Potter's Shed Section-2008-09 Fall-Winter-Art-to-Art Palette Journal

Portrait Cup with Yellow Lines Ceramic ( 7.
5" x 8" x 7")

Part of a series that was originally inspired by the ritual stirrup vessels of the Moche culture (1st - 9th century AD) from Peru, Ovidio Giberga says, The stirrup spout in my work serves as a compelling design feature but more importantly references the "figure as vessel" metaphor, inviting the viewer to think abstractly as to their content and purpose. His titles suggest anthropological artifacts, specific to his place and time.
2008-09 Fall/Winter Edition - 61
Cox: Mud was great!

Glen Dale, West Virginia is situated in the very top tail of the state, along the Ohio River with Ohio and Pennsylvania bordering each side. Gods Country as many has made reference to and for good reason. Here, nature is respected and treated as a gift and in return, a type of bond seems to form between the residents and the land. Betsy Cox had very little choice but to become an artist.
Being exposed to creativity was commonplace in her household while growing up. Her father was skilled at trades in mosaic; painting and woodcarving, and her Mother came from a line of Austrian artists. Betsys parents encouraged her to paint and were thrilled to see an interest taken in several different medias. Playing and making sculptures in the mud was one of Betsys favorite past times. Mud with much vocal expression. Another fond memory that Betsy clings to today is that of their chickens. Sunday dinner would find fried chicken on the dining room table, taken right out of the barnyard earlier that morning, freshly dressed and cooked. Betsys Mom opened a restaurant called The Red Rooster and began a collection of chicken memorabilia. When her Mother passed away in 1994, Betsys memories began to seep into her mind and she longed to be closer to those happy moments. While watercolors were a main media and Betsy did well with this art form, she longed for the hands-on feel from her childhood days when she would play in the mud and watch the barnyard chickens march about. She remembered the scent, the feel, and the ability to mold the dirt like clay. 1994 was the year when Betsy realized that she needed to find her own style in her own way. In 2000, Betsys husband built her a studio and she is now happy with her daily routine of sculpting, hand building,
they are amazed that any sane person would do that.
clay artist said 62 - The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition
was great! Approachable, moldable, cool and fun! this
molding or creating forms on a wheel. Today, Betsy finds inspiration in watching her neighbors chickens as they strut around their yard. Many of her clay forms seem to portray different varieties of her favorite bird in different forms and shapes, all visually exciting. Cox has won awards for her abstract, modern interpretations of designs from clay and different chicken presentations. Displays of Betsy Coxs work can be viewed at the Artworks Around Town gallery in Wheeling and the Wheeling Artisan Center. Recent recipient of Best in Clay award from the Wad Clay Institute, her piece was that of a chicken and has been placed in the Institutes permanent collection in Pittsburgh. Her work will also be featured in the latest of a series of books from Sterling Publishing on ceramics from artists all over the world. 500 Tiles features a handmade collection of ceramics and Betsy created a type of abstract handslabbed tile, about 12 inches square, a type of free form design, with a free -floating ball in the middle on a wire. Most artists work has a distinct,
recognizable signature that sets them apart from others. Coxs unusual pieces throw all of this logic right out of the window by varying to extremes. Of the horsehair vessels, saggar pots, smoke ware, paintings, tiles and jewelry created by Cox, it is sometimes impossible to find similarities of distinction of this artist because the creativity just seems to keep changing and growing, giving the impression that a group of artists have been at work. Her methods of firing include electric, gas, raku, pit firing, saggar firing and a wood-fired kiln. Because of the different ways in which each method leaves a marking on the clay and because Cox uses a variety of methods for unique effects, one of a kind pieces are created as only Cox can achieve. One fellow artist compares Betsy Cox to a Renaissance woman with her drawing, painting, ceramics, sculptures and mixed media work; everything she touches just automatically turns to art.
Echo Valley Pottery, Betsys home studio, is quickly gaining national and international attention for her clay and ceramic pieces as she continues to prepare for various juried competitions. A whirlwind of ideas, designs, colors and a flair for coordination will find Betsy Cox rising fast in the art media world.
Betsys Terra Sigillata
a gallon at a time so I can control the thickness.
The recipe she uses on her vessels, requiring a sigged surface are Horse Hair, Pit, Naked Raku, Saggar and some higher fired stoneware. My Terra Sig is developed
Siphon it off till you start to see the sludge at bottom. Thats it!
1 gallon water 5 pounds of dry XXX Saggar Clay 1/2 Tablespoon of Sodium Silicate 1/2 Tablespoon of Soda Ash Mix together and let settle for 24 hours, siphon off the clear water at top. The middle layer is the one she uses.
bisque fired in an electric kiln to cone 08. When people see Betsys Horse haired pots they always ask - How do you get those squiggly lines on there, Paint? After Betsy explains the process of pulling hot pots from a kiln and applying the hairs one at a time in a See West Virginia next page
mix is so fine that all that is needed to burnish is a soft cloth. The pots are
Betsy sometimes uses the sludge as a thick slip. She applies three coats of Terra Sig to bone dry greenware, by spraying with a HVLP sprayer. This
The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition - 63
West Virginia
would do that.
Continued from previous page window of about 30 to 45 seconds, they are amazed that any sane person
elements to fume to the surface of the pot.
Saggar firing is when vessels are fired in a container that holds combustibles and chemicals in close quarters to a pot. This allows the
of my saggars to fit the pots. Things used to
Saggars are made from clay, metal, bricks, kiln shelves, paper clay or tin foil. They all need to have lids that seal and holes for air. I throw a lot
I leave the saggars in the kiln until cooled. Then are wiped off and waxed. Trewax is the best wax I have found to use.
People
create the fumes are: Salt, copper wire Copper Carbonate Steel Wool Straw, dried manure, horse hair Pine needles, iron filings The saggar is filled with organic materials, such as, straw or grasses and the chemicals. I make sure the saggars are full, but not touching the pot. They are then sealed and fired in a gas raku kiln to a middle range of 1400 and 1700 degrees.
are always wondering how she gets all those colors and patterns.
help from my Kiln Gods and lots of Luck.
A little
64 - The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition
rtist turns family chaos into art

