stiff rib with a bit more pressure. Once as texture, usually in the form of slip-trailed dots or lines. I think the slip has adhered to the clay, I slowly start pulling the newsprint away (5). The timing of the process varies and I have Creating a Background learned to judge when to execute each part of the process, based First, I cut a paper resist of a flower or other design. I wet the paper on the stage of clay and slip, to get desired results. If there are parts and place it on the leather-hard cup, then go over it with my finger that haven’t transferred, I lay the newsprint back down and go over or a rib to make sure it is sealed onto the pot (1). This layer will it again, applying pressure with the rib. If it has dried too much ensure some bare clay appears through the next layer of transfer. to transfer, I use the sponge to add a small amount of moisture Next, I brush colored slip onto newsprint, using a chip brush into the slip by dabbing it on the back of the newsprint, and then with stiff bristles so that it leaves the texture of the brush marks. rub the paper with the rib again. I enjoy the wrinkles and folds I often layer two colors for added depth and texture (2). I let the of the newsprint as an added texture to the pot’s surface. With slip set up for a few minutes and then wrap the newsprint around the background slip transferred, I look for the edges of the paper the cup. If I want a blurred texture, I apply the paper to the pot resist flowers and pull them off of the cup, revealing the shadow

RECIPES when the slip is wetter. If I want it to have a stiffer line, I let of the image (6). 64 the slip dry until it doesn’t have a shine. I wrap the newsprint around the cup and use a squeezed-out sponge to press the Image Transfer paper against the clay (3). The sponge helps take away some of I work from the foreground to the background when creating the extra moisture and allows the leather-hard piece to absorb transfer images on paper, starting with the outlines of floral mo- the slip’s moisture. I then use a soft silicon rib to gently press the tifs because what is painted on first becomes the foreground once slip against the clay through the back of the newsprint (4), and the image is transferred onto the cup's surface. I use the same

1 2 3

4 5 6

1 Apply paper resist to the cup. 2 Brush slip for the background onto newsprint. 3 Wrap newsprint coated in the background slip around the cup. 4 Rub the newsprint to adhere the slip around the cup. 5 Remove the newsprint used to transfer the background slip. 6 Remove the paper resist.

54 january 2019 www.ceramicsmonthly.org 7 8

9 10 11

12 13

7 Slip trail lines onto newsprint. 8 Layer slip on top of the lines. 9 Cut the newsprint into pieces. Rub the back of the image to transfer it, then remove the newsprint. 10 Press in on the flowers to alter the cup shape. 11 Cut out notches for feet. 12 Apply then reveal the bottom transfer. 13 Add slip-trailed details.

www.ceramicsmonthly.org january 2019 55 Three cups with cut feet, wheel-thrown and altered red clay, slip, glaze, soda fired to cone 1 in a gas kiln.

all-purpose base white slip colored with Mason stains for all of on a banding wheel, I decide the positions and number of cutouts the decorations, both brushed and slip trailed. I draw the design for a foot based on the image transferred onto the outside of the on newsprint with pencil, which helps give me a rough idea of cup. This time it is a four-petal flower, so it will have four cut- composition. I then loosely follow the drawing using black slip outs. After determining placement, I cut one line straight down applied with a slip-trailing bulb (7). the center of each point, make an arcing cut from each side (11), After drawing my outlines, I brush on layers of colored slip and soften the edge of the cut sections with my finger. For some to fill in the image (8). When this is all done and the images are extra decoration, I transfer an image onto the bottom of the cup filled in, I let the slip dry until it’s no longer glossy, sometimes inside the foot ring (12). using a heat gun to speed up the drying process. I often cut the The finishing touches are made with an X-Acto knife for fine- newsprint into more manageable pieces. This allows me to work line details and a slip trailer for dots and added texture (13). After on curvier surfaces without messing up the image too much when bisque firing, I glaze my pots with an interior liner glaze, and fire I’m maneuvering and applying it. them to cone 1 in a gas-fired soda kiln. I leave the exterior of the I transfer the image onto the cup that already has the back- pot unglazed, allowing the soda ash, sprayed into the kiln during ground transfer applied to it. I like to do this as two different firing, to glaze the pot. transfers so that I can choose to have the slip wetter for the background, giving a blurred effect, while the foreground can the author Teresa Pietsch lives in Penland, North Carolina, produc- stay crisp. I follow the same procedure as with the background, ing soda-fired, floral-decorated pots as Teresa Pietsch Pottery. She using a sponge and ribs to transfer the image before carefully is a member of Mica Gallery and is part of the Spruce Pine Potters removing the paper (9). Market. Her work has been featured in numerous galleries and na- tional exhibits, most recently in a two-person show at Cedar Creek Details Gallery, as a featured potter at Lark and Key Gallery, and as a focus While the pot still has the moisture from adding the transfer (flex- artist at Charlie Cummings Gallery. She was a resident artist as part ible leather hard), I go back in and use my fingers to press from of the EnergyXchange, an innovative program utilizing methane gas the inside or outside, supporting from the opposite side, to alter as a sustainable energy source from landfill offgassing. To see more, the form and add more dimension to the flowers and image (10). visit www.teresapietsch.com, Instagram: @tapietsch, Facebook: After making these alterations and placing the cup upside down @teresapietschpottery.

56 january 2019 www.ceramicsmonthly.org IMPORTANT ANNOUNCEMENT WE CHANGED OUR NAME + Leslie Ceramic & Crafts Supply =

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www.ceramicsmonthly.org january 2019 57 TECHNO FILE rapid bisque firing by Larry Camm

The most challenging firing that ceramic artists undertake is the bisque firing. It is also, more often than not, the one firing that we pay the least amount of attention to—until it’s too late! Here are a few tips for better, faster firings.

Defining the Terms Understanding the Bisque Firing Black/Carbon Coring: The result of After an explosion in a bisque firing, not only is there a significant mess to clean up, but elements incomplete oxidation of the organic and refractories in electric kilns can also be damaged. Depending on the design of the pieces impurities present within the clay body, being fired, the rest of the kiln load may be damaged as well. Bump cracks as I call them, caused resulting in a discoloration of the interior by mishandling or explosions of nearby pieces during the bisque firing, are difficult to see until bisque-ware body ranging from light gray to charcoal gray. after the glaze firing. Once the item has been glazed and fired, the crack opens up. Sometimes a damp sponge and a quick wipe over the surface of the bisque-fired piece will reveal a bump Bump Crack: A mostly invisible crack that crack, but unfortunately not always. Sometimes a crack will manifest itself after glazing. occurs from handling bone-dry ware. This Gas Venturi burners can become occluded and then promote an intense localized reduction structural defect rarely manifests until after the glaze firing. Bump cracks are not atmosphere inside the kiln’s chamber. Often this localized reduction causes random glaze defects straight like a thermal shock crack but of all sorts in the fired glaze kiln load. Most bisque firings require an oxidizing atmosphere in rather slightly jagged and almost always order to oxidize or burn off all the organic compounds within the clay body. In addition, an emanate from the outside edge or rim of oxidizing atmosphere will evacuate all gasses present in any relatively unstable oxide compounds. the piece. In order to prevent explosions and make sure all organic materials are burned out, as well Mechanical Water/Water of as maintain the proper oxidizing environment, many potters choose to use slow bisque firing Plasticity: The water used to mix a schedules. It is possible, however, to fire some pots successfully with a less conservative firing clay body. It is driven out of the clay by schedule once variables like organics and water content are understood. drying techniques used from ambient temperatures to 212°F (100°C). Bisque Firing Techniques Thermal Shock: A structural failure of Two basic approaches to bisque firing are utilized around the world. The first is bisque firing the clay body that can occur during the to a temperature that is lower than the maturity temperature of the clay body for better glaze heating or cooling cycle as the ceramic enters or exits quartz inversion at adhesion and safer handling of ware while glazing. The second is bisque firing to a temperature approximately 1050°F (566°C). These are that is higher than the maturity temperature of the glazes to vitrify forms and ensure complete clean hairline cracks. If the shard’s edge burnout of organics. For mid-range clay bodies, I suggest bisque firing from cone 08 to 06 is sharp like a broken piece of glass, then and glaze firing to cone 5 or 6. If you are using tongs when dipping pieces into glaze, and it occurred during cooling. If the shard’s the clay body was bisque fired lower than cone 08, the ware will be too soft to grasp with edge is rounded or dull, then the crack developed while heating up. the tongs without gouging its surface. Venturi Burner: A natural-draft burner Chemical and Mechanical Water that incorporates the physics of a trumpeted tube to propel fuel out of the There are two kinds of water present in every clay body formula. First, there is chemical water. burner tube and into the kiln’s fire box. Chemical water is the water that is physically bound to the clay at the molecular level. I have

1 2 3

1 A typical venturi burner design. The most significant design element is the slight trumpeting shape from the throat to the mouth. This taper increases the velocity of the gas and mixes more oxygen with the gas as it is propelled through the burner and into the kiln’s firebox. The result is a more efficient combustion of fuel. 2 Corrosion on a steel kiln frame caused by steam containing slight amounts of sulfuric acid from bisque firing without proper ventilation of the kiln’s chamber. 3 An extreme case of black coring as a result of a rapid bisque firing without enough oxygen in the kiln’s atmosphere. During a glaze firing, the free carbon can wreak havoc on glazes by introducing several defects including, but not limited to, significant pinholes.

58 january 2019 www.ceramicsmonthly.org never seen an explosion from chemical water in my career and it is Recently, I bisque fired 13½×13½×¾-inch clay tiles with 0% water not as critical to eliminate as mechanical water. content to cone 5 in 2 hours in my industrial Noritake roller hearth Mechanical water is the water that is added in the formulation of kiln. The ramp between ambient temperature and 1000°F (538°C) your clay for throwing, handbuilding, press molding, or slip casting. occurred within 15 minutes. Out of 24 tiles, we did not lose a single Mechanical water is often referred to as water of plasticity; without one. Prior to this successful test, I tried the same test with only 2% water, clay bodies are not plastic. It is this added water that must be water by weight in the tile and we lost every one of the 24 test tiles. dried from pieces in order to yield successful firings. This extreme test demonstrates that once the mechanical water has been driven out of the clay, catastrophic defects from steam are no Drying and 0% Water longer a concern. Successful bisque firing depends on proper drying techniques. These include drying your greenware to a bone-dry state and using heat to Measuring 0% Moisture drive off any remaining mechanical water. Allowing glazed bisque The technique for measuring 0% moisture in your pottery is to run ware to dry before firing it to a maturing temperature, and drying your items through a cold and heated drying cycle and then weigh ceramic decals prior to firing are also critical. Many defects in the the item. Put it back into the heated dryer, leave it for another hour, finished pottery can be traced to improper drying throughout the and weigh it again. If it is the same weight, then it is dry. If it is lighter, ceramic process. then dry it until it no longer loses weight. Drying of any ceramic product revolves around two techniques, cold Of course, it is nearly impossible to emulate the rapid climb of a drying with gentle air movement and heated drying with vigorous air roller hearth kiln with a studio potter’s kiln. However, once you have movement at 212°F (100°C). Evaporation promoted by a slow fan or dried the greenware to 0% moisture, it will be nearly impossible to natural draft in the cold drying stage is a far more powerful technique lose pottery to steam explosions. With no mechanical water in the than drying with heat, which is primarily used to drive the ambient clay or dried glaze coating on bisque ware, many glaze defects (for humidity out of clay. Both evaporation and heating are necessary to example, pinholes in matte or satin glaze finishes) can also be mitigated, dry something to 0% moisture content. if water is the culprit. I know many potters who use their kilns as dryers, but I never recommend this approach. Drying in a kiln causes the water vapor Suggested Firing Ramps and steam exiting the kiln to comingle with any sulfur that might When I fire a small top loading kiln to bisque temperature, I program be present in the water, natural gas, or clay. Once the sulfur and the controller to ramp up as rapidly as possible and yet still allow the water are exposed to heat, they form a mild sulfuric acid, which will entire chamber to heat evenly. The density of the kiln load, relative attack everything metallic in your kiln and cause it to corrode. This organic content of your clay, target temperature, along with the includes the elements in an electric kiln, thermocouples, as well as size of the kiln will dictate how fast you can fire. If you are using an any structural iron in the kiln’s frame. electric top-loading kiln and you have a convection fan, then use the There are as many different approaches to drying protocol as there fan to help even out the temperature more quickly. are potters. The potters I know use a wide variety of techniques for There are three methods of heat transfer: conduction, convection, cold and heated drying. The main goal is to dry your greenware from and radiation. Electric kilns rely almost entirely on radiation, with ambient humidity to 0% moisture prior to loading the greenware some conduction. If you can introduce a draft, then convection will into your bisque kiln. Ambient humidity is defined as the humidity occur and your kiln’s chamber will heat up faster and more uniformly. present in the atmosphere outside of the kiln. Depending on your Due to these variables, I do not have a specific ramp that I can local weather conditions, ambient humidity can run from 3% to 8% recommend other than that you can program your ramp much faster or higher by weight. This is usually enough moisture in a pot to cause than 300°F (149°C) per hour. If you are bisque firing to cone 08, and it to blow up if it is heated too quickly. At 0% moisture content, the your work is at 0% moisture, a four-hour ramp to the final firing wall thickness of a piece becomes almost totally irrelevant. temperature is not an unreasonable expectation.

