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  Merrill Morrison

  Fits to a Tea

  C-Lon thread, glass beads, waxed linen, styrofoam

  7.25" x 11" x 2.25"

  Inquire

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  Lynne Sausele

  Blue Bird Teapot

  Ceramic, glass beads

  Inquire

• 

  Chris Theiss

  Cup with Stand

  Whiteware, vitreous slip, sgraffiito

  "The dimensional sculptures and intricate details by Chris Theiss are made from white ware and vitreous slip, Theiss's sculptures of extreme perspectives create unique views of worlds that could exist and also investigates the existing world around us. Each piece is visually enriched with sgraffito, a ceramic technique that involves carving and scratching through a colored slip revealing the surface underneath."

  Inquire

• Marty Fielding

  Torqued High Ball Glasses

  Hand built, red clay, underglaze, glaze, and glaze, cone 3

  "I seek harmony in my surroundings, moments of respite from the rush and concerns of daily life. I find a sense of calm in the emotion expressed in a song, muted colors in nature and art, and drinking coffee from a handmade cup. The synthesis of my research in post-modern architecture, abstract painting, and experimental music culminates in my utilitarian pottery. Each of these influences contain the element of abstraction, an austerity and restraint in form, and an intentional trajectory for moving the body, eye, or psyche through space. Grounded architecturally inspired forms communicate stability, while cantilevered components act as a counterpoint to their mass. Visual chords of color establish a harmonized background. Architectural features punctuated with vivid color conduct the viewer’s eye around the piece and settle into a mellow mid-tempo beat.
  "The functional parameters of the vessel allow me to achieve two important goals: offering individuals an interactive experience through use, and questioning the aesthetic conventions of the archetypal pot within the framework of utility. A surprising rendition of a familiar pot strikes the viewer with a feeling of discovery, enticing a closer investigation through sight, touch, and interaction. Geometric forms combined with painted color become utilitarian 3--D Color Field paintings. Vessels and groupings reference skyline and double as musical phrasing or waveforms of sound. Both architects and potters are fundamentally engaged in designing functional space. Architecture holds people; people hold pottery. Like the sentiment in a song, I instill calmness in my vessels to be experienced through use and contemplation within people’s hands and homes."

  Inquire

• Marty Fielding

  Three Mugs

  Hand built, red clay, underglaze, glaze, and glaze, cone 5

  "I seek harmony in my surroundings, moments of respite from the rush and concerns of daily life. I find a sense of calm in the emotion expressed in a song, muted colors in nature and art, and drinking coffee from a handmade cup. The synthesis of my research in post-modern architecture, abstract painting, and experimental music culminates in my utilitarian pottery. Each of these influences contain the element of abstraction, an austerity and restraint in form, and an intentional trajectory for moving the body, eye, or psyche through space. Grounded architecturally inspired forms communicate stability, while cantilevered components act as a counterpoint to their mass. Visual chords of color establish a harmonized background. Architectural features punctuated with vivid color conduct the viewer’s eye around the piece and settle into a mellow mid-tempo beat.
  "The functional parameters of the vessel allow me to achieve two important goals: offering individuals an interactive experience through use, and questioning the aesthetic conventions of the archetypal pot within the framework of utility. A surprising rendition of a familiar pot strikes the viewer with a feeling of discovery, enticing a closer investigation through sight, touch, and interaction. Geometric forms combined with painted color become utilitarian 3--D Color Field paintings. Vessels and groupings reference skyline and double as musical phrasing or waveforms of sound. Both architects and potters are fundamentally engaged in designing functional space. Architecture holds people; people hold pottery. Like the sentiment in a song, I instill calmness in my vessels to be experienced through use and contemplation within people’s hands and homes."

  Inquire

• Terri Kern

  Searching for Serenity

  Bird Cup, wheel thrown, hand painted, multiple underglazes, overglaze

  3.5” x 3’'

  Inquire

• Terri Kern

  Pounce

  Foxes Cup, wheel thrown, hand painted, multiple underglazes, overglaze

  2 1/2” x 3 1/2”

  Inquire

• Terri Kern

  The Great Escape

  Rabbits Cup, wheel thrown, hand painted, multiple underglazes, overglaze

  3 2/5” x 3 1/2”

  Inquire

• Sam Scott

  Cylinder Mugs

  Black and White Series.
  White porcelain, black matte glaze, dripped, poured, splattered

  "I am primarily a functional potter. I work predominately in porcelain, although not from a traditional perspective. My forms are defined by functional simplicity and the white surface of each piece is decorated with abstract designs in blues, browns, and grays. I am also exploring the contrast of the white porcelain surface with a matte black glaze. The development of this glaze has allowed me to explore new forms of decoration on the clay surface. Along with the white/black contrast, I am using a matte/glossy contrast, in techniques of dripping, pouring, and spattering. This new work is vastly different than my traditional approach of brushwork on the white glossy surface."