Anyone who's been around children for more than a few minutes at a time, knows that their cute little faces, conceal a whirlwind of chaotic energy. Janis Mars Wunderlich is mother to five children, and amazingly she manages not only to keep up with the demanding work as well as a busy household, but also she translates these experiences into art. As she puts it, "The wonderful craziness of my family life is my inspiration." Her intricate, exquisitely detailed ceramic sculptures illustrate the messy, busy, and ultimately rewarding experience of motherhood in all of its glory.
Janis' creativity was apparent at an early age, she says. My parents fostered an individual spirit in all of their 10 children (of which I am #2). They encouraged us to be creative and supplied us with materials. I can't remember a time when I thought I WASN'T an artist." Over the years, she has continued to grow as an artist, gaining skill, and equally important: confidence over time. I have always loved process and detail, and my work is more detailed than ever. My work is more humorous now than when I was a student, expressed Janis. She further added, I was struggling with balancing family life/ motherhood with art/grad school and lacked confidence in myself. I was always worried/ guilty that I wasn't being a good enough mother or spending enough time in my studio. However, she went on to say, All these years later, I've gained more confidence in art and life, or more likely gone completely over the edge, so that I laugh at everything and keep calm in a "windstorm" - and I think my art reflects this change, this ability to embrace and celebrate the chaos." The "chaos" of motherhood is illustrated in Janis' sculptures, as the main figure in each piece interacts with clusters of smaller, child-like figures that seem to have a life of their own as they climb on, dance across, or even just cling to the body of the main character. The sculptures have a level of detail that is often surreal and occasionally unnerving. Janis loves working with clay in part because it such a hands-on process. "I enjoy the poking, scraping, cracking. Working with my hands, pushing and pulling. Then firing, layering colors, firing again. It is a long process that takes great patience, but it is so therapeutic! I love any material that you can really dig your hands into!" Her main inspiration is her children, whom she calls "the best artists, the most creative thinkers. They constantly give me ideas. Janis also names Frida Kahlo as an early inspiration, saying "as a student, I fell in love with Frida Kahlo's work. Her willingness to put it all out there" - both the sweet and the ugly... it changed me!" Finally, behind every great artist is a great art teacher, and according to Janis, "My teacher at BYU, Von Allen, was also a huge inspiration. She pushed clay to miraculous lengths, and had an extreme work ethic, and I watched and learned!"
As a well-known artist who now lives and works in Columbus, Ohio, she has been the recipient of numerous awards and fellowships. Also her art is in permanent collections in the US and as far away as Taiwan. In addition, Janis has appeared in a documentary film about women artists called Who Does She Think She Is? Whatever the future holds for Janis Mars Wunderlich, the excitement and chaos of being a mother has inspired an amazing body of work. Her plans for the future? "Well, at some point I can only hope that my kids will grow up and become a little more independent. Then I have all sorts of plans for my work... Scale variations, world travels, installations. I also hope to do more printmaking, drawing and painting along with my ceramics." To keep updated on Janis new works and artistic activities, visit her web site: www.janismarswunderlich.com
By Alison Kroulek
Far East travels gives couple a lasting gratitude of ancient history
From the modern and attractive Shanghai, to the gorgeous mountains between the Yangtze, the small ancient towns meld into current metropolitan cities in the land of the middle kingdom, Ralph and Janie Stuckman of Celina, Ohio, traveled to China and brought back tales of beauty, wonder and even a little excitement in their three-week summer adventure. Upon stepping off the plane, they were greeted by modern and attractive architecture. The hotel spoke of elegance and spaciousness never before seen in any of their previous travels. Visits to a pearl shop, the Temple of Heaven shrine, and traveling via rickshaw through back alleys known as hutongs amazed the Stuckmans even further on how traditions of the past and modernizations of the present meshed together in one simple city. Tall skyscrapers and apartments with modern cars parked on the street whizzed by them as they were transported in a method that began in 1200 B.C.
On their way to the Forbidden City, their first stop was Tiananmen Square, The greatest public square on earth, according to Ralph. A gate on one side of Tiananmen Square beckons tourists to enter a city that was closed to the public for centuries. The Forbidden City was home to over 34 emperors lasting over 500 centuries as well as 20,000 plus servants. The distinctive buildings created by over one hundred thousand artisans demonstrate the artistic prowess of the Chinese over the generations. Architecture was not only aesthetically pleasing but also functional. The angular shaped walls, with bricks of white lime and glutinous rice and cement made of glutinous rice and egg whites created extraordinarily strong walls that would frustrate attempts of climbing. Yellow, color of Chinese Imperial Families, dominates the landscape in glazed tiles, bricks on the ground and decorations that adorn the palace. One exception, Wenyuange, the royal library, contains a black roof that represents water and extinguisher of fire. No one traveling to China can ever surpass visiting one of the seven ancient wonders of the world, and Ralph and Janie did just that. We climbed, walked, and looked over the expansive 6,700kilometer wall that not only kept the enemies from invading, but also unified a people for the first time in their history. However, both agreed that the discovery made by a farmer in 1974 was the highlight of their adventure. The discovery of the Terra Cotta Warriors near Xian, boggled my mind. Ralph describes huge numbers of soldiers, officer, horses, chariots, and weapons buried in memory of an emperor, to protect him in the afterlife standing ready for action. Each of the military figures made of clay came with different facial expressions and noticeable personalities that took
the breath away. More amazing was the knowledge that over 750,000 people prepared this for their emperor. The man-made monuments were not the only splendid aspects of the Middle Kingdom. The natural splendor that encompasses China would leave anyone in awe over the beauty of this nation. Traveling down the Li River saw fairy tale hills and towns that existed as they originally were built. Reed Cave illuminates light in color on the side of a mountain with magnificent rock formations and perpendicular mountains framed the Yangtze River as Gorges within gave detail to further cave dwellings and houses that sat along the beautiful river. Ralph and Janie were treated even further to the power of this
land, as they were involved in an earthquake that occurred during their trip. They finished off their trip with a visit to the Childrens Palace and a night of entertainment with Chinese Acrobats. In leaving, both commented that they took with them an appreciation for the ancient history behind the living accomplishments of the Chinese. A combination of the past and present in a kaleidoscope that changes shape with every different view.
See photo collage next page
66 - The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition
Medallion Bracelet
rish Jeffers-Zeh has been offering Workshops and Retreats for Expanding Creative Energy in Fellowship for over 20 years. With a degree in Mental Health, a background in ceramics, sculpture, glass, lapidary, metal and jewelry making, Trish is also drawn to teaching creativity where she shares her knowledge and ideas of how to create "Accessories for Grace" that can be used for adornment, beautification and inspiration. For Trish, creating artwork is about movement, growth, mentally, spiritually, and personally. Her love is the process or much better the experimentation where her creations become an embodiment of organic form and inspiration from nature. Blending mystical, function, design and organic fluidity, Trish is attracted to a multi-cultural and spiritual marriage of symbolism, a creative process that invokes imagery of inspiration and hope. She discovered that Metal clay combines exceptionally with other mediums, especially ceramics that produces works of elegant artistry. Zeffers Moon Beyond the creation of her self-works, Fish Eggs Ring which have won numerous awards and have been exhibited internationally, with her certification in Precious Metal Clay, Trish divides her time in many other ways. She serves as the president of the Columbus PMC chapter and Ohio Metal Clay and Artisans Guild, which Trish founded. In addition, she is a Senior Instructor for Art Clay, teaches nationally as well as at art centers in the Dayton/Cincinnati, Ohio area, and conducts workshops and retreats in her studios.
Studio: 513-897-2406 Trish direct: 937-626-4333 E-mail: ZeffersStudios@earthlink.net www.geocities.com/zeffersfarm http://groups.yahoo.com/group/OhioMetalClayArtisansGuild
Zeffers Farm Studios