Bisque Firing Curve (°C) Kiln Temperature in °C

Time Zones (each section represents approximately 15-minute increments)

Firing curve for a cone 5 bisque (1200°C) for a 3-hour duration from ambient to ambient (cold to cold) temperatures.

www.ceramicsmonthly.org january 2019 59 If you manage to get your kiln to climb at this rate, then a hold or In a gas kiln, the proper burner orifice size coupled with the proper soak at the end of the ramp is highly recommended. Holding the kiln damper setting and the correct gas pressure will all contribute to an at temperature allows the heat to evenly spread throughout the firing oxidizing atmosphere. Once a gas kiln’s chamber shows color (starting chamber. You can judge the duration of the hold by looking into the at approximately 1200°F (649°C)) if there is a visible flame shooting kiln through a spyhole while wearing welding glasses. If the core of out of the top damper, that indicates a reduction atmosphere. If the kiln’s load is much darker than the edges, then keep the soak/hold your kiln is outside and you are firing during the day, then it might going until the color of the kiln is more uniform. Pyrometric cones be impossible to see the reduction flame. Test fire at night in order to placed throughout the load are another good indicator of uniform properly set the dampers and gas pressure for bisque firings. Another temperatures when you unload your kiln. Sometimes I use an infrared way to test the kiln atmosphere is to roll up a paper torch and place thermometer to check temperature up to 1000°F (538°C), through it in front of the open bottom spyhole. If the flame from the torch the spyhole. If your kiln is very uneven during the ramp up to 1000°F jumps away from the spyhole, there is back pressure, indicating a (538°C) then it is advisable to slow it down. reduction atmosphere. If the flame from the torch seems unaffected Some clay bodies might have high concentrations of organic impurities. by the spyhole, the kiln is burning a neutral flame. If the flame from This is especially true for most terra cottas. In this case, it is advisable to the torch is sucked into the kiln, then the kiln is burning an oxidizing fire your ware slowly until you exceed 500°F (260°C). I also recommend flame. It is the oxidizing flame that is desired. that you get as much oxygen into the kiln’s chamber as possible to facilitate a more complete oxidation of the organics in the clay. Fast Firing Goals By practicing proper drying and speeding up your bisque firing Oxidizing Atmosphere in Bisque Firing schedules, you will enjoy less expense for bisque firings, less wear Oxidation of bisque ware during the entire firing schedule is an and tear on your kiln, and less defects in your fired ware. If you essential technique in order to produce glazes relatively free of experience explosions in your bisque firings, I can assure you that it blemishes. Pinholes, surface divots, and white spots in hand-painted has very little to do with your firing curve and everything to do with decorations, as well as a host of minor blemishes are often caused the moisture content of your greenware. by bisque kiln atmospheres that are neutral to slightly reducing. In an electric kiln (neutral atmosphere) with a convection fan, simply the author Larry Camm has 50 years experience as a studio potter open the fan slightly to introduce an oxidation atmosphere. If you and industrial ceramic factory consultant, and was a professor at the have a damper on the kiln, then pull the damper open a bit to allow state university and local college level for 11 years. He holds a master’s oxygen to enter the chamber. degree in from California State University at Long Beach.

43

Silicon Carbide Kiln Shelves Custom Manabigama Kiln Refractory Packages

60 january 2019 www.ceramicsmonthly.org We’re Wide-Opened to New Ideas!

800.241.4400

www.greatkilns.com

www.ceramicsmonthly.org january 2019 61 TIPS AND TOOLS knockdown

display shelving by Madeleine Coomey A few boards, simple tools, and an afternoon are all you need to construct this practical shelving design. The best part is that next time you assemble them, you won’t need any tools.

Cut List • 3 shelves, 23½ inches long • 2 shelf supports, 22 inches long • 2 legs from one board split into two 10½-inch lengths Create the shelves by cutting one of the boards into the 3 shelves. I made mine 23½ inches in length but they can be shorter if you choose. Cut the width of the shelves to 4½ inches. Wear eye protection when using the jigsaw. Notes for images 2–5: Dashed lines indicate layout, solid lines are cut lines. Keep all 45° angles true so the unit sits level. It is important to cut within lines when cutting the notches to get a snug shelf fit. Shelf Supports Two shelf supports are required, identically cut. Once the first is cut, use it as a template for the second. Lay out the dashed lines first, they are your reference lines for drawing in the notches. Keep these pencil lines faint so they can be erased later on (2). A marks the depth of the notches for the shelves. B marks the other corner of the notch. C indicates the depth of the notch for the leg. D marks the other corner of the notch for the leg. Next, mark out the all cutting lines as indicated by the solid black lines (3). The first notch is 2 inches from the base end of the board. 1 Make a pencil mark there. Using a protractor set at 45°, mark a line from the 2-inch mark to pencil line A. Mark the location for a second This project came about when I needed a new sales display unit line parallel to this line; the distance from the first angled line will be for my mugs. I wanted the display to be easy to transport, quick to determined by the measurement of your shelf thickness. Mine are assemble without tools or hardware, and inexpensive. ¾ inch thick. Draw a second line from the edge of the board to line This particular design met all my criteria. The shelving unit is a B, then connect the two angled lines at the ends. Continue marking compact 23½×4½×4½ inches when disassembled and expands to out the middle and top notches. 23½×15½×18 inches when assembled. Setting it up only takes a Cut along the angled notch lines, then make several cuts within couple of minutes, with no screws or tools required (1). The cost the notch area up to the end line (4). Be sure to keep the notches no for the entire project came in at $13 for materials. wider than the thickness of the shelf board. Remove the remaining wood between the lines with a chisel. Clean up the end of the notches Supplies using the hammer and chisel. Once the three notches that will hold • 2 boards, 1 in.×6 in.×6 ft. (I used knotty pine) the shelves are cut, trim the board to width. • Pencil Mark and cut out the single notch that will hold the leg to lines • Protractor C and D as indicated and in the same manner as previous notches. • Straight edge Next, trim down the corners of the top and bottom of the shelf • Tape measure support pieces. These are also cut at a 45° angle. • Chisel, ¼–½-inch size • Hammer Legs • 220-grit sandpaper Mark lines as indicated on the 10½-inch board (5). Cut the board • Jigsaw lengthwise down the middle. Cut the notches out on the ends of the

62 january 2019 www.ceramicsmonthly.org 151/2 in.

81/2 in. 11/2 in. B 1 in. A 2 in. 11/4 in. B A C D 41/4 in. C 21/8 in. 13/4 in. D 2 in.

12 in. 2 3

11/2 in.

4 5 6

1 Assembled knockdown display shelving with Coomey’s cone 10 soda-fired mugs. 2 Shelf support board with reference pencil lines (dotted lines) and cut lines (solid lines). 3 Shelf support board shown with notches and angled cuts marked. 4 Notches shown roughly cut by jigsaw (left) and with material removed by using a chisel and hammer (right). 5 Leg board with cut lines shown as solid lines. 6 All parts cut, sanded, and stacked. All photos: David Dickinson.

two leg pieces. They will be cut to the thickness of the shelf support the author Madeleine Coomey is a studio potter living and working boards (¾ inch wide). in British Columbia, Canada. She makes functional work that can be found in countries around the world and is an active member of Finishing and Assembly the Ceramics Arts Network Community Forum. To learn more, visit Sand down the unit to remove pencil lines and rough spots (6). Test madeleinecoomey.com. the fit of the shelves in the notches; the fit should be fairly snug but not so tight that you have to force them in. Sand the notches wider if necessary. You can leave the wood natural or finish with stain, Send your tip and tool ideas, along with plenty of images, to varnish, or paint. If using a finish, check shelf fit again once complete [email protected]. If we use your idea, you’ll receive a complimentary one-year subscription to CM! to ensure the shelves still fit within the notches.

www.ceramicsmonthly.org january 2019 63 RECIPES slips and glazes Adrian King and Teresa Pietsch share versatile slip and glaze recipes they use on their soda, reduction, and ARTICLE

36 wood-fired work. ARTICLE 53

1 3

Adrian King’s Recipes

TENMOKU (1) TITANIUM WHITE (2) Cone 10–11 Oxidation/Reduction/Soda Cone 10–11 Reduction/Soda Gerstley Borate ...... 12.50 % Bone Ash...... 2.04 % Whiting...... 6.25 Talc ...... 7.14 Custer Feldspar ...... 77.00 Whiting...... 19.39 EPK Kaolin...... 4.25 Custer Feldspar ...... 32.65 100.00 % EPK Kaolin...... 9.19 Add: Red Iron Oxide...... 7.50 % Silica ...... 29.59 ...... 1.00 % 100.00 % Apply a medium thickness to show slips through the Add: Titanium Dioxide...... 3.06 % glaze. A heavier reduction atmosphere results in a Apply to a medium thickness. This glaze will run more red/black glaze. A more oxidized atmosphere when hot as well as when layered with other produces a yellow/black glaze. I soda fire this glaze glazes. I soda fire this glaze to cone 10–11 reduc- to cone 10–11 reduction in a gas-fired kiln. tion in a gas-fired kiln.

Teresa Pietsch’s Recipes

ALL PURPOSE WHITE SLIP (3) DARBY WHITE LINER (3) 2 Cone 04–10 Oxidation/Reduction/Soda Cone 04–5 Oxidation/Reduction/Soda 1 Adrian King’s dinner plate, red stoneware, white Ferro 3124...... 22 % Gerstley Borate ...... 40 % slip-trailed decoration, tenmoku glaze, soda fired EPK Kaolin...... 28 Spodumene...... 41 to cone 11 in a gas kiln, 2017. 2 Adrian King’s OM4 ...... 28 Silica ...... 19 ginger jar, red stoneware, white slip trailing, titanium white glaze, soda fired to cone 11 in a Silica ...... 22 100 % gas kiln, 2017. 3 Teresa Pietsch’s cups, red clay, 100 % Add: Titanium Dioxide...... 5 % monoprint slip transfer, slip trailing, Darby White Zircopax...... 5 % Liner glaze, soda fired to cone 1 in a gas kiln. I mix up a large batch of white slip and pull out a cup at a time to mix with various colorants. I use This is a versatile glaze and works well as a base ¼ tsp to 2 tbsp of Mason stain, depending on my for adding oxides or Mason stains. It works well in desired concentration. oxidation, reduction, and atmospheric kilns. Want to test more slip and glaze recipes? Looking for recipes at different temperature Both of these recipes work well in oxidation and reduction. I fire in an oxidation atmosphere with a slight body reduction between soda sprays at cone 03 and cone 01. ranges? Visit ceramicrecipes.org.

64 january 2019 www.ceramicsmonthly.org MAKE TRIMMING FUN!

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PENLAND PENLAND.OG/CLAY

MAKE SOMETHING EXTAODINAY

www.ceramicsmonthly.org january 2019 65 residencies and fellowships This annual guide lists opportunities in alphabetical order by US state, then by country. To ensure complete under- 2019standing of application requirements and what the experience entails, please contact the individual sponsor.