  Inquire

• Sam Scott

  Large Bowls

  Black and White Series.
  White porcelain, black matte glaze, dripped, poured, splattered

  "I am primarily a functional potter. I work predominately in porcelain, although not from a traditional perspective. My forms are defined by functional simplicity and the white surface of each piece is decorated with abstract designs in blues, browns, and grays. I am also exploring the contrast of the white porcelain surface with a matte black glaze. The development of this glaze has allowed me to explore new forms of decoration on the clay surface. Along with the white/black contrast, I am using a matte/glossy contrast, in techniques of dripping, pouring, and spattering. This new work is vastly different than my traditional approach of brushwork on the white glossy surface."

  Inquire

• Sam Scott

  Yunomi Cups

  Black and White Series.
  White porcelain, black matte glaze, dripped, poured, splattered

  "I am primarily a functional potter. I work predominately in porcelain, although not from a traditional perspective. My forms are defined by functional simplicity and the white surface of each piece is decorated with abstract designs in blues, browns, and grays. I am also exploring the contrast of the white porcelain surface with a matte black glaze. The development of this glaze has allowed me to explore new forms of decoration on the clay surface. Along with the white/black contrast, I am using a matte/glossy contrast, in techniques of dripping, pouring, and spattering. This new work is vastly different than my traditional approach of brushwork on the white glossy surface."

  Inquire

• Sam Scott

  Round Mug with Handle

  Black and White Series.
  White porcelain, black matte glaze, dripped, poured, splattered

  "I am primarily a functional potter. I work predominately in porcelain, although not from a traditional perspective. My forms are defined by functional simplicity and the white surface of each piece is decorated with abstract designs in blues, browns, and grays. I am also exploring the contrast of the white porcelain surface with a matte black glaze. The development of this glaze has allowed me to explore new forms of decoration on the clay surface. Along with the white/black contrast, I am using a matte/glossy contrast, in techniques of dripping, pouring, and spattering. This new work is vastly different than my traditional approach of brushwork on the white glossy surface."

  Inquire

• Richard Shaw

  Sardine Teapot (Mustard jar lid and fish head spout)

  Glazed porcelain with overglazed details

  "Richard Shaw is one of the most respected and collected artists in contemporary American ceramics. Shaw works by creating a kind of clay assemblage, in which he takes ordinary, everyday objects -- old books, rusted paint cans, used pencils, watercolor paints, playing cards, and so on -- and through a ceramic process that includes plaster molds, porcelain slip, screenprinted decals, and glazes, turns them into extraordinary works of art. This transformation employs the traditional method of trompe l’oeil (French for “fool the eye”) to create the illusion that the objects in Shaw‟s sculptures are made of anything but the ceramic with which they actually are composed.1 His work is technically astounding, and it deals with many themes: not only trompe l‟oeil, but also humor, narrative, assemblage, and the differences between art and craft." - Michael Schwager, “Casting Illusions: The Art of Richard Shaw,” Sonoma County Museum

  Inquire

• Andrew Avakian

  Cup

  Terra cotta clay, hand built slabs, textured, underglaze and terra stiglata, bisqued, sandblasted, waxed and glazed for final firing

  Inquire

• Andrew Avakian

  Cup

  Terra cotta clay, hand built slabs, textured, underglaze and terra stiglata, bisqued, sandblasted, waxed and glazed for final firing

  Inquire

• Andrew Avakian

  Cup

  Terra cotta clay, hand built slabs, textured, underglaze and terra stiglata, bisqued, sandblasted, waxed and glazed for final firing

  Inquire

• Ute Kathrin Beck

  Sissi Vase I

  Hand built with applications, stoneware and porcelain, metal oxide, glazed

  10” x 7”

  "'Hommage an Sissi' (homage to Sissi) is my tribute to the Empress Elisabeth of Austria-Hungary (1837 to 1898). The classicistic ornament is used to generate tension between function and meaning of the ornament."
  Beck's inventive ceramic vessels are impressive thanks to the unity and dynamism of form and sculptural ornament. Ute Beck avails herself of the freedom to create sculptures that still allude to containers, yet evoke diverse associations through their physicality and imagery. Her “Sissi” vases interpret a popular theme in recent culture. This ceramist is clearly inspired by playing with formal and imagistic references and by the dialogue between shimmery inner surfaces and matte exteriors decorated with porcelain slips or metal oxides. Practical containers become cult objects and ornamental pieces which are simultaneously archaic and contemporary. Each creation expresses her distinctive view while inspiring and disconcerting its viewers.