In the Waves I am Violet Mid Summers Night Dream
Dichroic Glass Medallion
Bound Together
Aporcelain{18x8}clayworkportraitbyMoCahillofChicago,Illinois.ShesaysherworksareConstructedofthe castoffsofmoderndailylife.Afavoriteoldshirt,flannelsheetwornthin,lastyearscollectablecard,paycheckstubs, flowers,weeds,twigs,anythingthatwillburnormelt.butalwaysobjectswithemotionalcontent.theobjectsare dippedincastingslip,assembledintotheformthattheobjectsdictate,andlefttothefire.Whatsticks,sticks.Whatfalls off,fallsoff.Whatflakesoflater,flakesofflater.Whensomethingbreaksaway,somethingelseisrevealed.Fragments containabitofthewhole.Theseworksstartedwithaserendipitousapproachtoform,but,asafigurativepainter,the issueofthehumanbodycouldnotremaininthebackgroundforlong.Withadeepbreath,Ihangontotheserendipity offormandfire,andacceptbrokenfigures.Aswealldoeverytime,wedecidetoliveandloveanotherday.
People, Places, Events

2008-09 Fall/Winter Edition - 69
People, Places, Events

Who did it? When it happened? What they did? Where it all began? and Why it was?
A little history
Programmer becomes a true artist entrepreneur

"I love the deep rich color of the red earthenware clay which I use to create shiny surface vessels and not show any aging effect on my work." An electric kiln is Denise Wilz preferred firing method and she uses food safe glazes. "I create individual pieces and I realize some will never be perfect, just like life." Denise went to Moravian College in Bethlehem, Pennsylvania and finished her degree work. "I majored in Studio Art and then for about 20 years worked as a computer programmer." While fully employed, Denise took an adult evening class in clay and became pleased with this medium. "I began collecting Pennsylvania German folk art books for ideas to decorate a door in my kitchen." These early design inspirations are now part of the Wilz Pottery she founded. Today with her husband and sons and various pets, they reside in the woods in Eastern Pennsylvania. www.wilzpottery.com
He 'juggles' earth, water, fire

The earth and water are used to form, shape and then Charlie Cox adds color to his creations, and then comes the fire to remove the water and set the color and earth."The art of juggling these elements in different
She wears two hats on an Ohio 'art highway'

Diana Brower is an accomplished potter who has come to wear two main hats: one creating ceramic fountains and serving as the Executive Director of the Troy Arts Alliance. Throwing pots is a form of meditation for me. The feel and scent of the clay is very soothing. Before I begin, I give the clay Reiki. This energy connects me to the clay and opens up my creativity, says Diana. She now specializes in one-of-a-kind table top ceramic fountains. "No two are alike and each fountain has a spirit all its own." After a bowl is created, Diana carves her rim and leaves this bowl to dry which could take up to three weeks. She begins contemplating how the fountain head might look after the piece has been bisque fired. This image allows her to combine art and functionality. "The joy I receive is to get the best sound possible without the splash. I tweak ideas with further experimentation and a theme is completed before the fountain to become finalized."
www.dancingdolphinpottery.com
proportions and temperatures is like solving a puzzle for me, says this Palmyra, Illinois potter. "Even when the form takes shape, the glaze is tested and applied, and the kiln is fired according to many previous firing notes," he adds. However, Cox knows it he must contend with the humidity in the air and the wind. For some, his process might be challenging, however for Charlie he expresses the satisfaction as a "the feeling I get when I have the clay in my hands; one of a child." Additionally, firing his kiln is a two-fold enjoyment: "watching the flames and trying to control the process, and opening the door when its done." When potter Cox is behind his wheel, he has a basic idea of what he wants, such as, a pitcher, a bowl or maybe a vase. He throws the basic shape of a cylinder and from here he lets the clay influence the final shape. The end result produces total originality; no two pieces the same. He also inputs marks on his work as it spins, by just touching the work with taps from a tool. And by connecting the taps, he forms images, but also in some of his work, Charlie uses a glaze to create add a visual design. www.coxpottery.com
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Art energizes me; I don't energize it. When I'm in my studio, it is as if I've stepped into another world. I love creating. To take something that is nothing and make something out of it is what motivates me. It has become my passion.
Mud works set the course for Colorado clay artist

As a child, Leisha Hiester and all her friends played Barbie. Her Barbie was always muddy because she enjoyed creating "mud" works. At the age of 10, Leisha sold her first sculpture and "I have been playing in mud ever since." Of course, her child experience with Mother Earth didn't really take hold until she took her first high school pottery class, but then "I became hooked." More ceramic opportunities came her way with not only a college art scholarship, but also recognition for her clay works. Gift giving plays a main inspiration for Leisha to create functional pottery. "It brings me pleasure to think that someone is using a vessel." When she is making a decorative piece, Leisha is further inspired by two things: nature or spirit. She is forever intrigued by nature because of its design, color, and texture. By spirit, it has to do with "my faith or an experience whether dark or light." Wheel thrown pots by Leisha shows a brightness with much color, line, and detail. Furthermore, creative efforts have been added by mixing of raw materials to form glazes. www.LeishasArt.com
e went where there was no path and left a trail