Alaska Colorado District of Columbia U.S. Forest Service Carbondale Clay Center Smithsonian American Art Museum Contact: Barbara Lydon, PO Box 129, Girdwood, AK 99587; Contact: Angela Bruno, 135 Main St., Carbondale, CO 81623; Contact: Amelia Goerlitz, PO Box 37012, MRC 970, Wash- [email protected]; www.fs.usda.gov/goto/votw; 907-754-2318. [email protected]; www.carbondaleclay.org; 970- ington, DC 20013-7012; [email protected]; Voices of the Wilderness Alaskan 963-2529. www.americanart.si.edu/fellowships; 202-633-8353. Artist Residency CCC Artist Residency Program (2 residencies) The James Renwick Fellowship in American Craft Duration: June–August, residencies average 7–9 days. Duration: September 1, 2019–August 31, 2020. Application Duration: 3–12 months. Application Deadline: Application Deadline: March 1. No application fee. Eli- Deadline: April 5. Application Fee: $30. Eligibility requirements: December 1. Eligibility requirements: PhD candidates, postdoc- gibility requirements: must be comfortable camping/traveling BFA in ceramics or equivalent. Residents are responsible for firing toral studies, senior scholars, or equivalent, and publication in backcountry, responsible for getting to and from Alaska. fees/clay materials. Fee includes: semi-private studio space and use history. Stipend: yes. Stipend includes: $32,700, plus research Residency includes: transportation to and from the field and of facilities. Stipend: no. Opportunities and responsibilities: volunteer and travel allowances. Postdoctoral or senior fellowship stipend field gear. Food stipend during fieldwork may be available. 25 hours/month, teaching, outreach programs, group exhibitions. is $4000 per month for up to 8 months, plus research and travel Opportunities and responsibilities: artists engage in wilderness allowances. Opportunities and responsibilities: residential; dis- stewardship projects and donate one piece of artwork. Anderson Ranch Arts Center sertation or independent research. Contact: Jessica Cerise, Artists-in-Residence Program Coordinator, PO Box 5598, Snowmass Village, CO 81615; District Clay Gallery California [email protected]; www.andersonranch.org; Contact: Cass Johnson, 2414 Douglas St. NE, Washington, DC, 970-923-3181. 20018; [email protected]; www.districtclaycenter.com/ Mendocino Art Center resident-artists.html; 202-341-8269. Contact: Evan Hobart, PO Box 765, Mendocino, CA 95460; Artist-In-Residence [email protected]; www.mendocinoartcenter.org; Duration: October–December or February–April. Application Resident Artist Deadline: February 15. Eligibility requirements: emerging or 800-653-3328. Duration: 1 year. 3 positions, starting August 1. Application established artists. Residency fees: $1500. Four of the 28 residen- Deadline: April 12. No application fee. Eligibility requirements: Artist in Residence cies are fully funded fellowships awarded by the jury panel. Fee Bachelor or Master of Arts with a significant body of ceramic work. Duration: October 1–May 15. Application Deadline: includes: housing, studio space, and meals. Stipend: no. No residency fee. Stipend: yes. Stipend includes: $800/month for April 11. Eligibility requirements: applicants should hold a BA, 20 hours work/week at center. Opportunities and responsibilities: BFA, MFA, or life equivalency. Residency fees: variable. Fee AH HAA School for the Arts teaching opportunities, exhibition final show in gallery. includes: housing, studio space, access to equipment and kilns. Contact: Karen Overn, 300 S. Townsend St., Telluride, CO Stipend: no. Opportunities and responsibilities: studio, kilns, 81435; [email protected]; www.ahhaa.org; 970-728-3886. exhibition and selling opportunities. Ceramic Intern Florida Richard Carter Studio Duration: 10 weeks. Application Deadline: March 5. Eli- Morean Center for Clay gibility requirements: experience working with kids, art education Contact: Richard Carter, 1570 Ink Grade, Pope Valley, CA 94567; Contact: Matthew Schiemann, 420 22nd St. S, St. students encouraged. Fee includes: dorm-style housing. Stipend: [email protected]; www.richardcarterstudio.com; Petersburg, FL 33712; [email protected]; yes. Stipend includes: $500. Opportunities and responsibilities: 707-965-2383. www.moreanartscenter.org; (727) 827-7162. assist classes, studio maintenance, 40 hours per week, teaching Residency assistance, non-profit experience. Morean Center for Clay Artist in Residence Duration: Varies. Application Deadline: ongoing. Fee Duration: 1 year with ability to reapply. Application Dead- includes: studio rent, firing, and materials costs; limited on-site line: April 15. Application fee: $30. Eligibility requirements: BFA housing available. Opportunities and responsibilities: access to Connecticut or equivalent. Residency fees: yes. Stipend: yes. Stipend includes: anagama, 3-chamber noborigama, gas, electric, glaze, soda, Guilford Art Center each resident agrees to work a total of 15 hours a week in ex- change for 24-hour studio access, firings, and discounts on clay. and salt kilns. Contact: Maureen Belden, PO Box 589, Guilford, CT Work includes a wide variety of studio maintenance. Opportuni- 06437; [email protected]; 203-453-5947; Sonoma Ceramics, Sonoma ties and responsibilities: paid work and teaching opportunities, www.guilfordartcenter.org. Community Center installing exhibitions, assisting workshops, studio maintenance, Contact: Kala Stein, 276 E. Napa St., Sonoma, CA 95476; Kala@ Residency firing kilns, splitting wood, mixing glazes. SonomaCommunityCenter.org; www.sonomacommunitycenter. Duration: 12 months; September 2019–August 2020. Appli- org/ceramics-scc.html; 707-931-4290. cation Deadline: June 15. Eligibility requirements: emerging Armory Art Center Contact: Mark Walnock, 811 Park Pl., West Palm Beach, FL Sonoma Ceramics Artist in Residence Fall through established artists. Stipend: yes. Opportunities and 33401; [email protected]; www.armoryart.org; Duration: 6 months. Application Deadline: April 14. responsibilities: studio monitoring and inspiring students, help with glaze upkeep, communal studio space and storage, free 561-832-1776. Eligibility requirements: not currently enrolled in classes or degree firings, exhibition. programs. Fee includes: free lodging, firings, glazes, and studio Ceramics Artist In Residence access. Stipend: yes. Stipend includes: $750/month, lodging, fir- Duration: 9 months. Application Deadline: April 16. No ings, glazes, and studio access. Opportunities and responsibilities: Delaware application fee. Eligibility requirements: teaching experience No work 20 hours/week, daily studio management, paid teaching residency fee. Stipend: yes. Stipend includes: $1000/month. Op- opportunities, and solo exhibition. Winterthur portunities and responsibilities: 20 hours per week on premises, Contact: Winterthur, 5105 Kennett Pike, Winterthur, DE community outreach, studio monitoring, workshop assistance, Djerassi Resident Artists Program 19735; [email protected]; www.winterthur. contribution of a piece, gallery exhibition, firing kilns, and teach- Contact: Program Director, 2650 Bear Gulch Rd., Woodside, org/?p=418; 302-888-4637. ing opportunities. CA 94062; [email protected]; www.djerassi.org; Research Fellowship Program 650-747-1250. Duration: 1–12 months. Application Deadline: Georgia Djerassi Resident Artists Program January 15. No application fee. Eligibility requirements: see Duration: 4–5 weeks. Application Deadline: March 15. website for application requirements. No residency fee. Stipend: The Hambidge Center for Creative Application fee: $35. Eligibility requirements: Residencies are yes. Opportunities and responsibilities: research and create Arts & Sciences awarded competitively at no cost to national and international projects that interpret the past and our collections. Studio Contact: Dayna Thacker, PO Box 339, Rabun Gap, GA 30568; artists in various disciplines. space is not provided. [email protected]; www.hambidge.org; 706-746-7324.

66 january 2019 www.ceramicsmonthly.org Hambidge Residency Program residency fee. Stipend: yes. Stipend includes: Private studio, firings Cultural exchange with African potters Duration: 2–8 weeks. Application Deadline: January and materials, solo exhibition, and up to $24,000. Opportunities Duration: August 17–August 30. Application Deadline: 15, April 15, and September 15. Application fee: $30. Eligibil- and responsibilities: teaching 2 classes/semester and 10 hours of June 1. No application fee. Eligibility requirements: an interest ity requirements: open to knowledgeable, experienced ceramic departmental contribution a week. in working with artisans from Ghana. Residency fees: $1800. artists. Residency fees: $250/week. Fee includes: private cabin Fee includes: airport pickup, room, food, materials, workshops, equipped with small kitchen and bathroom, 24/7 studio access. Maine and visit to traditional village. Stipend: no. Opportunities and Stipend: yes. Stipend includes: $700 and 2 weeks residency fees responsibilities: can work with neighborhood children, meet local waived. Distinguished Fellowships are available. Opportunities Haystack Mountain School of Crafts artisans, and visit galleries. and responsibilities: help clean the facilities, pay deposit/firing. Contact: Ginger Aldrich, PO Box 518, Deer Isle, ME 04627; Mudflat Pottery School and Studios [email protected]; www.haystack-mtn.org; 207- Art Center West Contact: Lynn Gervens, 81 Broadway, Somerville, MA 02145; 348-2306. Contact: AJ Argentina, 38 Hill St., Ste. 100, Roswell, GA 30075; [email protected]; www.mudflat.org; 617-628-0589. Open Studio Residency [email protected]; www.roswellclaycollective.com; Ceramic Artist Residency Duration: May 27–June 8. Application Deadline: March 1. 770-641-3990. Duration: 1 year. Application Deadline: April 10. Eligibil- Application fee: $50. Eligibility requirements: participants must Resident Artist ity requirements: applicants should have knowledge of a variety be 21 years of age or older and students enrolled in an academic Duration: 12–24 months. Application Deadline: May 1. of clay techniques and some kiln firing experience, the ability program during the time of the residency are eligible to apply. Eligibility requirements: MFA, BFA, or equivalent experience. to work independently, 2 public presentations, minimum of 20 No residency fee. Stipend: no. Opportunities and responsibilities: Opportunities and responsibilities: studio maintenance: 10 hours/ hours/week in the studio. week includes housing (utilities not included), studio space, and opportunity for experimentation with digital fabrication. exhibition. Teaching opportunities and part-time hours available. Watershed Center for the Ceramic Arts Worcester Center for Crafts Contact: Tom O’Malley, 25 Sagamore Rd., Worcester, MA 01605; Contact: Claire Brassil, 19 Brick Hill Rd., Newcastle, ME 04553; [email protected]; www.worcestercraftcenter.org; 508- [email protected]; www.watershedceramics.org; Illinois 753-8181 ext.304. 207-882-6075. Artist-in-Residence Lillstreet Art Center Summer Residency Duration: 10 months, September–June. Application Dead- Contact: Mary Drabik, 4401 N. Ravenswood Ave., Chicago, IL Duration: Two-week sessions, June–August. Application line: April 1. Application fee: $25. Residency fees: weekly work 60640; [email protected]; https://lillstreet.com; 773-769-4226. Deadline: rolling admissions; scholarship deadline February exchange available. Fee includes: Semi-private studio space, ac- Artist in Residence in Ceramics 15. No application fee; scholarship app fee $25. Residency fees: cess to facilities. Stipend: yes. Opportunities and responsibilities: Duration: 1 year. Application Deadline: May 2019. Ap- $1600. Fee includes: room, board, 24-hour studio access. Stipend: minimum 25 hours/week in studio, volunteer studio support, plication fee: Slideroom fee. Eligibility requirements: BFA, MFA no. Opportunities and responsibilities: 2 weeks of uninterrupted exhibition, sales, mentoring, and teaching opportunities. or equivalent experience. No residency fee. Stipend: yes. Stipend studio time. includes: $200/month, 24/7 access, semi-private studio, firings Salad Days Artist Residency and materials included. Opportunities and responsibilities: teach Duration: May–September. Application Deadline: Febru- Michigan classes and workshops, year end exhibition, 20 contact studio ary 15. Application fee: $25. Eligibility requirements: any ceramic hours/week: 10–12 hours of studio maintenance and 10 hours artist comfortable working independently in a studio. Stipend: yes. Art Shape Mammoth Visitor Center personal professional development. Stipend includes: private room and board, 24-hour studio access, Artist Camp Contact: Amy Hosterman, Airport Rd., Ewen, MI 49925; Terra Incognito Studios and Gallery clay, glazes, and firings. Opportunities and responsibilities: produce 500 ceramic plates for annual fundraiser; exhibition opportunities. [email protected]; www.visitorcenterartistcamp.org; Contact: David Toan, 246 Chicago Ave., Oak Park, IL 60302; 612-385-2835. [email protected]; www.terraincognitostudios.com; Near-Wilderness Creative Retreat 708-383-6228. Maryland Duration: July 27–August 9. Application Deadline: Residency ongoing—first come, first served. Application fee: $25. Eligibility Duration: 1 year minimum, 2 year maximum. Application Baltimore Clayworks Contact: Kevin Rohde, 5707 Smith Ave., Baltimore, MD 21209; requirements: previous clay experience helpful but not required. Deadline: May 15. Eligibility requirements: Bachelor’s degree Residency fees: $750. Fee includes: all meals, camping sites, preferred, but not required. Residency includes: 24-hour access [email protected]; www.baltimoreclayworks.org; 410-578-1919. water, bathroom facilities, all clay, glazes, and firings, local to studio, clay at cost, and free firings, professional mentoring, transportation to areas of interest. Stipend: no. Opportunities Short-Term Residency teaching, and group exhibition opportunities. Stipend: may be and responsibilities: assisting with public workshops, firing kilns, Duration: 1–3 months. Application Deadline: ongoing. available. Responsibilities include: 15 hours/week in classrooms, hand-processing clay, cooperative studio maintenance. mixing glazes, loading/firing kilns, and reclaiming clay, etc. Eligibility requirements: ceramic artists working on a specific project or body of work. Residency fees: $300. Fee includes: private studio Khnemu Studio on Fernwood Farm Iowa space, and use of studio equipment. Stipend: no. Opportunities Contact: Dawn Soltysiak, 6322 113th Ave., Fennville, MI and responsibilities: teaching and special event opportunities. 49408; [email protected]; www.khnemustudio.com; Iowa Ceramics Center and Glass Studio 269-686-6343. Contact: Ellen Kleckner, 329 10th Ave, SE #117, Ce- Massachusetts Pottery Intern/Residency Program dar Rapids, IA 52401; [email protected]; Duration: 2–3 months. Application Deadline: www.iowaceramicscenter.org; 319-365-9644. Ceramics Program, Office for the Arts March 15. No fee. Eligibility requirements: previous clay experi- Long Term Resident Artist at Harvard ence, motivated. No residency fee. Stipend: yes. Stipend includes: Duration: 1–2 years. Application Deadline: April 15. No Contact: Kathy King, 224 Western Ave., Allston, MA 02134; $500 payable at the end of commitment, free housing and use of application fee. Eligibility requirements: BFA, MFA, or equivalent. [email protected]; https://ofa.fas.harvard.edu/ceramics; studio. Opportunities and responsibilities: work 25 hours/week. 617-496-4751. No residency fee. Stipend: no. Opportunities and responsibilities: Ox-Bow School of Art and Artist In Residence at Ceramics Program, Office teaching, studio maintenance and work, gallery sales, exhibitions, Artists’ Residency community outreach. for the Arts at Harvard Duration: 2–4 years. Application Deadline: April 1. No Contact: Annie Fisher, P.O. Box 216, Saugatuck, MI 49453; application fee. Eligibility requirements: varies. All applicants [email protected]; www.ox-bow.org; 800-318-3019. Kansas should be able to fire the kiln in which they process their work Fall Artists’ Residency Lawrence Arts Center and arrange for training and certification if needed. Stipend: no. Duration: 2–5 weeks. Application Deadline: May 1. Opportunities and responsibilities: Personal studio space, materi- No application fee. Fully funded residency. Eligibility require- Contact: Kyla Strid, 940 New Hampshire St., Lawrence, KS 66044; als and firing, opportunities to teach, solo exhibition in Gallery ments: not enrolled in a degree-seeking program. Residents [email protected]; www.lawrenceartscenter.org; 785- 224 of work completed during residency, and more. receive a studio, room and board, and are responsible for 843-2787. materials and travel. Stipend: yes, varies on length of resi- Ceramics Artist in Residence Emmanuel College dency. Opportunities and responsibilities: present work to the Duration: August 1, 2019–July 31, 2020. Application Contact: Chantal Harris, 400 The Fenway, Boston, MA 02115; community, exhibition. Deadline: April 15. Application fee: $25. Eligibility require- [email protected]; www.emmanuel.edu/ecar; 617-264-7687. ments: MFA or equivalent. No residency fee. Stipend: yes. Stipend ECAR 2019 includes: semi-private studio, furnished housing, some materials, Duration: 8 weeks. Application Deadline: February 1. No Minnesota free firings, $1000 honorarium for professional development, application fee. Eligibility Requirements: must not be enrolled in access to other studios plus the woodshop in the building. Clay Coyote Pottery & Gallery an academic program. No residency fee. Stipend: yes. Stipend Contact: Morgan Baum, 17614 240th St, Hutchinson, MN Opportunities and responsibilities: exhibition, assist with studio includes: $1000 for materials and food, up to $1000 for travel, maintenance, teaching, artist talks, and outreach. 55350-5415; [email protected]; www.claycoyote.com/; housing on campus, studio space, and shared tools. Opportunities 320-587-2599. Kansas State University Dept of Art and responsibilities: demo, lecture to art history course, donate one work, exhibition. Clay Coyote Emerging Artist Contact: Nick Geankoplis, 111 Willard Hall, Manhattan, KS Duration: 1–5 years. Application Deadline: Ongoing. No 66506; [email protected]; http://art.ksu.edu; 785-532-6605. Cross Cultural Collaborative Inc. application fee. Residency fee includes: dedicated studio space, K-State Ceramics Residency Contact: Ellie Schimelman, 45 Auburn St., Brookline, MA 02446; wheel, tools, materials, use of facilities, gallery sales. Stipend: Duration: August 16–July 1. Application Deadline: [email protected]; www.culturalcollaborative.org; yes. Opportunities and responsibilities: community teaching, April 15. Application fee: yes. Eligibility requirements: MFA. No 857-261-0474. must buy clay.