  Inquire

• Ute Kathrin Beck

  Sissi Vase II

  Hand built with applications, stoneware and porcelain, metal oxide, glazed

  "'Hommage an Sissi' (homage to Sissi) is my tribute to the Empress Elisabeth of Austria-Hungary (1837 to 1898). The classicistic ornament is used to generate tension between function and meaning of the ornament."
  Beck's inventive ceramic vessels are impressive thanks to the unity and dynamism of form and sculptural ornament. Ute Beck avails herself of the freedom to create sculptures that still allude to containers, yet evoke diverse associations through their physicality and imagery. Her “Sissi” vases interpret a popular theme in recent culture. This ceramist is clearly inspired by playing with formal and imagistic references and by the dialogue between shimmery inner surfaces and matte exteriors decorated with porcelain slips or metal oxides. Practical containers become cult objects and ornamental pieces which are simultaneously archaic and contemporary. Each creation expresses her distinctive view while inspiring and disconcerting its viewers.

  Inquire

• Ute Kathrin Beck

  Sissi Vase III

  Hand built with applications, stoneware and porcelain, metal oxide, glazed

  "'Hommage an Sissi' (homage to Sissi) is my tribute to the Empress Elisabeth of Austria-Hungary (1837 to 1898). The classicistic ornament is used to generate tension between function and meaning of the ornament."
  Beck's inventive ceramic vessels are impressive thanks to the unity and dynamism of form and sculptural ornament. Ute Beck avails herself of the freedom to create sculptures that still allude to containers, yet evoke diverse associations through their physicality and imagery. Her “Sissi” vases interpret a popular theme in recent culture. This ceramist is clearly inspired by playing with formal and imagistic references and by the dialogue between shimmery inner surfaces and matte exteriors decorated with porcelain slips or metal oxides. Practical containers become cult objects and ornamental pieces which are simultaneously archaic and contemporary. Each creation expresses her distinctive view while inspiring and disconcerting its viewers.

  Inquire

• Ute Kathrin Beck

  Sissi Vase IV

  Hand built with applications, stoneware and porcelain, metal oxide, glazed

  "'Hommage an Sissi' (homage to Sissi) is my tribute to the Empress Elisabeth of Austria-Hungary (1837 to 1898). The classicistic ornament is used to generate tension between function and meaning of the ornament."
  Beck's inventive ceramic vessels are impressive thanks to the unity and dynamism of form and sculptural ornament. Ute Beck avails herself of the freedom to create sculptures that still allude to containers, yet evoke diverse associations through their physicality and imagery. Her “Sissi” vases interpret a popular theme in recent culture. This ceramist is clearly inspired by playing with formal and imagistic references and by the dialogue between shimmery inner surfaces and matte exteriors decorated with porcelain slips or metal oxides. Practical containers become cult objects and ornamental pieces which are simultaneously archaic and contemporary. Each creation expresses her distinctive view while inspiring and disconcerting its viewers.

  Inquire

• Ute Kathrin Beck

  Sissi Box

  Hand built with applications, stoneware and porcelain, metal oxide, glazed

  "'Hommage an Sissi' (homage to Sissi) is my tribute to the Empress Elisabeth of Austria-Hungary (1837 to 1898). The classicistic ornament is used to generate tension between function and meaning of the ornament."
  Beck's inventive ceramic vessels are impressive thanks to the unity and dynamism of form and sculptural ornament. Ute Beck avails herself of the freedom to create sculptures that still allude to containers, yet evoke diverse associations through their physicality and imagery. Her “Sissi” vases interpret a popular theme in recent culture. This ceramist is clearly inspired by playing with formal and imagistic references and by the dialogue between shimmery inner surfaces and matte exteriors decorated with porcelain slips or metal oxides. Practical containers become cult objects and ornamental pieces which are simultaneously archaic and contemporary. Each creation expresses her distinctive view while inspiring and disconcerting its viewers.

  Inquire

• Naoko Matsumoto

  Reminiscence and Space: Translucent Sea Urchins

  Porcelain

  .75" - 1.25" x 1.5" - 2.75"

  Inquire

• Nolan Baumgartner

  Four Beer Steins

  Soda fired porcelain, finishing slips and glazes

  "My purpose in making pottery is to create ultimately functional, utilitarian ware. It is work to be used comfortably and easily, all the while maintaining a sense of movement, posture, and play that I feel is as necessary as the function itself. This sense of play emerges as I move and shape the clay, and through the loosely drawn polka dots and stripes that I quickly render in glaze.
  "I am fascinated with the wood and soda kilns’ glorious variables and the way they react to the undulating surfaces of my work and its applied slips or glazes. These atmospheric phenomena enhance the organic nature of my work. "

  Inquire

• Collette Spears

  Woven Teapot

  Coil built, white and stained stoneware, double walled, carved teapot, Cone 6

  Inquire

• MyungJin Kim

  Chasing Shadow Jar

  Porcelain, underglaze, glaze

  16" x 15" x 15"

  "The idea of vessels and containment has been very important to me. I have created many vessel forms and painted images on them that establish a dramatic space that is both real and surreal and of course I hope that the story I try to tell breaths a similar force of life into my work. I make decision on what forms to make instinctively. The birdcage, bird nest, terrarium, perfume jar and lab glass jar are vessels in real life that are curiously made out of a material that one can see through, wire or glass, so one simultaneously sees the outside form and inside space. I am intrigued by this and I create outside/inside surrealistic dramas with multiple point perspectives with painted images and real forms in space related to the shape and usage of a particular vessel."