Gene Reck has had influences upon his path to becoming a potter. His doctoral studies pertained to chemistry which has given him an exceptional understanding of the glazing process. However, mixing and applying glazes for his wife became his first love as a beginning potter. Eventually, he developed glazes that gave surface treatment to vessels with the appearance of age. He began to roll slabs for construction purposes. These slabs are now often embossed with commonly found objects around the home and Northern Michigan buildings. Fascination really comes to Gene since most clay formations deal with geometric shapes, patterns, angles, and intersections. There are common compositions throughout his pottery creations. Fish platters are developed in several sizes and are food safe. Inspirations come easily with view of Lake Michigan. The gardens are important components around his Three Pines Studio and Gallery area. He creates pieces which fit into its peaceful setting. www.threepinesstudio.com.
The Art-to-Art Palette - Potters Shed Section/People, Places, Events department - 2008-09 Fall/Winter Edition - 71
When Bridget Chrie Harper was a teen, she and her artist mother traveled to Arizona to help with an installation. While there, she was fascinated by the desert flora which was a great contrast to the green landscape of her Tennessee home, however the trip was a strong influence in her decision to attend Arizona State University. In college, she entered as a business major, but later in her studies, "I took a ceramics class as an elective and became obsessed by the art form." Eventually, she changed her major and "I spent most of my time in the studio." Ceramics professor Kurt Weiser showed an interest in her work and she quickly responded to his talent and knowledge. "He created many opportunities for me, including an internship in a Thai village where ceramics are produced." After exploring more dependable careers, Bridget began working for a local design firm as a detail artist creating sculpture for Princess Cruises. "I traveled to Italy, where my embryonic interest in classical sculpture matured." These experiences, along with a consultancy on a public art memorial dedicated to Frank Lloyd Wright and A.J. Chandler, introduced her to figurative sculpture. Embarking in a new direction, "I began coiling large organic forms, often changing their size and refining their shape, until one day a small figure was in front of me." Drawing on her appreciation for classical sculpture, especially the ancient, broken figures, Bridget removed the head and liked what she saw. While researching different approaches to surface design, "I recalled years before, while shopping at an antique mall, I purchased for 50 cents a basket filled with vials of china paints." She began experimenting with the paints, and a National Geographic photo of a puffer fish inspired her to paint an abstract version of it. She was pleased with the results but more so with the possibilities: "The porcelain figure became a canvas and the surface a visual diary." Bridgets surrealistic paintings on classical forms are a by-product of her life. They come from dreams, relationships and everyday encounters. For several years, artist Harper has been refining her technique and resolving technical issues. Now that many of the challenges have been overcome, "I have established two series and developing a third." Her primary focus has been female torsos, but she also works with figurative teapots and is expanding her vocabulary with figures of conjoined twins, working in conjunction with Arizona State University/Partnership in Research for Spatial Modeling department. In addition to the physical human form, "I am also much interested in behavior and psychology." In her paintings, "I create detailed, painstakingly rendered images that have broader meanings. I want the viewers to notice the elegance of the sculptural form as well as the complex relationship between the form and the painting." www.Bridgetcherie.com.
trip in her youth made the difference
Experimentation leads to crystal growth

William Schran has been a productive researcher in glaze chemistry. His focus has been on crystalline glaze formulas. A situation existed where his school kilns could not fire quickly enough to cone 10 temperatures. He experimented with existing cone 10 recipes by adding increments of low temperature fluxes. The process produced a few newly formulated glazes with consistent results to grow crystals. He has continued research on glaze formulas using a variety of commercial frits as the primary flux. William realizes that such helpful research will provide studio ceramicists and schools with limited firing capabilities an opportunity to explore crystalline glazes. Schran has a variety of academic responsibilities in higher education. He has been with Northern Virginia Community College full time since 1977, and at the Alexandria Campus since 1983, serving as the Assistant Dean in Fine Arts Division of Visual and Performing Arts and Public Service. Also, he is the Director and Assistant Professor of Art and Ceramics at the Tyler Teaching Gallery. www.nvcc.edu/home/wschran
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His goal is to 'produce beauty'

For visual artist Kevin Coffee, the clay arts has been his focus for nearly 9 years; a medium for his personal expression. "This is a long time for me because I have never stayed with any one art medium." His past ceramic works dealt with a wide range of firing techniques, starting with primitive cow dung. "Saw dust pit firings fascinated me, but I gravitated first to the metallic surfaces of raku, then the ultra-modern kosai vapor glazing process. These pottery vessels suited Kevin because they provided a visceral, tactile, and non-verbal experience for his audience. Kevin says, Having sold him my tired old kiln, I have not had clay as an outlet for the past couple of years. He realized that collections, whether ceramic or otherwise, were his real artistic interest. It is the grouping and juxtapositioning that excite him. "I feel overwhelmed sometimes by the details of life, the minutae of life, so I collect it, group it, organize it, and I frame it in a box." In so doing, artist Coffee is now fulfilling his goal to produce beauty, to reflect back to life that he feels life to be. I am learning to see beauty in that which is often considered ugly. His new artistic direction is the mixed mongo which he used to create a cow skull with trash, cast-offs, and street gleanings from New York City. "The skull was taken from a dumpster in Stillwater, Oklahoma." www.coffeepotter.com
Tile maker credits father, teacher and employer for career path
"My experience with ceramic tile began at an early age when I started to help my father set tile. I was impressed that such a simple process could yield such elegant and permanent results," says Emily Ulm of Kent, Ohio. A career in tile began to attract her at the University of Akron when Ulm had the opportunity study with tile maker Donna Webb. "Donna showed me that the word "tile" means more than the mass produced squares found at building supply stores." From there, Emily realized that the possibilities for beautiful and functional tile are endless. After graduating with a BFA in sculpture, Emily was hired to assist Cleveland artist Angelica Pozo. Emily led a group of high school students in creating a giant tile mural, as part of the city of Akron's "Lock 3 Summer Art Experience." Working alongside Pozo, Ulm gained confidence to design and produce her own line of art tile. Each tile is designed and sculpted and casted in plaster. Ulm presses clay into a one of a kind plaster mold and "inks" it with her "Emu Tile" logo. "Once it is out of the mold, I trim the tile and let it dry. Depending on the size of the tile and the drying conditions, it may take days or weeks." Once dry, the tiles are fired, first to 1940F, then glazed with non-toxic glaze and high-fired to 2200F (cone 6), making them durable enough to be part of a permanent installation on any vertical surface, or as individual works of art which is wall-mounted with a single nail. In this modern world, we spend much of our lives indoors. I believe that incorporating representations of the natural world into our living areas enhances our quality of life. Made of earth and depicting familiar plants and animals, my tiles are an enduring way to bring the outdoors into our indoor lives, Ulm said. www.emutile.com
"In my art work, I enjoy the feeling of being unrestricted by traditional concepts . . ."
Chosen country lends his artistry to flourish