www.ceramicsmonthly.org january 2019 67 Northern Clay Center sibilities: semi-private studio space; stipend for clay supplies and Red Lodge Clay Center Contact: Jill Foote-Hutton, 2424 Franklin Ave. E, Minneapolis, firings; mentoring; exhibition; studio maintenance, donate a piece. Contact: David Hiltner, PO Box 1527 , Red Lodge, MN 55406; [email protected]; www.northern- Career Residency MT 59068; [email protected]; claycenter.org/artist-services/artist-fellowships/mcknight-artist- Duration: 1-5 years. Application Deadline: April 15. No www.redlodgeclaycenter.com; 406-446-3993. fellowships-ceramic-artists; 612-339-8007. application fee. Eligibility requirements: professional artist for at Short-term Residency Jerome Ceramic Artist Project Grant least 5 years. No residency fee. Stipend: yes. Stipend includes: ma- Duration: 2–12 weeks. Application Deadline: May 1. Ap- Duration: April 1–December 31. Application Deadline: terials and firing. Opportunities and responsibilities: semi-private plication Fee: $40. Eligibility requirements: 18 and up. Residency February 15. Eligibility requirements: ceramic artists who have studio, stipend for clay and firings, outreach, teaching, mentoring, fees: $175/week. Fee includes: studio, housing. Stipend: no. completed formal undergraduate academic training, no students. exhibition of work, studio sales, donate a piece. Long-term Residency Six months of residency in MN required. Stipend: Yes. Stipend Fellowship Residency Duration: up to two years. Application Deadline: February includes: $6000 grant. Opportunities and responsibilities: exhibi- Duration: 1–6 months. Application Deadline: minimum 1. Application Fee: $40. Eligibility requirements: Applicant must tion opportunity. of 6 months before proposed start date. No application fee. be at least 18 and have a demonstrated ability to fulfill residency McKnight Artist Residency for Ceramic Artists Eligibility requirements: five years of experience as a profes- expectations No residency fee. Stipend: yes. Stipend includes: Duration: 3 months. Application Deadline: May 24. No sional artist. No residency fee. Stipend: no. Opportunities and $350/month plus furnished housing and utilities, $1200 materials application fee. Eligibility requirements: not a resident of Min- responsibilities: semi-private studio, discounted materials and and firing budget, private studio, professional development op- nesota. No residency fee. Stipend: yes. Stipend includes: $6000 firings, housing, donate a piece, community interaction, teaching, portunities, annual exhibition. Opportunities and responsibilities: award, studio space provided at no cost, and a glaze and firing exhibition, marketing. 20 hours of work exchange/week, be an active and productive member of the RLCC community. allowance. Opportunities and responsibilities: lecture, exhibition, KC Clay Guild possible teaching opportunity. Do Good-MJ Wood Memorial Short-Term Residency Contact: Louis Reilly, 200 W 74th St., Kansas City, Duration: 24 days. Application Deadline: May 1. Ap- McKnight Artist Fellowship for Ceramic Artists MO 64114; [email protected]; 816-363-1373; plication fee: $10. Develop a socially-conscious body of work Duration: 1 year. Application Deadline: May 25. http://kcclayguild.org/Artists-in-Residence. Eligibility requirements: Minnesota resident, beyond an or project. No residency fee. A stipend may be available for Long Term Artist in Residence emerging artist. Stipend: yes. Stipend includes: $25,000. selected projects to assist with travel and/or project expenses. Duration: 1–2 years. Application Deadline: April 15. Opportunities and responsibilities: present workshop, exhibi- Opportunities and responsibilities: studio, housing, possible Application fee: $30. Stipend: yes. Stipend includes: $2500/year. tion with catalog. exhibition/workshop opportunity. Opportunities and responsibilities: exhibition, teaching, assisting Artist-Invites-Artists (AIA) Emerging Artist Residencies workshops, firing kilns, mixing clay and glazes. Duration: September 1, 2019–August 31, 2020. Application Duration: 2–4 weeks. Application Deadline: May 1. Deadline: April 12. No fees. Recent college graduate. Stipend: Craft Alliance Center of Art + Design Application Fee: $40. Eligibility Requirements: emerging through yes. Stipend includes: materials and firings. Opportunities and Contact: Stefanie Kirkland, 6640 Delmar Blvd., St. established artists invite up to 7 artists. Residency fees: $25 per responsibilities: exhibition, professional development, possible Louis, MO 63103; [email protected]; day. Fee includes: 1400 square foot shared studio space, housing, teaching opportunity. www.craftalliance.org; 314-725-1177. discounted materials. Stipend: no. Opportunities and responsibili- ties: possible exhibition and/or gallery representation. Craft Alliance Studio Artist Residency Mississippi Duration: 6 or 12 months. Application Deadline: May. Application fee: $35. No residency fee. Stipend: yes. Stipend Nebraska Natchez Pottery Studios includes: $250/month. Opportunities and responsibilities: private Contact: Patricia Huffines, 101 Clifton Ave., Natchez, MS studio, teaching. LUX Center for the Arts Contact: Lindsey Clausen, 2601 N. 48th St., Lincoln, 39120; [email protected]; www.natchezpottery.com; NE 68504; [email protected]; 402-466-8692; 601-215-5121. Montana www.luxcenter.org/get-involved/artist-in-residence. Resident Artist Ceramic Artist-in-Residence Duration: 1–2 years. Application Deadline: ongoing. Archie Bray Foundation for the Duration: 1 year. Application Deadline: April 3. Applica- Eligibility requirements: 2 years of ceramic studies, ceramics Ceramic Arts tion fee: $15. Eligibility requirements: MFA or BFA with strong undergraduate degree preferred. Fee includes: private studio, Contact: Amanda Wilkey, 2915 Country Club Ave., Helena, desire to teach. Artists with more than one area of expertise are materials, firings, and workshop participation. Stipend: no. MT 59602; [email protected]; http://archiebray.org; 406- preferred. No residency fee. Stipend: yes. Stipend includes: $80 Opportunities and responsibilities: studio work, teaching, studio 443-3502. for materials. Opportunities and responsibilities: paid teaching, maintenance, firing kilns, formulating and making glazes. Etchart-Satre Fellowship, Lilian Fellowship, firing kilns, basic studio maintenance, solo exhibition, group Lillstreet Art Center Fellowship, Joan Lincoln exhibitions, curatorial. Missouri Fellowship, Matsutani Fellowship, MJD Fellowship, Quigley-Hiltner Fellowship, Art Farm Access Arts Speyer Fellowship, Taunt Fellowship, and Contact: Ed Dadey, 1306 W. 21 Rd., Marquette, NE 68854- Windgate Fellowship Contact: Shawna Johnson, 1724 McAlester St., Columbia, MO 2112; [email protected]; www.artfarmnebraska.org. Duration: 1 year. Application Deadline: March 1. 65201; [email protected]; www.schoolofservice.org; Artist-in-Residency Eligibility requirements: ceramic artists. Residency fees: $35. 573-875-0275. Duration: June 1–November 1. Application Deadline: Stipend: yes. Stipend includes: $5000 fellowship, semi-private March 1. Application Fee: $20. Eligibility Requirements: BA or Ceramic Resident Artist studio, access to facilities. Opportunities and responsibilities: above. Residency Fees: varies. Fee Includes: individual resident’s Duration: 3 months–1 year. Application Deadline: roll- work 4 hours/week, donate one piece, teaching, exhibition, costs for material and firings. Stipend: no. Opportunities and re- ing basis. No application fee. Eligibility requirements: BFA or and sales opportunities. equivalent. Willing to relocate. No residency fee. Stipend: no. sponsibilities: accommodations and studio, access to equipment, Opportunities and responsibilities: housing and studio space, 1 The Clay Studio of Missoula 12 hours/week work exchange. bisque and 1 glaze firing per month, clay, career development Contact: Shalene Valenzuela, 1106 A Hawthorne St., Mis- Tethon 3D help (marketing), assistance with writing grants, gallery con- soula, MT 59802; [email protected]; Contact: Karen Linder, 719 S. 75th St., Omaha, NE 68114; tracts, and more. Expectations: 10–15 hours a week includes www.theclaystudioofmissoula.org; 406-543-0509. [email protected]; http://tethon3d.com/services/workshops; teaching classes, studio upkeep and maintenance, outreach Wood Fire Resident Artist 402-639-2446. events, and more. Duration: 1–2 years. Application Deadline: April 4. Appli- Ceramic 3D Printing 323CLAY cation fee: $28. Eligibility requirements: BFA, MFA, or equivalent, Duration: 3–14 days. Application Deadline: ongoing. ample wood-fire experience. Stipend: yes. Stipend includes: some Contact: Cindy Powers, 323 W. Maple Ave., Independence, MO Residency fees: $500/day. Fee includes: housing, 2 meals. funding for professional development. Opportunities and respon- 64050; [email protected]; www.323clay.com; 816-254-7552. Discounts for more than 5 days. Stipend: no. sibilities: 5 hours/week, studio duties, managing community wood 323CLAY Resident Artist prep and firing, lectures, exhibitions, paid teaching opportunities, Duration: 1–2 years. Application Deadline: May. No ap- semi-private studio, solo exhibition. Nevada plication fee. Stipend: no. Opportunities and responsibilities: fire kilns, mix glazes, teach, assist at workshops and events, clean, Short Term Residency Clay Arts Vegas maintain studio. Semi-private studio, clay, glaze, use of equipment. Duration: 1–6 months. Application Deadline: April 4. Contact: Thomas Bumblauskas, 1511 S. Main St., Las Application fee: $28. Eligibility requirements: BFA, MFA, or Vegas, NV 89104; [email protected]; Belger Crane Yard Studios equivalent. Stipend: no. Opportunities and responsibilities: 5 www.clayartsvegas.com; 702-375-4147. Contact: Tommy Frank, 2011 Tracy Ave, Kansas City, MO 64108; hours/week studio duties, works for fundraisers and collection, Clay Arts Vegas Residency [email protected]; https://belgerarts.org/residency-programs; exhibitions, teaching opportunities, semi-private studio space. Duration: 3–12 months. Application Deadline: ongoing. 816-474-7316. Community Residency Eligibility requirements: BA. Residency fees: $250. Fee includes: Foundation Residency Duration: 2–4 weeks. Application Deadline: April 4. semi-private storage, use of facilities, discounted clay. Stipend: Duration: 1 year. Application Deadline: April 15. No Application fee: $28. Stipend: no. Opportunities and responsibili- yes. Stipend includes: $100/week plus housing. Opportunities application fee. Eligibility requirements: recently completed un- ties: 5 hours/week studio duties, 1–2 cups/plates for fundraiser, and responsibilities: 25 hours of work, studio maintenance, dergraduate or graduate degree. No residency fee. Stipend: yes. sales gallery, exhibitions, paid teaching opportunities, community gallery openings, events, teaching, donate up to two pieces, Stipend includes: materials and firing. Opportunities and respon- studio, dedicated storage. exhibitions, and sales.