  Inquire

• MyungJin Kim

  Bird Cage Jar: The Paradise

  Porcelain, underglaze, glaze

  15.5” h x 12” x 12”

  "The idea of vessels and containment has been very important to me. I have created many vessel forms and painted images on them that establish a dramatic space that is both real and surreal and of course I hope that the story I try to tell breaths a similar force of life into my work. I make decision on what forms to make instinctively. The birdcage, bird nest, terrarium, perfume jar and lab glass jar are vessels in real life that are curiously made out of a material that one can see through, wire or glass, so one simultaneously sees the outside form and inside space. I am intrigued by this and I create outside/inside surrealistic dramas with multiple point perspectives with painted images and real forms in space related to the shape and usage of a particular vessel."

  Inquire

• Brie Flora

  Tea for two on an overnight train to Beijing

  Anticlastic and synclastic raised brass vessel with black patina, sterling silver detail,steel and walnut handles

  "Inspired by my trip to China, I created this double brass teapot, the first of a larger series. It was 5am as I sat drinking tea on an overnight train from Suzhou traveling to Beijing. I watched cornfields pass outside my window for hours, until out of nowhere, there was a skyscraper. There was nothing between the low, calm, beautiful farmland to prepare you for the large stark concrete building towering above. This moment stuck with me for the rest of the trip, forcing me to think about how the culture in china right now is a flow from ancient practices and architecture into modern ideas and control."

  Inquire

• Brooke Millecchia

  Espresso Cup and Saucer

  Cup: Wheel thrown, altered and stamped white stoneware, with underglaze and glaze application.
  Saucer: Hand built white stoneware, hand painted,stamped,wax resist with underglaze application. Fired to Cone 6 oxidation.

  Inquire

• Bede Clarke

  Teapot

  Earthenware, hand drawn and painted

  Inquire

• Bede Clarke

  Cup

  Earthenware, hand drawn and painted

  Inquire

• Sebastian Moh

  Small Cup

  Wheel thrown porcelain, Mishima inlay, cone 10 oxidation, electric fired

  Inquire

• Pru Venables

  Oval Bowl

  Hand thrown and altered with new base added, Limoges porcelain, clear and yellow glazes, reduction fired

  "I have always been interested in objects, ever since my grandmother encouraged me to use her fluted bone china teacups and saucers. They were powder blue with a whisper of gold on their delicate rims and I loved their weight, their elegance and their gentle sound when placed together. My early memories of these beautiful vessels and their use have inspired and informed my work for more than 30 years. Science and music were my initial areas of learning, but my attention swiftly diverted after my first entrancing contact with clay. I immediately realized that making pots was what I wanted to do for ever. I studied at the Harrow Studio Pottery Course in London. Intense and demanding, focused and structured, we concentrated on the making of high quality inventive functional objects. The structured working practices, high expectations and inventive questioning, similar to science and music, were familiar and attractive to me. I excitedly explored many techniques and ideas but throwing always remained my technique of choice. I learned to recognize the wonder and mystery of objects – their power to incite a response in me, to move and stimulate me, to draw me towards them and to dwell permanently in my memory. Studios in London and then Melbourne contained the development of my work through coloured and painted earthenware and eventually to reduction fired porcelain. Gradually new approaches to making emerged, motivated by a search for simplicity and quietness. A lovely soft luminous clay body provided surfaces that no longer required decoration to conceal them and new forms developed – circular altered to oval with softly moving edges, a sprung tension recalling their thrown origins."

  Inquire

• Pippin Drysdale

  Ironstone IV

  Pilbura Series I 2015. Bisque-fired and glazed porcelain open form with hand-cut, glaze-painted, fine crevices

  4.7" high x 5.7" diameter

  Inquire

• Pippin Drysdale

  Gum Hill

  Pilbura Series II 2016. Bisque-fired and glazed porcelain open form with hand-cut, glaze-painted, fine crevices

  8.3" high x 8.6" diameter

  Inquire

• Pippin Drysdale

  Tubba Tabba Creek I, II & III

  Pilbura Series II 2016. Bisque-fired and glazed porcelain open form with hand-cut, glaze-painted, fine crevices

  Left: 4.3" high x 5.1" diameter
  Center: 3.5" high x 5.9" diameter
  Right: 5.1" high x 5.5" diameter

  Inquire

• Elke Sada

  Capriccio Cups

  Porcelain slabs, roller painted, manipulated, altered and formed

  "I paint. I am totally absorbed. Then I pour clay onto the plaster block and each time I lift the clay from the canvas a new picture is revealed. I cut fragments and fold them into unique and cheerful vessels. Capriccio - passionate mix of expressive painting and my love for ceramics."