After early art training in Britain, Brian Gartside went to live in New Zealand in 1961. He spent years using a variety of art materials, but it wasnt until the 70s when he started to specialize in clay: combining surface design with functional pots and decorative ceramics. Much of this imagery alludes to the New Zeeland geographical phenomena.
Abstract symbols are present in Brians works refer to land, sky, rain, wind, rocks, and erosion and the volcanic presence in the geology of New Zealand. "In
my art work, I enjoy the feeling of being unrestricted by traditional concepts. My forms are kept simple and basic so that major emphasis is placed on surface treatments." Also, Brian
enjoys drawing and painting with ceramic materials in which he sets aside glazing rules so that imagery is allowed to flourish. Using modern technical methods with assistance from commercially prepared clays, minerals, and special colored pigments, the potter works with a series of themes that change and evolve from month to month, so that no two objects are the same. His final firings of high temperatures ensures very strong and durable pieces. Established in the New Zealand art scene, he first served as a lecturer for 14 years as a Teachers College Lecturer in Art and Ceramics. Today, he is now in demand as a workshop leader. Also, he lives on small two acre hill in rural Pukekohe, where he continues to work as a full time craftsman producing a colorful range of domestic and decorative pottery. For the past 20 years, he has published several magazine articles and made significant contributions to many international conferences. In addition, he has taught workshops in ceramics on a regular basis in Canada, USA, Britain, and Australia, as well as serving as a guest artist in Hungary, Finland, USA, and Canada. www.gartside.info.
Raku firing is magical for Pennsylvanian artist

For over three decades, clay artist Deb Slahta of Bethlehem, Pennsylvania has acquired a treasure chest of pottery experiences. One of them is Raku firing which is a much satisfying process for her. I enjoy harnessing the magic of smoke and fire, and I just love the drama of pulling the pots from the red hot kiln, says Deb. In addition, when straw burst into flames, that moment becomes a flashfrozen in time for me. Dedicated to finely crafted ware, she specializes in geometric shapes that show the carefully planned divisions of space, as they are introduced, to the uncertainties of the Raku firing process. Her vessels are simple forms that explode with color or the stark contrast of black and white, however the designs are strongly influenced her higher education degree in mathematics that she received from Moravian College. Beyond her own artistic world, Deb teaches clay classes for adults, after-school programs and summer camps for kids. She has exhibited in galleries and juried shows throughout Pennsylvania, New Jersey, Ohio, and Kentucky. http://mysite.verizon.net/vzesvmi4/
His happy guys smiles with creativity

Seattle, Washingtons Hilary Chan is a person with a broad range of interests. He worked as a computer programmer, made and showed sculptures, and studied languages and cultures of the peoples of Inner Eurasia, including Russian, Uzbek, and Finnish, at the University of Washington. In addition, he has contributed to the clay arts arena with his pottery. In Chan's web site, he gives a tour of his now studio where he does his sculpture and hand building of comical figurines which stand 2 to 4 inches tall made by a pinching method. Some were saggar fired while others were left as just plain bisque ware. "There is another section dealing with my proud happy guys driving their hard earned Mercedes automobile. These pieces were reduction fired to cone 6 in a gas kiln." Also in his web home, Hilary has a video clip throwing soda into a soda kiln firing with wide open flames shooting towards him. Also, you will discover that some of his drinking vessels are plain, however others have faces with distinct personalities. "I created designs with delicate lines showing a wide range of recognizable and abstract approaches." With Hilary's wide variety of interests and pottery creations, you will be impressed with his journal and other entries dealing with the earth, fire, and smoke features. He documents in great details his experiments with pit firing/fuming techniques. www.claymonk.com.
Teacher provides the clay of inspiration for Ohio potter