Continued on page 70. 68 january 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2019 69 New Jersey Rochester Folk Art Guild Pocosin Arts School of Fine Craft Contact: Annie Schliffer, 1445 Upper Hill Rd., Middlesex, NY Contact: Michelle Clower, PO Box 690, Columbia, NC 27925; Peters Valley Craft Center 14507; [email protected]; www.folkartguild.org; 585- [email protected]; https://pocosinarts.org/resident-artist/; Contact: Jennifer Apgar, 19 Kuhn Rd., Layton, NJ 07851; 554-5463. 252-796-2787. [email protected]; www.petersvalley.org; 973-948-5200. Residency at the Folk Art Guild Ceramic Artist in Residence Studio Assistantship Residency Duration: 1 year. Application Deadline: April 15. No Duration: June 1, 2019–June 1, 2020 optional second year. Duration: 2–5 months. Application Deadline: March 15. application fee. No residency fee. Stipend: no. Opportunities Application Deadline: April 1. Application fee: $25. Eligi- No application fee. Eligibility requirements: knowledge of studio and responsibilities: studio access, materials, and firing space, 15 bility requirements: emerging through established artists, some equipment and customer service skills. No residency fee. Stipend: hours/week of studio work, exhibition, and teaching. teaching experience preferred. Residency fees: $100. Stipend: no. Opportunities and responsibilities: assisting workshops and Clay Art Center yes. Stipend includes: $300/month, housing, utilities, and studio studio maintenance, room and board provided, exhibition and sale access. Opportunities and responsibilities: 24-hour studio access, Contact: Leigh Taylor Mickelson, Executive Director, 40 opportunities, workshop opportunities, and firing kilns. paid teaching, gallery space, assist workshops. Beech St., Port Chester, NY 10573; [email protected]; Visiting Artist Residency www.clayartcenter.org; 914-937-2047 221. Pocosin 2 Week Immersive Duration: 2 weeks–1 month. Application Deadline: Duration: May 26–June 9. Application Deadline: Clay Art Center Ceramic Artist ongoing. No application fee. Eligibility requirements: open to all Residency Program February 1. Application fee: $25. Eligibility requirements: artists but must have experience with all equipment and work Duration: 1 year. Application Deadline: April 1. Eligibility artists committed to their craft. Residency fees: $100. Stipend: independently. Residency fees: $500 per week. Fee includes: requirements: BFA or MFA. No residency fee. Stipend: yes. Stipend no. Opportunities and responsibilities: work in a community studio access and lodging, includes utilities but not materials. includes: $300/ month, private studio space. Opportunities and of artists. Stipend: no. Opportunities and responsibilities: uninterrupted responsibilities: work 10 hours/week for the studio, exhibition, studio time. Wellsville Creative Arts Center and paid teaching opportunities. Contact: Zach Moore, 124 North Main St., Wellsville, NY 14895; New Mexico Greenwich House Pottery [email protected]; www.WellsvilleCreativeArtsCenter.com; Contact: Kaitlin McClure, 16 Jones St., New York, NY 10014; 585-593-3000. Roswell Artist-in-Residence Program [email protected]; www.greenwichhouse.org; Resident Artist Contact: Stephen Fleming, 409 E. College Blvd., Roswell, NM 212-242-4106 ex. 25. Duration: September–August. Application Deadline: 88201; [email protected]; www.rair.org; 575-622-6037. Greenwich House Pottery Residency May 15. No fees. Eligibility requirements: BFA or equivalent. Stipend: no. Opportunities: studio space, firings, teach, workshop, Roswell Artist-in-Residence Program Duration: 1–3 months. Application Deadline: April 1. exhibition. Responsibilities: 10 hours/week of studio work. Duration: 1 year. Application Deadline: March 15. Appli- Eligibility requirements: project based, non-clay artists interested cation fee: $25. Eligibility requirements: be highly motivated and in clay. May not be enrolled in a degree program. No residency Wildacres Retreat talented. No residency fee. Stipend: yes. Stipend includes: $800 fee. Includes: 20×17-foot private studio, free access to all stocked Contact: Dave Lovett, PO Box 280, Little Switzerland, per month, utilities, private housing and studio. Opportunities materials, access to gas and electric firings. Stipend: no. Op- NC 28749; [email protected]; www.wildacres.org; and responsibilities: exhibition opportunity. portunities and responsibilities: group exhibition, artist talk, 828-756-4573. technical guidance. Taos Clay Studio Wildacres Residency Program Greenwich House Pottery Fellowship Contact: Brandi Jessup, 31 D Ben Romero, El Prado, NM 87529; Duration: 1–2 weeks. Application Deadline: January 15. Duration: 1–3 months. Application Deadline: April 1. [email protected]; www.taosclay.com; 307-272-8388. Application fee: $20. Stipend: no. Opportunities and responsibili- Eligibility requirements: May not be enrolled in a degree program. ties: studio access, lodging, and meals. Studio/Education Resident No residency fee. Stipend: yes. Stipend includes: $2000, 20x17- Duration: 2 years. Application Deadline: TBA. Eligibility foot private studio, free access to all stocked materials, access to The Bascom, A Center for the requirements: BFA. Stipend: yes. Stipend includes: $75/month gas and electric firings. Opportunities and responsibilities: work Visual Arts materials. Opportunities and responsibilities: 20–25 hour/week in studio 5 days/week, formal or informal teaching. Contact: Frank Vickery, 323 Franklin Rd., Highlands, work trade, teaching, exhibition, gallery representation, free NC 28741; [email protected]; 828-787-2892; firing, shared studio. Flower City Arts Center www.thebascom.org/residency-and-internship-program. Contact: Kate Whorton, 713 Monroe Avenue, Rochester, NY New York 14607; [email protected]; www.rochesterarts.org; Dave Drake Studio Clay Resident 585-271-5183. Duration: 3 months, renewal. Application Deadline: ongoing. Application fee: $25. Eligibility requirements: BFA. Craigardan Artist-in-Residence Residency fees: yes. Fee includes: housing, materials, firing. Contact: Michele Drozd, 501 Hurricane Road, Keene, NY 12942; Duration: September 2019–August 31 2020. Application Stipend: yes. Stipend includes: $100/week. Opportunities and [email protected]; www.craigardan.org; 518-242-6535. Deadline: April 15. No application fee. Eligibility requirements: responsibilities: teach up to 20 hours a week, provided 1000 BFA or MFA preferred. No residency fee. Stipend: yes. Stipend Studio Arts Residency pounds of clay per 3-month cycle. Duration: 12 weeks. Application Deadline: April 1. Eligi- includes: $1500 firing stipend. Opportunities and responsibilities: bility requirements: BFA or equivalent. Residency fees: $2400. Fee private studio space, materials at cost, exhibition, teaching op- Penland School of Crafts includes: housing, studio, utilities, farm food, workshops. Waived portunities. 10 hours/week helping with gallery and open studio. Contact: Betsi DeWitt, PO Box 37, Penland, NC 28765; residency fee for fellowships. Opportunities and responsibilities: Byrdcliffe Colony www.penland.org; 828-765-5753. gallery sales, exhibition, firings and materials, teaching. Contact: Alexis Grabowski, 34 Tinker St., Woodstock, NY 12498; Artist-In-Residence Harvest Plate Residency [email protected]; www.woodstockguild.org/artist- Duration: 3 years. Application Deadline: January 15. Duration: 9 months. Application Deadline: May 1. Sti- residencies; 845-679-2079. Eligibility requirements: self-supporting, full-time artist at tran- pend: no. Opportunities and responsibilities: Produce 150 plates, Byrdcliffe Artist in Residence Program sitional point in career. 150 bowls, and 150 cups for fundraiser, gallery sales, events, Duration: 1, 2, or 4 four-week sessions (4–16 weeks total). housing, studio, materials, and firings. North Carolina Pottery Center Application Deadline: February 10. Application fee: $40. Contact: Lindsey Lambert, Executive Director, PO Box Resident Internship Residency fees: $700 per 4-week session. Aid available. Fee Duration: 3–6 months. Application Deadline: April 1. 531, Seagrove, NC 27341; [email protected]; includes: private studio, private bedroom, optional activities www.ncpotterycenter.org; 336-873-8430. Eligibility requirements: BFA or equivalent. Fee includes: hous- and programming, 20 artists per session. Stipend includes: full Artist-in-Residence ing, farm food, materials, studio. Stipend: no. Opportunities and partial fellowships available. Opportunities and responsi- Duration: 3–6 months. Application Deadline: ongo- and responsibilities: work 30 hours/week, 15–20 hours/week in bilities: kilns, exhibition opportunities. Residents provide their ing. Stipend: yes. Opportunities and responsibilities: studio, studio, gallery sales. own meals. subsidized housing. Sculpture Space NYC Contact: Magda Dejose, 47-21 35th St., Long Is- North Carolina STARworks land City, NY 11101; [email protected]; Contact: Erin Younge, PO Box 159, Star, NC 27356; www.sculpturespacenyc.com; 718-806-1709. Odyssey Center for the Ceramic Arts [email protected]; www.starworksnc.org/clay-studio/clay- SSNYC Ceramic Residency Program Contact: Gabriel Kline, 236 Clingman Ave., Asheville, NC 28801; studio-home.html; 910-428-9007. Duration: 2 months–1 year. Application Deadline: [email protected]; www.odysseyceramicarts.com; Artist in Residence, The Clay Studio January 30 and July 30. Eligibility requirements: sculptors and 828-285-0210. at STARworks designers who are interested in exploring clay. Residency fees: Resident Artist Duration: 3–6 months. Application Deadline: February 28 $380–$450/month studio fee. Firing fees $285. Fee includes: Duration: 1.5–3 years. Application Deadline: ongoing. or September 30. Eligibility requirements: Bachelor’s degree or communal ceramic studio (Monday–Sunday, 7 am–midnight), pre- Eligibility requirements: desire to pursue a career in clay. No higher. Residency fees: $275/month. Fee includes: shared hous- mixed glazes cone 6–cone 10, firings, storage, project develop- residency fee. Stipend: no. Stipend includes: one-time stipend of ing. Stipend: yes. Stipend includes: work exchange at $10/hour ment consultation. Stipend: no. Opportunities and responsibilities: $500. Project application required to receive funds. Opportunities up to 20 hours/week. Opportunities and responsibilities: assisting annual members show, teach a workshop or demo, load/unload and responsibilities: exhibitions, teaching, assisting workshops, workshops, events, and studio maintenance, studio access, gallery your own firings, help maintain studio. studio maintenance, gallery sales, firing kilns, etc. sales, and teaching.