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• Blanka Sperkova

  Teapot

  Finger-knitted sterling silver wire

  Inquire

• Hyu Jin Jo

  Noodle Bowls

  White porcelain, hand built, carved and textured

  Inquire

• Anima Roos

  Fish Bowl

  Porcelain, screen printed

  4.5" x 3.5"

  "The interaction between what I intend to make, and what others see in it, is seldom a contradiction, usually an enrichment. During the making, the game between light and dark, movement and rest, open-/closeness, is very important. Playing with traditional forms and actual techniques, I am searching for a balance. The spectator adds a concrete story to it. Lines, forms and ideas, preferably in movement… it all remains a tightrope walk."

  Inquire

• Anima Roos

  Fish Bowl

  Porcelain, screen printed

  7" x 4.7"

  "The interaction between what I intend to make, and what others see in it, is seldom a contradiction, usually an enrichment. During the making, the game between light and dark, movement and rest, open-/closeness, is very important. Playing with traditional forms and actual techniques, I am searching for a balance. The spectator adds a concrete story to it. Lines, forms and ideas, preferably in movement… it all remains a tightrope walk."

  Inquire

• Sarah O'Sullivan

  Erosion Series: Bowls

  Inlaid Stain, porcelain

  The Erosion Series of bowls have been cast from old English jelly moulds and vintage cut glass bowls. Each bowl is slip cast and is created by a build up of layers of stained porcelain slip and then after removal from the mould, sanded back to reveal the different colours of each layer. The resulting pattern becomes somewhat organic; not precise, as it develops with the sanding away of layers, leaving behind only some areas of each coloured layer. This technique is a representation of how the physical geographical landscape is developed over time; with sediment build up and compression followed by years of weathering and erosion. The process also acts as a metaphor for the development of the Australian culture, which has been built up by additions of layers of other cultures and then slowly eroded away to leave a colourful pattern of multiculturalism. Because of the making process, each piece is entirely unique.

  Inquire

• Sarah O'Sullivan

  Erosion Series: Bowls

  Inlaid Stain, porcelain

  The Erosion Series of bowls have been cast from old English jelly moulds and vintage cut glass bowls. Each bowl is slip cast and is created by a build up of layers of stained porcelain slip and then after removal from the mould, sanded back to reveal the different colours of each layer. The resulting pattern becomes somewhat organic; not precise, as it develops with the sanding away of layers, leaving behind only some areas of each coloured layer. This technique is a representation of how the physical geographical landscape is developed over time; with sediment build up and compression followed by years of weathering and erosion. The process also acts as a metaphor for the development of the Australian culture, which has been built up by additions of layers of other cultures and then slowly eroded away to leave a colourful pattern of multiculturalism. Because of the making process, each piece is entirely unique.

  Inquire

• Sarah O'Sullivan

  Erosion Series: Tumblers

  Inlaid Stain, porcelain

  The Erosion Series of bowls have been cast from old English jelly moulds and vintage cut glass bowls. Each bowl is slip cast and is created by a build up of layers of stained porcelain slip and then after removal from the mould, sanded back to reveal the different colours of each layer. The resulting pattern becomes somewhat organic; not precise, as it develops with the sanding away of layers, leaving behind only some areas of each coloured layer. This technique is a representation of how the physical geographical landscape is developed over time; with sediment build up and compression followed by years of weathering and erosion. The process also acts as a metaphor for the development of the Australian culture, which has been built up by additions of layers of other cultures and then slowly eroded away to leave a colourful pattern of multiculturalism. Because of the making process, each piece is entirely unique.

  Inquire

• Dorothy Feibleman

  Petals

  Soft paste porcelain, nerikomi technique

  Various sizes

  "Dorothy Feibleman's spare porcelain forms -- precise and finished to translucent, weightless perfection -- elevate the art of pattern making to an extraordinary degree. In Feibleman's hands, the ancient Japanese technique of nerikomi -- in which ceramic objects are decorated with patterns created by combining different, often differently colored, clays -- has been reinvented through the introduction of ideas drawn from glassmaking, mosaic art, jewelry making and other disciplines. Obsessively ornamented, with patterns that multiply across their surfaces, Feibleman's most striking works are reminiscent of objects as diverse as blue-and-white Delftware, central Asian metalwork and printed Indian textiles." - Scott Norris

  Inquire

• Brooks Oliver

  "I got hot sauce in my bag."

  Porcelain

  4" x 5.5" x 3" each

  "The ambition of my work is to reimagine and reinterpret the familiar functional vessel. By isolating, altering, and exploiting the necessary components of a vessel, I attempt to provide new visions of utilitarian ceramic wares.
  "My work inherently blurs the boundaries between craft, design, industry, and technology as I am inspired by the charged grey areas between these binaries. By marrying the production techniques of CAD software and rapid prototyping technologies with the creation techniques of the hand, a unique dialog can be formed between the digital and clay that ultimately influences both ways of making."