A career in clay for Bob Yost of Akron, Ohio was inspired by his high school art teacher, Peggy Forman, who shared her passion for the clay medium. She introduced him to a Japanese Raku firing technique; a firing process that yields metallic and crackled glaze results. After high school, Bob experienced varied activities in art. He earned his BFA degree from the University of Akron School of Art, spent a brief time in the art world in New York, but he returned home to be the resident potter at Hale Farm Village, where 19th century saltglazed ware were reproduced. Later, he instructed classes at his alma mater. This experience gave him more incentive to build on his career. In 1995 Bob established the Yost Tile Company, a hand-made, custom ceramic tile production facility. Also, he started the Middlebury Pottery and School and the Ohio Canal Clay Guild. On occasion, Bob fires some work at a double chamber wood kiln in Holmes County, Ohio. The kiln is wood-fired for approximately thirty hours. When the second chamber reaches 2400, salt is introduced into the fire box. The salt vaporizes in the extreme heat and the flow of the fire carries the salt into the chamber with the pottery. The salt settles on the pots and the sodium fuses with the silica in the clay body, and creates sodium silicate which is glass. The unglazed pots are now saltglazed pots. Today, Yost does his own kind of Raku creations. Pottery is pulled from the kiln when the glaze has matured to a temperature of around 1900 degrees F. The vessels are then placed into a container of combustibles, like leaves, pine needles or saw dust. The combustible ignites and a lid is placed on the container. The flame needs oxygen to burn, so it goes to the pottery for oxygen and starves the glaze of oxygen which changes a copper green glaze to a copper red. Another of Bobs goals are found in his useful clay works. He brings a surface richness of textures and imagery, such as, in his relief tiles for kitchens, bathrooms and fireplace facades. These tiles are high-fired with a nature-inspired glaze pallet. Well-known for his original designs of hand-carved clay tiles, from which a plaster mold is made, soft clay is pressed back into the mold to create the tiles. Potter Yost has created custom designs for private homes and public locations, including the Akron Children's Hospital, Akron Municipal Building, Old Trail School, and several other schools, such as, the Akron Public Schools new elementary and junior high schools. Bob was commissioned to design a tile mural, with the help of all of the children at each school, making and glazing the tiles. It helps the kids to take ownership in their new school through this collaborative effort, says Bob. www.yostpottery.com
pottery is fun
Possibly the most popular handcraft in the nation, pottery has made amazing strides on both professional and hobby levels since the end of WWII. There are a lot of reasons for this growth, but the foremost reason may be that the process of making pottery is exciting.
Clay itself is essentially granite-type rock which has, over millions of years, decomposed into tiny particles. There are many kinds of clay, but some of the more commonly used ones are stoneware, earthenware and porcelain. Stoneware is usually made from several natural clays plus alumina and silica. When fired, it becomes hard and almost glasslike, able to hold water without being glazed. It generally turns out light gray but may also be tan or even somewhat reddish. Earthenware is usually made from a natural clay and is low fired, as compared to the high firing temperature required for stoneware. Earthenware must be glazed before it can hold liquid. After firing, the color is usually buff or read. Earthenware is mostly used for industrial tiles, but can also be made into decorative and functional pieces. Porcelain is made from kaolin, ball clay, feldspar and flint. It is white and translucent and requires the highest firing of all pottery wares. It is not very plastic and requires some skill to work, so it is not recommended for beginners. Essentially, the process of making pottery revolves around the firing process. After you have finished making your pot or figurine, it must be allowed to dry completely so that all moisture is gone from the clay. It is then put into a kiln which is heated to temperatures ranging from 1200 to 2300 degrees F, depending on the type of clay you used. This is called firing, and the goal is to heat the elements in the clay to the point where they fuse. The color of the clay changes during this process. What was once dull gray becomes an appealing buff, tan, dark red or pure white. This first firing is called the bisque firing. Fired clay has a matte (non-shiny) surface. The glossy surface you see on pottery Is called glaze. glass. There are innumerable kinds of glazes which produce endlessly interesting results. Raku is a method of making pottery developed by the Japanese. The word Raku means enjoyment, pleasure, contentment and ease; however, making Raku work is dramatic and exciting, and also has the highest risk of breakage as the pots may explode during the firing process. In Raku, vessels made of The reason that high fire clay are first bisque a pot exists? fired. They are then glazed with To entertain low-temperature glazes having a the heart, special composition. The pot is of course. allowed to dry thoroughly. A To delight kiln is heated to somewhere the eye and mind. between 1500 and 2000 To carry and store. degrees F, and the potter uses To protect and share. long-handled tongs to put the pot To hold the water and the into the red-hot kiln and leaves it wine, the grain, the flowers, inside until the glaze melts. This sugar, keys, bills and dreams, is usually between a few minutes and, sometimes, just the air. and an hour, depending on the Whatever you can think of. kiln temperature and the kind of To beautify a shelf, glaze used. Progress is checked a room, a life. through a hole in the kiln. To please the When the pot looks shiny and potters' wet all over, it is removed from soul. the kiln with tongs. Reason enough, The Raku object is then either Wouldn't you agree? placed directly in cold water to By C.S. Niblick cool it instantly, or it can be plunged into a large container full of combustible material such Glaze puts a layer of glass crystals on as leaves, newspaper, wood chips, hay or the surface of the clay. It is both decorative sawdust, and then placed in water to cool. and useful, since it waterproofs the vessel. The latter method results in markings and Generally, glaze is applied to the fired pot smoking on the piece which gives raku its as a liquid. When the pot is fired again, distinctive look. By Kay Sluterbeck the glaze melts, forming a thin layer of
Shape it, glaze it, raku it:
The Reason for Pots
Fong Choo was born in Singapore City, Singapore and is inspired by his Chinese heritage. About the size of a clenched fist, miniature teapots have been his signature pieces for over a decade. His works follow the long standing tradition in the great Yixing style of pottery where much emphasis is in the color, design, and form. Since 1985, artist Fong has many ties to his home in Louisville, Kentucky. His pottery studio is there, and he earned a Master of the Art in Ceramics from the University of Louisville. In addition, he became an Adjunct Professor and resident artist at Bellarmine University. In many ways, my attitude towards clay is that I need to awaken it. I love to poke, push, prod, explore, and search the limits and boundaries of my ceramic creations," he said. In his use of glazes, hell use a low fire commercial glazes and then fire it to cone 5/6 for a very jewel tone effect, in spite of the fact, these glazes run. To compensate for the over melting, he makes moats on his work to fit the form. Numerous and high level awards have been earned by Choo. In 207, he given a Distinction of Excellence in Ceramics at the Smithsonian Craft Show in Washington, D.C., and in 2006, he took the Best of Show at the American Craft Exposition in Evanston, Illinois. fongc@bellarmine.edu.
e awakens clay
Jewelry works preferred by Michigan clay artist