Continued on page 72. 70 january 2019 www.ceramicsmonthly.org 32nd Annual North Carolina CONTINENTAL CREATES CLAY POTTERS CONFERENCE CLAY ARTISTS CREATE ART Guest Artists ART CREATES BEAUTY DOUG FITCH LISA HAMMOND NIC COLLINS BEAUTY CAN BE DANGEROUS CREATE BEAUTY RESPONSIBLY

Guest speakers DAN FINNEGAN MARK HEWITT JOHN BURRISON BRETT RIGGS March 1-3, 2019 Randolph Arts Guild Asheboro | North Carolina | US Denver: #NCPOTTERSCONF 5303 East 47th Avenue, Unit N www.ncpottersconference.com Denver, CO 80216 336-629-0399 Minneapolis: 1101 Stinson Blvd NE Minneapolis, MN 55413 800.432.2529 www.continentalclay.com

bray archiefor the ceramic arts foundation Jessica Brandl Jessica Artist Residencies Year-Round & Short-Term applications dueMarch 1st $5,000 Long-Term Annual Fellowships and $1,000 Summer Scholarships Available

Apply Online Today at www.archiebray.org Helena, Montana | 406/443-3502 | www.archiebray.org

www.ceramicsmonthly.org january 2019 71 Ohio The Clay Studio Cub Creek Foundation Contact: Jennifer Zwilling, 137 N. Second St., Phil- Contact: John Jessiman, 4871 Wheeler Spring Rd., Appomattox, Core Clay adelphia, PA 19106; [email protected]; VA 24522-9505; [email protected]; www.cubcreek.org; Contact: Nikki Marie, 2533 Gilbert Ave., Cincinnati, OH 45206; www.theclaystudio.org/apply/artists-programs; 215-925-3453. 434-248-5074. [email protected]; www.coreclay.com; 513-961-2728. The Clay Studio Resident Artist Program and CCF Residency Ceramic Artist in Residence Zeldin Fellowship Duration: 3–12 months. Application Deadline: April 1. Duration: 1 Year. Application Deadline: January 1 or Duration: 1–5 years. Application Deadline: March 5. Ap- Application fee: $25. Eligibility requirements: BFA or equivalent June 1. No application fee. No residency fee. Opportunities and plication Fee: $40. Eligibility requirements: High quality art work, for 9-month or longer residency; two semesters of ceramics for responsibilities: work exchange for housing, studio, and materials. ceramics as primary material. Residency fees: $200/month. Fee 3-month residency. Residency fees: $575/month. Fee includes: Exhibition, sales, teaching, and workshops. includes: studio space. Stipend includes: one Zeldin Fellow each housing, studio, and facilities. Stipend: no. Stipend includes: year receives $500/month. Opportunities and responsibilities: one part-time work available. Oregon solo exhibition, teaching opportunities, grant writing assistance, Workhouse Arts Center subsidized rent, shop sales, kilns, glaze mixing facility. Ceramics Program Clay Space Contact: Dale Marhanka, 9504 Workhouse Way Bldg. Contact: Meghan Verberkmoes, 222 Polk St., Eugene, OR Rhode Island 8, Lorton, VA 22079; [email protected]; 97402; [email protected]; www.clayspaceonline.com; www.workhousearts.org; 703-584-2982. 541-653-8089. Arch Contemporary Ceramics Workhouse Ceramics Residency Resident Artist Program Contact: Shauna Cahill, 18 East Rd., Tiverton, RI 02878; [email protected]; www.archcontemporary.com/air; Duration: 1–3 years. Application Deadline: ongoing. Duration: 1 year. Application Deadline: April 1. Applica- Eligibility requirements: BFA, MFA. Residency fees: $365. Fee 401-816-0550. tion fee: $25. Eligibility requirements: BFA, MFA, or equivalent. includes: private studio, access to equipment and facilities. Stipend: no. Opportunities and responsibilities: 15 hours of studio Summer Potter-in-Residence Stipend: no. Opportunities and responsibilities: 18 hours/week work and teaching per week; exhibition. Paid teaching, some Duration: 3–4 months. Application Deadline: rolling. No in the studio and gallery; teaching, assistantship, exhibition, and firings, studio access. application fee. No residency fee. Stipend: yes. Stipend includes: sales opportunities. $100/month for firings and materials. Opportunities and respon- Sitka Center for Art and Ecology sibilities: studio access, 20 hours/week studio work, 8 hours/week Contact: Mindy Chaffin, 56605 Sitka Dr., Otis, OR studio assistance, gallery representation, solo show, teaching. Washington 97368; [email protected]; 541-994-5485; www.sitkacenter.com/classes/recordlist.lasso. Fall/Winter Residency Pottery Northwest Duration: 3–9 months. Application Deadline: rolling. No Contact: Pottery Northwest, 226 First Ave. N, Seattle, WA Artist in Residence application fee. No residency fee. Stipend: yes. Stipend includes: 98109; [email protected]; www.potterynorthwest.org; Duration: September–January or January–April. Applica- $50/month for firings and materials. Opportunities and responsi- 206-285-4421. tion Deadline: April 16. Application fee: $25. Residency fees: bilities: studio access, 20 hours/week studio work, 8 hours/week yes. Fee includes: private residence, studio, access to kilns and Pottery Northwest Artist in Residency studio assistance, gallery representation, solo show, teaching. wheel. Stipend: no. Duration: 6 months–2 years. Application Deadline: April 16. Eligibility requirements: No degree requirement. Stipend: yes. PLAYA Tennessee Stipend includes: $750 in firing and materials. Opportunities and Contact: Ellen Waterston, Executive Director, 47531 responsibilities: minimum 20 hours/week in the studio. Studio job Hwy 31, Summer Lake, OR 97640; [email protected]; Arrowmont School of Arts and Crafts to defray maintenance costs for the facility; generally less than www.playasummerlake.org; 541.943.3983. Contact: Nick DeFord, PO Box 567, Gatlinburg, TN 37738; one hour per week. Mandatory quarterly cleanup. Summer/Fall 2019 PLAYA Artist Residency [email protected]; www.arrowmont.org; 865-436-5860. Duration: 2, 4, or 8 weeks. Application Deadline: Arrowmont Artists-In-Residence Program Wisconsin February 15 or September 15. Application fee: $35. Eligibility re- Duration: 11 months. Application Deadline: February 1. quirements: All residents’ work must be compatible with PLAYA’s Application fee: $35. Stipend: yes. Monthly stipend, private studio, James May Gallery available facilities and location. No residency fee. Stipend: no. bedroom, and meals during workshop sessions. Opportunities Contact: Kendra Bulgrin, 213 Steele St., Algoma, WI 54201; Opportunities and responsibilities: presentation. Free lodging, and responsibilities: work 10 hours/week in studios, galleries, [email protected]; www.jamesmaygallery.com; 262- studio, and twice-weekly meals. community outreach, marketing. 753-3130. James May Gallery Intern/Resident Pennsylvania Texas Duration: 1 year. Application Deadline: April 16. No application fee. Eligibility requirements: BA, BFA, or MFA. No Brockway Center for Arts Houston Center for Contemporary Craft residency fee. Stipend: yes. Stipend includes: living space and and Technology Contact: HCCC, 4848 Main St., Houston, TX 77002; studio. Opportunities and responsibilities: 20 hours/week, events, Contact: Liana Agnew, 1200 Wood St., Brockway, PA 15824; [email protected]; www.crafthouston.org; 713-529-4848. curation, administrative, gallery upkeep, studio. [email protected]; www.brockwaycatart.org; Houston Center for Contemporary Craft 814-265-1111 x204. Residency Program Wyoming Artist in Residence Duration: 3, 6, 9, or 12 months. Application Deadline: Duration: 1 year. Application Deadline: May 1. Eligibility March 1. Eligibility requirements: work in studio two days/week, Jentel Foundation requirements: Bachelor’s degree, studio, and teaching experience. open studios to public on Saturdays and other times. No residency Contact: Mary Jane Edwards, 130 Lower Piney Rd., Banner, No residency fee. Stipend: yes. Stipend includes: housing, utilities, fee. Stipend: yes. Stipend includes: $500 monthly, and $300 WY 82832; [email protected]; www.jentelarts.org; 307- materials, firings, and studio access in exchange for 25 hours quarterly allowance. Opportunities and responsibilities: teaching, 737-2311. of studio maintenance/teaching each week. Opportunities and collaborate, professional development, group exhibition, working Jentel Artist Residency Program responsibilities: paid teaching opportunities, gallery exhibition in their studios 24 hours per week and at least two weekends per Duration: 1 month. Application Deadline: January 15, and sales, assisting workshops, field trips, and conferences. month during HCCC public hours. September 15. Application fee: $20. Eligibility requirements: US citizen or international artist residing in the US. Moravian Pottery and Tileworks Contact: Adam Zayas, 130 E. Swamp Rd., Doylestown, PA Virginia 18901; [email protected]; www.buckscounty.org/mptw; Canada 215-348-6090. VCCA (Virginia Center for the Creative Arts) Harbourfont Centre: Craft and Design Apprenticeship Contact: Sheila Gulley Pleasants, Director of Artists’ Services, Contact: Melanie Egan, 235 Queens Quay W., To- Duration: Summer 2019: June 3–August 10; Autumn 2019: 154 San Angelo Dr., Amherst, VA 24521; [email protected]; ronto, ON, M5J 2G8; [email protected]; September 3–November 9. Application Deadline: April 1 www.vcca.com; 434-946-7236. www.harbourfrontcentre.com/craft; 416-973-4963. and July 1. Application fee: yes. No residency fee. Stipend: yes. Residential Fellowship Harbourfront Centre Craft and Design Stipend includes: studio space and materials. Opportunities and Artist-in-Residence responsibilities: tile making. Duration: 2–8 weeks. Application Deadline: January 15, May 15, September 15. Application fee: $25. Fee includes: studio Duration: 3 months–1 year. Application Deadline: Touchstone Center for Crafts space, lodging, and meals. Stipend: no. March 8. Application Fee: $25. Residency fees: $85/month. Fee Contact: Dean Simpson, 1049 Wharton Furnace Rd., includes: studio, equipment, shelf/storage space, firing costs. VCCA International Residency Program, Moulin a Scholarships covering residency fee available. Opportunities and Farmington, PA 15437; [email protected]; Nef, Auvillar, France responsibilities: maintenance, kiln firing, work 3 days/week in www.touchstonecrafts.org; 724-329-1370. Duration: April–December. Application Deadline: Sep- studio, exhibition, sales, mentorship, teaching. Artist-in-Residence tember 15. Application fee: $30. Eligibility requirements: artists Duration: 1–3 months, May–September. Application who have been in residence at the VCCA. Residency fees: $70 London Clay Art Centre Deadline: ongoing. Eligibility requirements: ceramics back- per day. Fee includes: private studio, private bedroom, bath, Contact: Cheryl Radford, 664 Dundas St., London, ON, N5W 2Y8; ground. Fee includes: lodging. Stipend: no. Opportunities and some meals; partial scholarships available. Opportunities and [email protected]; www.londonclayartcentre.org; responsibilities: touchstonecrafts.org/opportunities. responsibilities: community interaction. 519-434-1664.

72 january 2019 www.ceramicsmonthly.org Artist in Residence WFYAIR Symposium Duration: 1 year. Application Deadline: ongoing. No Denmark Duration: 5 weeks: August 19–September 22. Application application fee. Eligibility requirements: ceramics graduate. No Tolne Gjaestgivergaard Deadline: February 1. No application fee. Eligibility require- residency fee. Stipend: no. Opportunities and responsibilities: Contact: Gregory Hamilton Miller, Kirkevej 300, Tolne, Sindal, ments: recent graduates/emerging artists focused on wood firing. studio maintenance, teaching classes and workshops, interact 9870; [email protected]; www.tolneggg.com; +45 40475320. Residency fees: $1288 USD/month ($8500 DKK). Fee includes: with members, exhibition. Spring/Fall Artist in Residency accommodation, studio space, firing and materials budget, exhibi- Banff Centre for Arts and Creativity Duration: 4 weeks. Application Deadline: February 1/ tion, photography and catalog. Stipend: no. Contact: Cecelia Leddy, Box 1020, 107 Tunnel Mountain August 1. Eligibility requirements: MFA or equivalent. No resi- Dr, Vinci Stn. 45, Banff, Alberta T1L 1H5; cecelia_leddy@ dency fee. Residency includes: double room, meals, workspace. France banffcentre.ca; www.banffcentre.ca/programs/banff-artist- Stipend: possible. Stipend includes: materials and firing. Op- residence-summer-2019/20190722; 403-762-6383. portunities and responsibilities: workshops, lectures, teaching, A.I.R. Vallauris and Galerie Aqui school projects. Siam Ben Banff Artist in Residence Late Spring 2019 Contact: Dale Dorosh, Place Lisnard, 1 Boulevard des Duration: June 3–July 5. Application Deadline: February 6. Guldagergaard International Ceramic Deux Vallons, Vallauris, Provence-Alpes-Côte d’Azur Application fee: $65. See website for eligibility, financial aid, Residency Centre 06220; [email protected]; www.air-vallauris.com; and fees. Accommodation, meals, studio/facilities, box office Contact: GICRC, Heilmannsvej 31A, Skælskor, DK-4230; +33 061-658-3956. discounts, gym membership, library access, participant re- [email protected]; www.ceramic.dk; 455-819-0016. Standard Residency sources, etc. Stipend: no. Summer School: Atmospheric Firings Duration: 1 month. Application Deadline: Last day of Banff Artist in Residence Summer 2019 Duration: 1 month: July 1–31. Application Deadline: each month. Eligibility requirements: worked independently Duration: July 22–August 23. Application Deadline: March 6. January 2. No application fee. Eligibility requirements: open to for two years. Residency fees: $2900 USD (2500 Euros). Fee Application fee: $65. See website for eligibility, financial aid, current students or 2019 graduates. Residency fees: $1288 USD/ includes: lodging, 24/7 studio space, exhibition. Stipend: no. and fees. Accommodation, meals, studio/facilities, box office month ($8500 DKK). Fee includes: accommodation, studio space, Opportunities and responsibilities: exhibitions, demonstrations, discounts, gym membership, library access, participant resources, workshops and demonstrations, one on one support, firing and etc. Stipend: no. materials budget, access to the studio collection. Stipend: no. gallery sales, workshops. Summer School: New Technologies and Atelier Tremplin—for Recent Graduates Colombia Design Processes Duration: 3 months. Application Deadline: Last day Duration: 1 Month: August 1–31. Application Deadline: of each month. No application fee. Eligibility requirements: Campos de Gutiérrez January 2. No application fee. Eligibility requirements: current recent graduate of art and ceramic institutions. Residency Contact: Andres Monzon, Calle 65 No. 48-87, Medelin, students or recent 2019 graduates. Residency fees: $1288 USD/ fees: $7000 USD (6000 Euros)/3 months. Fee includes: lodg- Antioquia 050012; [email protected]; month ($8500 DKK). Fee includes: accommodation, studio space, ing, 24/7 studio space, exhibition. Stipend: no. Opportunities http://camposdegutierrez.org; (+57) 3104430408. workshops and demonstrations, one on one support, firing and and responsibilities: exhibitions, demonstrations, gallery Campos de Gutierrez Residency materials budget, access to the studio collection. Stipend: no. sales, workshops. Duration: 6–8 weeks. Application Deadline: February 15. YAIR (Young Artist in Residence) NCECA/A.I.R Vallauris International Eligibility requirements: emerging through established artists Duration: 3–12 months. Application Deadline: ongo- Residency Award Residency fees: $1500–$1700 USD. Fee includes: room and ing. No application fee. Eligibility requirements: applications are Duration: 1 month. Application Deadline: January 16. board, studio and storage space, orientation, exhibition and open to recent graduates and emerging artists. No residency fee. Eligibility requirements: NCECA member. Residency fees: other benefits. Stipend: yes. Varies depending on country of Stipend: yes. Stipend includes: accommodation, studio space, $1407 USD (1250 Euros). Fee includes: lodging, 24/7 studio residency and bilingual proficiency in English and Spanish. materials and firings budget. Opportunities and responsibilities: space, exhibition. Stipend: yes. Stipend includes: NCECA/A.I.R. Opportunities and responsibilities: Care of the studio facilities work 20 hours/week, small-scale production skills, firing electric, Vallauris support of approximately $5500 USD. Opportunities and equipment. Work exchange (teaching and assistantships), gas and wood kilns, assisting workshops, studio maintenance, and responsibilities: exhibitions, demonstrations, gallery talks, critiques. research projects, exhibition, article. sales, workshops.