  Inquire

• Brooks Oliver

  "I got hot sauce in my bag."

  Porcelain

  4" x 5.5" x 3" each

  "The ambition of my work is to reimagine and reinterpret the familiar functional vessel. By isolating, altering, and exploiting the necessary components of a vessel, I attempt to provide new visions of utilitarian ceramic wares.
  "My work inherently blurs the boundaries between craft, design, industry, and technology as I am inspired by the charged grey areas between these binaries. By marrying the production techniques of CAD software and rapid prototyping technologies with the creation techniques of the hand, a unique dialog can be formed between the digital and clay that ultimately influences both ways of making."

  Inquire

• Brooks Oliver

  Formation

  Porcelain

  5” x 5.5” x 3” each

  "The ambition of my work is to reimagine and reinterpret the familiar functional vessel. By isolating, altering, and exploiting the necessary components of a vessel, I attempt to provide new visions of utilitarian ceramic wares.
  "My work inherently blurs the boundaries between craft, design, industry, and technology as I am inspired by the charged grey areas between these binaries. By marrying the production techniques of CAD software and rapid prototyping technologies with the creation techniques of the hand, a unique dialog can be formed between the digital and clay that ultimately influences both ways of making."

  Inquire

• Brooks Oliver

  Formation

  Porcelain

  5” x 5.5” x 3” each

  "The ambition of my work is to reimagine and reinterpret the familiar functional vessel. By isolating, altering, and exploiting the necessary components of a vessel, I attempt to provide new visions of utilitarian ceramic wares.
  "My work inherently blurs the boundaries between craft, design, industry, and technology as I am inspired by the charged grey areas between these binaries. By marrying the production techniques of CAD software and rapid prototyping technologies with the creation techniques of the hand, a unique dialog can be formed between the digital and clay that ultimately influences both ways of making."

  Inquire

• Inwha Lee

  Cups

  Porcelain, wheel thrown, manipulated

  "People are moved by many things in the world, but there is one thing in particular that inspires me: an object carefully and calmly executed by skilled hands, such as a metalwork with no mark of soldering or a quilted cloth with perfectly consistent, almost rhythmical, stitches. Such objects have a special kind of beauty that is beyond their exquisite forms and alluring narratives. Contained in them is one’s life and time spent endeavoring to best handle the given material. Sincere efforts to perfect every corner, and beautiful objects that only experienced hands can create make my heart pound. I make my way to my studio every day to create such objects."

  Inquire

• Inwha Lee

  Bowls

  Porcelain, wheel thrown, manipulated

  "People are moved by many things in the world, but there is one thing in particular that inspires me: an object carefully and calmly executed by skilled hands, such as a metalwork with no mark of soldering or a quilted cloth with perfectly consistent, almost rhythmical, stitches. Such objects have a special kind of beauty that is beyond their exquisite forms and alluring narratives. Contained in them is one’s life and time spent endeavoring to best handle the given material. Sincere efforts to perfect every corner, and beautiful objects that only experienced hands can create make my heart pound. I make my way to my studio every day to create such objects."

  Inquire

• Inwha Lee

  Bowl

  Porcelain, wheel thrown, manipulated

  "People are moved by many things in the world, but there is one thing in particular that inspires me: an object carefully and calmly executed by skilled hands, such as a metalwork with no mark of soldering or a quilted cloth with perfectly consistent, almost rhythmical, stitches. Such objects have a special kind of beauty that is beyond their exquisite forms and alluring narratives. Contained in them is one’s life and time spent endeavoring to best handle the given material. Sincere efforts to perfect every corner, and beautiful objects that only experienced hands can create make my heart pound. I make my way to my studio every day to create such objects."

  Inquire

• Inwha Lee

  Bowls

  Porcelain, wheel thrown, manipulated

  "People are moved by many things in the world, but there is one thing in particular that inspires me: an object carefully and calmly executed by skilled hands, such as a metalwork with no mark of soldering or a quilted cloth with perfectly consistent, almost rhythmical, stitches. Such objects have a special kind of beauty that is beyond their exquisite forms and alluring narratives. Contained in them is one’s life and time spent endeavoring to best handle the given material. Sincere efforts to perfect every corner, and beautiful objects that only experienced hands can create make my heart pound. I make my way to my studio every day to create such objects."

  Inquire

• Katharina Klug

  Wheel thrown porcelain with glazed interior and drawn lines on the exterior surface

  "My work is about simplicity of design and shape, bringing these in relationship to the surface. I am inspired by the elemental colour and shape of ancient Korean pottery. What I love about ceramic is that it starts of as a soft lump and can become pretty much anything you want it to be. After the firing it is hard and durable and can survive centuries. But at the same time it’s fragile and can be broken into pieces in a moment."