Alice Hunt always liked creating seasonal works. One fall, she took an ornament making class at the Kalamazoo Institute of Art. Flat Christmas ornaments were made from slab rolled clay, and molds were used to pour three dimensional ornaments. The latter introduction led her to making pins and earrings, and from there jewelry became the focal point in her clay works. "The Harbingers of Spring series were fun to create," said Alice. Her "Bunnies with Robin" is a sculptural piece, a pin 3" wide by 2" deep in the series, and one of the artist's favorite. "It was fun to create the grass background and foreground and place the bunnies and robin in this little picture of spring." Also, Alice has made spring bunny pins where she adds flowers in the design. The Maple Leaf pin is one of dozens in a series. "I experimented with under glazes by using them directly on this piece. It was a joy to finally get the depth of color I wanted with the other chosen glazes." An electric kiln was used for this cone 6 glazed firing, and the gold highlights were fused into the glaze at a final firing at a lower temperature. Also this Delton, Michigan clay artist creates pendants and sculptural elements for necklaces. "I often combine them with beads of natural stone, glass or my own handmade porcelain accent beads." www.AliceHuntStudio.sitesofourown.com
reated in 1971, The Midwest Clay Guild is one of the oldest cooperatives in the United States. Sculptors, potters, painters and installation artists frequent the facilities to help expand their local, national and international shows. A well-organized studio within the organization contains a gas kiln, three electric kilns, slab roller, spray booth, glazing/chemical room and separate studio spaces.
Guild President, Mo Cahill, and has been successful in of Chicago, Mo Cahill. studied at Waubonsee teaching and displaying at According to Victor, We have shared events, Community College in Sugar several clay shows. an annual open house, My present challenge is Grove, Illinois, majoring in and local festival building a series of clay furniture Science and Liberal Arts. The opportunities. We as which deals with plenty of Art Institute of Chicago further members join in group technical problems thus far. The clenched her passion in travel plans to exhibitions Guild facility provides me with ceramics and drawing. and trade shows. affordable studio space with all the Responsibilities and Currently working on necessary equipment needed for challenges were nothing new my creative purposes. Dana freelance model making, Victor to Mo who learned long ago will have a large figure finds a nice balance of how to balance many aspects sculpture appearing in the creativity at the Guild where of life while raising a large Figure Evocative show at the he welcomes his working space family. You might say that the Third Rail Studio gallery in and not having to interfere Guild replaced her now grown October of 2008. Read more at with family life at home. children with a brand new formingground.com. Jeff Donelan, a chemist, hungry family searching for Being able to utilize space received his BS in Chemistry nurturing and leadership. 24/7 is one of the reasons that from Illinois Wesleyan The artist side of Cahill Victor Boyer was attracted to University and works as a finds her busy creating peace becoming a member of the researcher for aerospace, and political buttons in Midwest Clay Guild. Another defense and advanced memory of 9/11. View this one reason was his renewed technology applications. -of-a-kind artistic acquaintance with a former Concentrating on functional remembrance at student from the Art Institute pottery is his passion and pinkobuttons.com. Another project that Mo has been experimenting with are tiles that use wood and salt firings with the initial use of varied celadon glazes. This will be a project to watch as it changes and grows. For more on Mo Cahill visit ocahill.womanmade.net. Different artists find a home at the Guild and form friendships, sharing opinions and ideas with one another. Dana Shearin, youthful and vibrant, successfully completed a BFA from New Yorks College of Ceramics at Alfred FRONT{lr}:LindaKramerandMarySeyfarth.CENTER:DanaShearin,Kimberly University, taught in Jones,MoCahillandVictorBoyer.TOPLEFT:JeffDonelan. three university settings
found the guidance of the more accomplished and formally trained potters at the Guild very helpful in turning his amateur endeavors into a professional status. You can see this Evanston, Illinois potters work at many popular Chicago land art galleries. As you can tell, the artistminded possess an array of different backgrounds and many incorporate their skills into their love of clay. Kimberly Jones, a photography major and printmaker from Evanston, loves to create one of-akind pieces, lovely to use and also silky and alive to the touch. A love for dance, Kimberly has incorporated this skill into her work, featuring flowing lines into her clay work for a dramatic effect. A tribute to the 36-yearold facility and loyal since its inception, Linda Kramer, an original and founding member of the Midwest Clay guild, is very passionate about most aspects of art. Born in New York City and raised in California, she has studied art most of her life. Continued next page
Workby JillOberman
Midwest Clay Guild

Continued from previous page Her father, Monty Lewis, founded the Coronado School of Fine Arts where Mother, Mary Ellis, taught many of the art classes. A resume filled with countless achievements in teaching, founding galleries, help in receiving grants and sharing art collections, Lindas vast knowledge is irreplaceable to the Guild. Sculptress Jill Oberman, creates architectural ideas of structure, reinforcement, support and points of access in her exploration of personal issues. Currently working on elusive space of the horizon where land and sea meet sky, she conveys the expectation, destiny and vision of their convergence. A past Programs and Administration Director of the Archie Bray Foundation and the studio manager of the ceramics program at the Anderson Ranch in Montana,
Jill finds the surroundings of the Guild to be a perfect compromise to create her structures. Chairperson of the Ceramics Department at Columbia College and twenty-five year veteran of teaching, Mary Seyfarth has traveled to many international locations, excavating and collecting findings to process in her present day Byzantine Wall. Presented for exhibit in Lincoln Park, Chicago, Illinois, Seyfarths work includes the sgraffito technique where she cut through colorful slips into damp clay with a stylus, causing the glaze to flow and run over sharp lines for colorful results. A member of the Guild for the past twentyfive years, she is proud of the cooperative studio and also the Evanston Art Center, which is closely linked and a direct outgrowth from. Ceramics, graphic design and art history were major
WorkbyJeffDonelan
studies of Anne Wirtz, of Chicago, who spends many evenings and weekends at the Guild compiling sculptures and pottery, representative of forms of nature. Her expressive style leans toward abstracted with emphasis on pronounced textures and repetitions of forms and patterns. The Midwest Clay Guild is more than just a haven for artists looking for a place to set up a studio. Throughout the years, members have grown both artistically and socially, preparing to emerge with a sense of confidence in their creativity. Past members include Jim Connell, successful potter and lecturer in South Carolina; Xiaosheng Bi, now residing in the Chesapeake Bay area and noted as a published ceramic artist; Bonnie Katz, a Fine Arts Coordinator for youth at the Evanston Art Center; Les Orenstein, now teacher at the Lill Street Art Center and the Evanston Art Center and Stephanie OShaughnessy, active member of the 20 Dirty Hands group of potters in Galena, Illinois. Atmosphere, comrades, and tranquility are but a few of the favorable aspects in deciding to join the Guild if you are serious about a career in ceramics. Visit their website at midwestclayguild.org for more information and how to obtain rates on space that may come available in the future.
WorkbyVictorBoyer
WorkbyKimberlyJones
WorkbyLindaKramer
WorkbyDanaShearin
WorkbyMoCahill
WorkbyAnneWirtz
rt and Science in potter's works
Daniel Semler says, "I am a half-time potter who creates various functional and decorative pieces in stoneware and porcelain. Coffee mugs, cups, bowls, plates, and decorative vases with a variety of glazes have become his focal points in his pottery works." His interests include classic form, simple but subtle forms which require time to design. "Tiles have provided me with some good experiments. I am trying more glaze combinations with oxide washes on stoneware and glazes with accents on porcelain." Daniel creates works with artistic content and individuality. "I don't produce in large numbers." However, he will do small sets using the same developmental approach with sushi dishes or an odd set of mugs. As a Computer Engineer, he includes many scientific and technical aspects in his pottery works. Ceramic research has taken a definite part of his life which he shares with others. www.clayosmos.com for much more technical information for potters.
Left: Copper Reds. Right: Stoneware with oxide washes.
Clay pushed to limit by hands of time