www.ceramicsmonthly.org january 2019 73 International Artists Residency Exchange Summer 2019 Residency for International Artists Contact: Lauren Kearns, 115 Boulevard Rémi Belleau, Saint- in the Historical Center of Rome Raphaël, Var 83700; [email protected]; https://interna- Duration: 4 weeks: May 29–June 25, June 26–July 23, July 24– tionalartistsresidencyexchange.com/index.php; 076-970-2794. August 20. Application Deadline: February 15. Eligibility requirements: BFA/equivalent studio experience. Residency fees: Artist in Residence $624/week. Fee includes: semi-private equipped studio, shared Duration: 1 week–3 months. Application Deadline: on housing (private room), technical assistance. Stipend: no. Op- going. No application fee. Eligibility requirements: statement of portunities and responsibilities: organization and promotion of intent and pictures of artwork. Residency fees: $375 for 1 week final group show, donation of one piece (optional). to $1105 monthly for 3 months. Fee includes: space to work, equipment, some materials. Stipend: no. Opportunities and responsibilities: studio maintenance, exhibitions, installations, Japan teaching, assisting workshops. Kitamura Plants and Pottery Inc. Contact: Naomi Kitamura, 620-1 Kamiotsuki, Hada- Germany no, Kanagawa, 257-0005; [email protected]; Zentrum für Keramik–Berlin www.tsugumi-hananoeki.jp; 803-210-1191. Contact: Thomas Hirschler, Pestalozzistr. 18, Berlin, 13187; mail@ 2.5-Week Pottery Retreat in Japan ceramics-berlin.de; www.ceramics-berlin.de; 0049-0-30 89560280. Duration: 2.5 weeks. Application Deadline: rolling. Ap- plication fee: $176 USD. Eligibility requirements: must be able to Zentrum für Keramik–Berlin work independently in the studio. Residency fees: $800 USD. Fee Duration: 1–6 months. Application Deadline: ongoing. includes: 24-hour shared studio access, room (shared bathroom), Residency fees: $900. Fee includes: studio space, bedroom, kitchen. basic materials and tools, 1 bisque and glaze firing (13kW electric Residents can bring a partner. Stipend: no. kiln). Stipend: no. Opportunities and responsibilities: access to the Greece conjoining flower shop, Japanese pottery town and sightseeing tours with guides (separate fees), basic Japanese language les- The Skopelos Foundation for the Arts sons, referrals to Japanese potters and related organizations. Contact: Gloria Carr, PO Box 56, Skopelos, Magnesias 37003; [email protected]; www.skopartfoundation.org; 242-402-4143. Mexico Artist-in-Residency on the Greek Island of Skopelos Arquetopia Foundation and Duration: 2 weeks–2 months. Application Deadline: roll- International Artist Residency ing. Application fee: $200. Eligibility requirements: early to late career artists. Residency fees: $650 plus housing. Fee includes: (Mexico and Peru) Contact: Christopher Davis, Co-Executive Director, 15 Poniente some supplies and rental of the space. Stipend: no. Opportunities 715, Centro Histórico, PUEBLA, 72000; [email protected]; and responsibilities: interact with the local community. www.arquetopia.org; +52 222 594 77 28. Hungary Pre-Columbian Ceramics Instructional Residency Duration: 5 weeks; residency dates nominated by the artist. International Ceramics Studio Application Deadline: see website: www.arquetopia.org/ Contact: Steve Mattison, Kápolna u.11, Kecskemét, Bacs-Kiskun pre-columbian-ceramics-residency. Eligibility requirements: H-6000; [email protected]; www.icshu.org; 36 20 223 7152. emerging and mid-career, national and international artists at Artist-In-Residence least 20 years of age. Residency fees: $637 per week, partial fee Duration: 1–6 months. Application Deadline: ongoing. waivers offered. Fee includes: 27 hours of instruction, private No application fee. Residency fees: approximately $1200 per lodging, meals, utilities, wi-fi, housekeeping, staff research assis- month. Fee includes: accommodations, studio space, and use of tance, project guidance and critique, studio space, ceramic materi- facilities. Stipend: no. als and supplies. Stipend: no. Opportunities and responsibilities: actively engage in critical discussions and cultural exchange. Indonesia Artist Residency (Self-Directed) Duration: 6–12 weeks. Application Deadline: www.ar- Gaya Ceramic Arts Center quetopia.org/mexican-ceramics-residency. Eligibility requirements: Contact: Hillary Kane, Director, Jalan Raya Say- emerging and mid-career, national and international artists at an 15, Ubud, Bali 80571; [email protected]; least 20 years of age. Residency fees: $595 per week, partial fee http://gayaceramic.com/resident-artist-program; +623618989515. waivers offered. Fee includes: private lodging, meals, utilities, wi- Gaya Ceramic Art Center Resident Artist Program fi, housekeeping, staff research assistance, project guidance and Duration: 2 months (can be shortened). Application Dead- critique, studio space, ceramic materials and supplies. Stipend: line: August 31. Eligibility requirements: professional ceramic no. Opportunities and responsibilities: actively engage in critical artists. No fee for studio, materials, firings (accommodation and discussions and cultural exchange. living expenses are not included). Stipend: no. Opportunities and responsibilities: slide presentation (open to the public); P.R. China donation of one finished work for archive collection, final gallery exhibition (optional). The Pottery Workshop, Jingdezhen Contact: Po-Wen Liu, Director, 139 Xinchang Dong Lu, Jing- Italy dezhen, Jiangxi Province 333001; www.potteryworkshop.com.cn; (860798) 844 0582; [email protected]. c.r.e.t.a. rome International Residency Program in Contact: Lori-Ann Touchette and Paolo Porelli, via dei Delfini Jingdezhen, China 17, Rome, 00186; [email protected]; www.cretarome.com; Duration: 4–12 weeks. Application Deadline: ongoing; +393478024581. 8 weeks before proposed residency. Residency fees: $400 USD 2020 Artist(s) Invites Artists for International ($2800 RMB) per week; $400 USD ($2800 RMB) deposit. Fee Artists in Rome, Italy includes: studio space,facilities, translators, lodging, and meals. Duration: 4–6 weeks, dates to be determined. Application Stipend: no. Opportunities and responsibilities: 24-hour access Deadline: February 15. No fee. Eligibility requirements: BFA to our residency studio, studio space and communal studio ac- or equivalent studio experience. Residency fees: variable. Fee cess, well-lit air conditioned or heated facilities, shared studio includes: shared studio, shared accommodation, technical assis- translators and coordinators, private bedroom with shared bath, tance for materials, firings, organization and promotion. Stipend: fresh lunches and dinners served Monday–Friday, free wireless no. Opportunities and responsibilities: artist talk, exhibition. broadband internet. Fall 2019/Spring 2020 Residency for International artists in the countryside of Rome Jingdezhen Sanbao Ceramic Duration: 5 weeks, Fall 2019: September 11–October Art Institute 15, October 16–November 19, November 20–December 17 Contact: Wendy Li, PO Box 1000, Jingdezhen City, Jiangxi Prov- (4 weeks); Spring 2020: March 19–April 22, April 23–May 27. ince 333001; [email protected]; 0-86-0798-8496513; Application Deadline: June 15 (fall); October 1 (spring). Eli- https://chinaclayart.com/international-residency-2. gibility requirements: BFA/equivalent studio experience Residency International Residency Program fees: $600 per week. Fee includes: semi-private equipped studio, Duration: 4–12 weeks. Application Deadline: 8 shared housing (private room), technical assistance. Stipend: no. weeks before proposed residency. Residency fees: $390 USD Opportunities and responsibilities: organization and promotion of ($2400 RMB) per week; $325 USD ($2000 RMB) deposit. Fee final group show, donation of one piece (optional). includes: studio space, lodging, and meals.

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In Working with Porcelain, you’ll discover the ins and outs of using porcelain. Compiled from the Ceramics Monthly and Pottery Making porcelain. Compiled Illustrated , along with helpful insights and notes from renowned porcelain artist Antoinette Badenhorst, you’ll learn about porcelain’s distinctive qualities and how to successfully create with this always beautiful, but often temperamental clay body.

Working with Porcelain provides invaluable information for truly working with from the Ceramics understanding the characteristics of porcelain and how to use the clay body to its highest potential. You’ll learn ways to test di erent porcelain clay bodies and  nd the perfect porcelain for your work. You’ll also  nd 21 step-by-step projects with building techniques suited to the tricky material and decorating techniques that enhance Monthly and Pottery the smooth surface. Whether you’re a beginner or a seasoned pro, Working with Porcelain provides the expert information, instruction, PORCELAINwith an introduction and insights from Antoinette Badenhorst and inspiration you need to achieve success with porcelain. Edited by Ash Neukamm Making Illustrated Antoinette Badenhorst was born and raised in Southern Africa. She moved to the United States with her husband and three children in 1999. A potter for more than 30 years, Badenhorst has shown her work nationally and internationally, and has work in several private and museum collections. She has written extensively about porcelain for both Ceramics Monthly and archives, along with Pottery Making Illustrated, as well as international publications.

Ash Neukamm is the assistant editor of publications for The American Ceramic Society’s Art Books Program. Neukamm holds an MFA in visual arts with an emphasis in ceramics from The Ohio State University, a BFA with a specialization in ceramics and a minor in art history from the University of helpful insights Florida. She maintains a ceramics studio at her home in Columbus, Ohio.