  Inquire

• Katharina Klug

  Wheel thrown porcelain with glazed interior and drawn lines on the exterior surface

  "My work is about simplicity of design and shape, bringing these in relationship to the surface. I am inspired by the elemental colour and shape of ancient Korean pottery. What I love about ceramic is that it starts of as a soft lump and can become pretty much anything you want it to be. After the firing it is hard and durable and can survive centuries. But at the same time it’s fragile and can be broken into pieces in a moment."

  Inquire

• Katharina Klug

  Wheel thrown porcelain with glazed interior and drawn lines on the exterior surface

  "My work is about simplicity of design and shape, bringing these in relationship to the surface. I am inspired by the elemental colour and shape of ancient Korean pottery. What I love about ceramic is that it starts of as a soft lump and can become pretty much anything you want it to be. After the firing it is hard and durable and can survive centuries. But at the same time it’s fragile and can be broken into pieces in a moment."

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• Katharina Klug

  Wheel thrown porcelain with glazed interior and drawn lines on the exterior surface

  "My work is about simplicity of design and shape, bringing these in relationship to the surface. I am inspired by the elemental colour and shape of ancient Korean pottery. What I love about ceramic is that it starts of as a soft lump and can become pretty much anything you want it to be. After the firing it is hard and durable and can survive centuries. But at the same time it’s fragile and can be broken into pieces in a moment."

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• Benjamin Cirgin

  Dissent Channel 6.1

  Hand carved black clay, glaze, slip

  "It is no secret, and often unquestioned today, that large-scale commodity production has been, and continues to be, a driving force in economic systems across the world. Human consumption rises; media and marketing advance in controlling a vast amount of unconscious cultural capital; and the proletariat value of life today still rest in the hands of a select few. My work develops through questioning the readily accepted norms found in mass media imagery, popular culture, and the anthropocentric nature of the human obsession with objects. I position myself (out of necessity and curiosity) as an active participant in the consumption of domestic objects, built environments, and a member of the working class community to present an alternative engagement with the objects and processes that I find simultaneously confusing and mesmerizing."

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• Benjamin Cirgin

  Dissent Channel 3.3

  Hand carved black clay, glaze, slip

  "It is no secret, and often unquestioned today, that large-scale commodity production has been, and continues to be, a driving force in economic systems across the world. Human consumption rises; media and marketing advance in controlling a vast amount of unconscious cultural capital; and the proletariat value of life today still rest in the hands of a select few. My work develops through questioning the readily accepted norms found in mass media imagery, popular culture, and the anthropocentric nature of the human obsession with objects. I position myself (out of necessity and curiosity) as an active participant in the consumption of domestic objects, built environments, and a member of the working class community to present an alternative engagement with the objects and processes that I find simultaneously confusing and mesmerizing."

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• Benjamin Cirgin

  1Dissent Channel 6.2

  Hand carved black clay, glaze, slip

  "It is no secret, and often unquestioned today, that large-scale commodity production has been, and continues to be, a driving force in economic systems across the world. Human consumption rises; media and marketing advance in controlling a vast amount of unconscious cultural capital; and the proletariat value of life today still rest in the hands of a select few. My work develops through questioning the readily accepted norms found in mass media imagery, popular culture, and the anthropocentric nature of the human obsession with objects. I position myself (out of necessity and curiosity) as an active participant in the consumption of domestic objects, built environments, and a member of the working class community to present an alternative engagement with the objects and processes that I find simultaneously confusing and mesmerizing."

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• Benjamin Cirgin

  Dissent Channel 7.7

  Hand carved black clay, glaze, slip

  "It is no secret, and often unquestioned today, that large-scale commodity production has been, and continues to be, a driving force in economic systems across the world. Human consumption rises; media and marketing advance in controlling a vast amount of unconscious cultural capital; and the proletariat value of life today still rest in the hands of a select few. My work develops through questioning the readily accepted norms found in mass media imagery, popular culture, and the anthropocentric nature of the human obsession with objects. I position myself (out of necessity and curiosity) as an active participant in the consumption of domestic objects, built environments, and a member of the working class community to present an alternative engagement with the objects and processes that I find simultaneously confusing and mesmerizing."

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• George Bowes

  Vase

  Porcelain, wheel thrown and altered, embellished with underglazes and glazes, cone 5

  "The majority of my work is realized using ceramic materials. I begin my work conceptually, and then choose techniques and processes from the ceramic vernacular to appropriately give form to those ideas. My work ranges from the personal to the political, as well as addressing my notions of beauty. The objects that carry this information necessarily vary. Objects can be functional, multiples, sculptural or flat tile work. Within all of these idioms, ideas and formats, there is a love of color, pattern and form. I am very involved with lush glazed surfaces. This tends to be a common thread through my work."

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• George Bowes

  Vase

  Porcelain, wheel thrown and altered, embellished with underglazes and glazes, cone 5

  "The majority of my work is realized using ceramic materials. I begin my work conceptually, and then choose techniques and processes from the ceramic vernacular to appropriately give form to those ideas. My work ranges from the personal to the political, as well as addressing my notions of beauty. The objects that carry this information necessarily vary. Objects can be functional, multiples, sculptural or flat tile work. Within all of these idioms, ideas and formats, there is a love of color, pattern and form. I am very involved with lush glazed surfaces. This tends to be a common thread through my work."

  Inquire

• George Bowes

  Vase

  Porcelain, wheel thrown and altered, embellished with underglazes and glazes, cone 5

  "The majority of my work is realized using ceramic materials. I begin my work conceptually, and then choose techniques and processes from the ceramic vernacular to appropriately give form to those ideas. My work ranges from the personal to the political, as well as addressing my notions of beauty. The objects that carry this information necessarily vary. Objects can be functional, multiples, sculptural or flat tile work. Within all of these idioms, ideas and formats, there is a love of color, pattern and form. I am very involved with lush glazed surfaces. This tends to be a common thread through my work."

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• Lut Laleman

  Drops

  Two Cup and Saucer Sets. Hand built porcelain with inlayed black and white dots of porcelain

  Lut Laleman makes vessels in seemingly simple shapes: cylinders, funnel-like chalices or kidney shapes, colored black, white and gray, and often in pairs. Closer scrutiny discovers the complexity of these artworks. In chromatic alternation of black and white elements, Lut Laleman builds her artworks from thin strands of white and black porcelain or from thousands of their miniscule segments. Mathematical precision and accurate calculation of the sequences result in pierced lineatures. The minimalism of this “stop-motion ceramics” seems absurdly complicated. Like the illusion of motion in animated cartoons, the form and its inner, finely subdivided sketching ensue from the slow compilation of small and smaller elements. The results are structures, translucent and pierced with narrow holes, similar to but much finer than what one might see in woven baskets, yet unprecedented in ceramics.

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• Lut Laleman

  Bowls

  Hand built porcelain. Black coils outside, black inside inlayed with black and white dots of porcelain

  Lut Laleman makes vessels in seemingly simple shapes: cylinders, funnel-like chalices or kidney shapes, colored black, white and gray, and often in pairs. Closer scrutiny discovers the complexity of these artworks. In chromatic alternation of black and white elements, Lut Laleman builds her artworks from thin strands of white and black porcelain or from thousands of their miniscule segments. Mathematical precision and accurate calculation of the sequences result in pierced lineatures. The minimalism of this “stop-motion ceramics” seems absurdly complicated. Like the illusion of motion in animated cartoons, the form and its inner, finely subdivided sketching ensue from the slow compilation of small and smaller elements. The results are structures, translucent and pierced with narrow holes, similar to but much finer than what one might see in woven baskets, yet unprecedented in ceramics.

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• Lorraine Olderman

  Black,White and Read All Over

  White earthenware, wheel thrown, sgraffitto, alkaline glaze

  Lorraine Olderman has developed her own glazing process combining sgraffito, texturing, underglaze drawing and colored alkaline creating a richness of surface and decorative design quite unique to her work. Functionality is matched by her unwavering belief that beauty is a daily necessity.
  " A coffee cup can be a work of art and beautiful art must be a part of our daily life."

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• CJ Niehaus

  Teapot

  Porcelain, wheel thrown, underglaze pencils and washes, oxidation fired Cone 6

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• CJ Niehaus

  Rana Cups

  Porcelain, wheel thrown, underglaze pencil and washes, Cone 6 oxidation fired

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• Ann Ruel

  Contemporary Geometric Terrarium Teapot

  Porcelain and earthenware, wheel thrown, handbuilt, handpainted

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Vessels – a.k.a. the cup, bowl, or teapot – have been traditionally used for centuries as a soothing symbol of comfort, friendship and well being. This group exhibition explores great modern adaptions of these classic historical forms.

Partial listing of participating artists:

Andrew Avakian
Nolan Baumgartner
Ute Kathrin Beck
George Bowes
Benjamin Cirgin
Bede Clarke
Pippin Drysdale
Dorothy Feibleman
Marty Fielding
Brie Flora
Inwha Lee
Hyu Jin Jo
Terri Kern
MyungJin Kim
Katharina Klug
Lut Laleman
Naoko Matsumoto
Brooke Melecchia
Sebastian Moh
Merrill Morrison
CJ Niehaus
Lorraine Olderman
Brooks Oliver
Sarah O’Sullivan
Anima Roos
Ann Ruel
Elke Sada
Lynne Sausele
Sam Scott
Collette Spears
Blanka Sperkova
Hiroshi Taruta
Chris Theiss
Pru Venables
Bill Wilkey