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76 january 2019 www.ceramicsmonthly.org call for entries deadlines for exhibitions, fairs, and festivals

international must not weigh over 60 pounds, must fit Works may be of any medium, works must to functional or sculptural pieces by artists through a doorway of 94 inches in height. be original, completed within the last two residing in California. Clay must be the exhibitions Fee: $35 for three images. Juried from years, no larger than 60 inches in height, primary medium. Work must be for sale January 30, 2019 entry deadline digital. Juror: Joshua Green. Contact Blue or 50 pounds. Fee: $35 for three different and made within the last two years. Work Louisiana, New Orleans “Clay Center Line Arts, 405 Vernon St., #100, Roseville, works. Juried from digital. Juror: Michelle must fit through a standard door frame and Sculpture National” (August 2–31) open CA 95678; [email protected]; 916-783- White. Contact the School of Art in the weigh no more than can be handled by two to all ceramic artists 18 and older. Open 4117; www.bluelinearts.org. College of Fine Arts at Stephen F. Austin adults. Fee: $15. Juried from digital. Juror: Bill to sculptures and sculptural wall-mounted State University (SFASU), PO Box 13041, SFA Abright. Contact The Artery of Davis, 207 works that are at least 50% ceramic material. united states Station, Nacogdoches, TX 75962; sfaartgal- G St., Davis, CA 95616; [email protected]; All entries must be original artworks made by exhibitions [email protected]; www.art.sfasu.edu/cole. 530-758-9330; http://theartery.net/ccc.html. the applicant in the last two years. Fee: $30. January 14, 2019 entry deadline January 31, 2019 entry deadline Juried from digital. Juror: TBD. Contact Clay Missouri, Kansas City “Capturing Pennsylvania, Philadelphia “Open Call fairs and festivals Center of New Orleans, 1001 S. Broad St., Bliss” (February 8–April 6) open to all for 2019–2020 Gallery Season—monthly January 15, 2019 entry deadline #116, New Orleans, LA 70125; info@nola- artists 18 years and older. Open to all exhibits” (August 1, 2019–July 31, 2020) Oregon, Bend “Oregon Winterfest Fire clay.org; 504-517-3721; www.nolaclay.org. mediums and subjects, as long as they fit open to all media and subject matter. Pit and Sculpture Competition” (February January 31, 2019 entry deadline the “Capturing Bliss” theme. Pieces must Chosen artists are responsible for shipping/ 16–18) open to sculptural pieces by artists Minnesota, Minneapolis “2019 Art be original and for sale. Fee: $10. Juried transporting their art. No fee. Juried from residing in Oregon. Dynamic display of both of Possibilities Art Show and Sale” (April from digital. Juror: Teresa Dirks. Contact digital. Contact Jeanne Bracy, Saint Joseph’s functional pieces (fire pit) and imaginative 25–May 17) open to all with a disability caus- Vanessa Lacy Gallery, 1600 Genessee St., University, University Galleries at Merion use of fire as a medium creating warmth, ing physical or mental impairment which Ste. 161, Kansas City, MO 64102; contact@ Hall and Boland Hall, 5600 City Avenue, light, and excitement. Submissions must substantially limits one or more major daily vanessalacygallery.com; 816-535-1598; Philadelphia, PA 19131; [email protected]; include: drawing of an original piece you life activities. Open to all media including https://vanessalacygallery.com. https://sites.sju.edu/gallery. propose to build, 3 images of current work, ceramics. Sculpture must not be larger than January 15, 2019 entry deadline February 2, 2019 entry deadline and artist bio. Fee: $25. Juried from digital. 10 inches deep and 30 inches tall. Entries Pennsylvania, Sewickley “60 Years Michigan, Ann Arbor “Butter” Awards offered for 1st–3rd place. Contact must be original artworks made by the artist (April 6–August 25) open to all media and Bend Festivals, 704 N.W. Georgia Ave., Bend, in the last three years. Awards are offered. of Making: Edinboro University Ceramics Juried from digital. Juror: TBD. Contact Alumni Exhibition” (March 21–April 18) artists in the US and Canada. Showcasing OR 97703; [email protected]; http:// Courage Kenny Rehabilitation Institute, open to artists who earned an undergradu- the best in contemporary dinnerware as oregonwinterfest.com; 541-323-0964. 800 E. 28th St., Minneapolis, MN 55407; ate or graduate degree in ceramics at Edin- it relates to “Butter.” No larger than 18 January 18, 2019 entry deadline [email protected]; 612-863-4200; boro University of Pennsylvania. Clay must inches in all dimensions. No wall pieces. Pennsylvania, Pittsburgh “Dollar Bank www.allinahealth.org/Courage-Kenny- be the primary material used in the work Work submitted may not include perish- Three Rivers Arts Festival—Juried Visual Arts Rehabilitation-Institute. submitted. Fee: $20. Juried from digital. able materials. Fee: $35 for three entries. Exhibition 2019” (June 7–16) open to all Juror: Edward Eberle. Contact Sweetwater Juried from digital. Juror: Anne Meszko. February 1, 2019 entry deadline artists. Open to all media. Artists must reside Center for the Arts, 200 Broad St., Sewickley, Contact Margaret Carney, International Minnesota, Minneapolis “4×6×8: Inter- within 150 miles of 805-807 Liberty Avenue, PA 15143; awatrous@sweetwaterartcenter. Museum of Dinnerware Design, 520 N. national Juried Tile Exhibition at NCECA” Pittsburgh, Pennsylvania 15222. Work must org; 412-741-4405; http://sweetwaterart- Main St., Ann Arbor, MI 48104; director@ (March 25–30) open to all ceramic artists 18 be original, designed and created by the center.org/call-for-artists. dinnerwaremuseum.org; 607-382-1415; and older. May submit up to 5 pieces. One applicant(s). Work must have some relation www.dinnerwaremuseum.org. digital image per piece/tile. Tiles must be January 19, 2019 entry deadline to the theme, Remember Me. Work must not fired ceramic and measure 4×4, 4×6, 4×8, Missouri, Saint Joseph “Off the Table! February 19, 2019 entry deadline have been previously exhibited in Pittsburgh. 6×6, 6×8, or 8×8 inches. All tiles must be Clay for the Wall” (February 22–March 22) California, Crockett “Clay Matters” Work must have been completed within past for sale. Cash awards of $2500+; awards will open to all ceramic artists 18 years and older (March 23–May 4) open to all artists nationally. two years. Juried from digital. Contact Pitts- be presented at reception. Fee: $25. Juried nationally. Completed within the last two Work must be original and completed within burgh Cultural Trust, Attn: Ivette Spradlin, 803 from digital. Jurors: Lee Gruber, David del years. Works may be functional or sculptural the last two years. Clay must be the primary Liberty Ave., Pittsburgh, PA 15222; https:// Junco. Contact Syzygy Tile, 106 N. Bullard designed to hang on the wall. Must be medium. Artwork cannot have been previ- traf.trustarts.org; 412-456-6666. complete with a hanging device capable of ously exhibited at Epperson Gallery. Must not St., Silver City, NM 55418; lee@syzygytile. March 15, 2019 entry deadline com; 575-388-5472; www.clayfestival.com. securely supporting the work on the wall. It weigh over 60 pounds and must fit through is preferred that the hanging device not be Arkansas, Hot Springs “Art Springs 2019” February 4, 2019 entry deadline a door 80 inches in height. Fee: $30 for three visible when displayed. Fee: $30 for three (April 27–28) open to all artists 18 years or Minnesota, Minneapolis “MUGSHOT2 entries. Juried from digital. Juror: Beth Ann entries. Contact Missouri Western State older. Art Springs is a juried festival bursting 2nd Biennial International Juried Ceramic Gerstein. Contact Tony, Epperson Gallery of University, 4525 Downs Dr., Saint Joseph, with talented fine artists, artisans, and fine Mug Competition” (March 25–May 5) open Ceramic Arts, 1400 Pomona St., Crockett, MO 64507; [email protected]; crafts. Artists must submit 6 images represen- to all ceramic artists 18 and older. Mugs must CA 94525; [email protected]; 816-271-4282; www.missouriwestern.edu/ tative of the work they wish to exhibit. Include have been created since January 1, 2016. Up http://eppersongallery.com. orgs/clayguild. a photo of your typical booth. All art must be to 5 mugs per entry; clay must be the primary April 26, 2019 entry deadline original and created by the applicant. Fee: material. Must be fired ceramic, functional January 19, 2019 entry deadline Colorado, Manitou Springs “Cheers! $20. Juried from digital. Contact Hot Springs by materiality, conceptual considerations Missouri, Saint Joseph “Twin Drink-Up! Celebrating the Clay Drinking Area Cultural Alliance, PO Box 21358, Hot encouraged. More than $3000 in awards. Cups: National Ceramics Exhibition Vessel” (June 7–July 1) open to artists Springs, AR 71903; [email protected]; Fee: $30. Juried from digital. Jurors: Diego 2019” (February 22–March 22) open to all working in clay. Original drinking vessels 501-321-2027; https://hotspringsarts.org. Valles, Marko Fields. Contact Mojo Coffee ceramic artists 18 years and older nation- made within the last two years. Clay is Gallery, California Building, 2205 California ally. Completed within the last two years. the primary medium. Food-safe glazes. May 1, 2019 entry deadline St. NE, Minneapolis, MN 55418; info@ Submitted work may be either functional or Categories: Beer, Coffee, Tea, Spirits (think New Jersey, Verona “Fine Art and mugshotclayinternational.com; 612-978- sculptural representations of a pair of cups, whiskey). Cash awards. Fee: $30. Juried from Crafts at Verona Park” (May 18–19) open 0069; www.mugshotclayinternational.com. mugs, or drinking vessels, etc. Juried from digital. Jurors: Sumi von Dassow. Contact to all artists 18 years or older. Art Springs is March 1, 2019 entry deadline digital. Fee: $30 for three entries. Contact Commonwheel Artists Co-op, 102 Cañon a juried fine art and craft show. Submission California, Roseville “Off Center: Missouri Western State University, 4525 Ave., Manitou Springs, CO 80829; art@ of 4 images of work and one of booth dis- Third Annual International Ceramic Art Downs Dr., Saint Joseph, MO 64507; harris@ commonwheel.com; www.commonwheel. play. Entry fee is application fee. Booth fees Competition” (April 5–June 1) open to all missouriwestern.edu; 816-271-4282; www. com/cheers-drink-up.html; 719-685-1008. start at $430. Fee: $30. Juried from digital. ceramic artists 18 and older. All work must missouriwestern.edu/orgs/clayguild. Jurors: Janet Rose, Howard Rose. Contact be original and completed within the last two January 20, 2019 entry deadline regional exhibitions Rose Squared Productions, Inc., 101 West years. Artwork cannot have been previously Texas, Nacogdoches “Texas Na- February 10, 2019 entry deadline End Ave., New York, NY 10023; howard@ exhibited at Blue Line Arts. Wall pieces must tional Competition and Exhibition 2019” California, Davis “30th Annual California rosesquared.com; 908-930-4363; www. be ready to hang. Awards offered. Work (April 13–June 8) open to artists in the US. Clay Competition 2019” (May 3–31) open rosesquared.com.

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78 january 2019 www.ceramicsmonthly.org “Light as a Feather”

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www.ceramicsmonthly.org january 2019 79 SPOTLIGHT fnding an artistic voice

Ceramics Monthly: What are some of the reasons your adult CM: Do you give assignments to the adult students, or show students at The Caddo Kiowa Technical Center in western them techniques, then ask them to practice those in open Oklahoma decide to take a ceramics class? ended projects? Ronnie and Peggy Avants: Maybe it’s a childhood memory RA and PA: Adult students are not under pressure to complete of making mud pies, or watching the mud harden, dry, and a project, but they do seem to want immediate success. When transform into something that brought a sense of ownership. applied, the instructed techniques allow them to build new When asked why they were interested in taking pottery classes muscle memory as well as develop a mental awareness of the some of the students’ responses included: to meet new people, for world of clay and maybe even a little self discovery. stress release, to learn a new skill, and having always wanted to After a new handbuilding technique is taught, students are try pottery making. Out of all the adults who have attended the encouraged to pair their own ideas with the techniques to create sessions, only one had any prior connection to working with clay. a clay form. Students are continually guided on technique, while Research shows that practicing/making art promotes self- encouraged to focus on expanding their circle of community expression and improves communication with others. Creative through interactions with fellow students. It is refreshing to see outlets help keep the mind active. adults step out of their comfort zone with a desire to create. Using white stoneware or red earthenware, students discover the process of creating functional and decorative vessels. After CM: Are there any unexpected ways your adult students have making that first , the creative process is awakened inspired you as a teacher and an artist? and the student is hooked! Coil building and slab construction RA and PA: Inspiration for me comes from seeing the excitement techniques allow the clay’s possibilities to come alive for the on a student’s face when they see their own ideas resolved into students; watching them find their own artistic voice is very a physical object. Returning students who come back session rewarding. Add in the scientific and magical process of firing the after session confirm to me the importance, especially in rural clay then choosing glazes to enhance the pieces, and students are areas, of making more of the arts available to adults. If you offer truly captured by the whole process of creating with clay. it, they will come! This is the fourth 12-week session offered for adult students, and many have returned for all four sessions. Their developed Ronnie Avants (pictured above right with student Delores skills will enable them to move on to other firing processes such Poafpybitty) received a BA and MA from Southwestern Oklahoma as pit firing, raku, and saggar firing. One student has started State University, and taught art in public schools for 28 years barrel firing on his own with success. before teaching ceramics at The Caddo Kiowa Technical Center.

80 january 2019 www.ceramicsmonthly.org www.spectrumglazes.com

1137 1159 Teal Blue Green Stone

1159 1132 Green Stone Purple

The two glazes beside each bowl were combined to create these wonderful layered effects. Two coats of the bottom glaze was brushed on first over the entire piece, then one to two coats of the top color was painted over roughly the top half—thick to thin vertically—of the piece and fired to Cone 6

1140 1148 Kiwi Fruit Chowder

1116 1145 Mirror Autumn

For more layering combinations, like us on facebook.

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