Clay has become a way of life for Ronald Knight, a potter from North Carolina. "I became entranced by the fluidity and feel of clay since the age of 13," When Ronald first entered the art world, he worked with various media, but "I always returned to clay." Knight has lived as a country potter, homesteader, and carpenter all of his adult life. In addition, he has worked with many clay artists who helped shape and influence his interests, such as, building and firing kilns, combining Eastern and Western influences in his work, and creating both functional and sculptural pieces. He is constantly searching for native substances to incorporate into his work, and "I have come to discover that many of the best materials are often right at my feet." He enjoys working with clay as an ongoing extension of the creation process. "Shaping and embellishing the pieces, then stacking them and moving them through the fire. I want to make this entire process separate, so that each piece tells the story of its making." In recent years, Knight's work has become more sculptural and less vessel-oriented. "The human figure and shapes from the natural world have emerged as two of my primary themes." His hand-built sculptural forms tend toward soft, often bulbous shapes, such as, seed pods. "I often feel that clay is at its most beautiful when he has pushed against its surface and found its expressive limits." As an artist, part of potter Knight's philosophy is to emphasize simplicity: "Basic tools, simple clays, maybe two or three glazes, and always the use of local materials." www.knightclayworks.com
detail
detail
Raku with AMACO glazes/Old World Crackle series; Fog Gray, Satin White, Amber18 x 6 x 12
Spirit Markers
Fish Stringer on Wire
Works by ceramic sculptor Lisa Merida-Paytes of Cincinnati, Ohio are the unseen core of the various animals that may include mixed media. Powerful images of animal carcasses, in her fathers taxidermist business, have been the underlying influence in these ceramic creations. Lisa has created an unusual sculpture of a fish with acupuncture needles relating to three distinct influences. First, this work stems from her father who did approximately a thousand preserved fish mounts. Secondly, she was further influenced to buy a beautiful, stuffed blow fish while on a family vacation in Florida. This purchase inspired her because it embodies so many characteristics in combination of method and form in her own art. Specifically, the blowfish contains a beauty of inherent texture and color that is secondary to form. The third influence was her treatment from the accident that included acupuncture. Currently, Lisa is using stoneware, raku clay which is heavily gorged and contains kainite to give special strength to her pieces. The temper of this clay body becomes quite suitable as she carves deeply into a sculpture, such as, a fish with many thick and thin areas. This clay body has safer passages through raku firings with its thermal shocks due to extreme temperature changes. The artist's future plans is to keep experimenting with her sculptures to get more weathered effects upon them. www.lisameridapaytes.com.
Raku with copper matt and AMACO glazes/Old World Crackle series; Fog Gray, Satin, White, Amber34 x 40 x 37
ather's skill in artist's works
HANGING DEAD Raku with AMACO glazes/Old World Crackle series; Fog Gray, Satin, White, Amber -
28 x 8 x 12
"Art has always been a part my life. My mother was a graduate of the Julliard School studying piano, bassoon, and spent some time drawing," said Steven Branfman of Newton, Massachusetts . His great grandfather, a Russian immigrant who lived with them, was a tailor of fine clothing. A great uncle from Russia "who I was very close, painted landscapes while he made his living as a house painter." Steven had another uncle who was a talented painter and musician. In addition, "my parents saw the value in art and took me and my siblings to museums, concerts, and Broadway plays." On the other hand, Branfman was more interested in athletics than the arts and went to college to become a physical education teacher, but that career path didnt last very long. "There was never a conscious decision by me to do art or to become an artist. It was more like something that needed to be done. My movement towards art was natural and he knew it was right." In 1971, clay entered his life as a random encounter. His teacher, John Jessiman was a wonderful potter. "He mesmerized me with his fluidity and ease with clay. After seeing him throw, I decided I wanted to be a potter." At Rhode Island School of Design, "Norm Schulman was unforgiving, rigid, and set in his ways. However, I learned a lot from Norm and it was the most influential experience in my decision to work with clay. Since 1975, Steven has been making pots, teaching, writing, and operating his own studio. From his earliest introduction to clay, he has always been fascinated and excited about the wheel. It is not one, but all of the components of that tool that holds and keeps my interest; the speed, fluidity, and in particular, the sense of growth I observe and control during the process." His aim and ambition is to make good pots. "My work is about vessels and the characteristics that make the vessel come alive: volume, texture, color, and scale." One of his objectives is through his vessels is to preserve the connection between contemporary ceramic expression and potterys origins as functional containers. "I do not want to transform and abandon it. Though my forms are not functional as in domestic ware, they do suggest function and are certainly containers. For over 30 years, Raku technique and process has held Stevens attention. He has remained true to these never ending variations of applied technique and the spontaneity of the actual firing process. "The always present degree of surprise and serendipity in the results continue to fascinate me." He works simultaneously in the traditional method which was started in the 1600s in Japan and his own contemporary technique where rules are constantly in question."Raku firing is fast by its design and spontaneous by my nature. When the piece is ready to be taken from the kiln there is a lot of chaotic appearing activity for a very short time." Though there is always a degree of surprise, the success of the work depends on potter Branfmans ability to command and predict the variables of material and fire. "It is like a dance that when choreographed well that flows into a statement of beauty. It feels good when done right." Steven uses a variety of glazes including so called raku glazes stoneware glazes, commercial low fire glazes. slips, enrobes, stains, under glazes and over glazes. Glazes are applied by brushing, pouring, and spraying often with multiple thin layers of as many as 15 glazes. "I fire them without the use of cones or pyrometer while observing the glazes as they melt and removing the pots when the surfaces have melted and flowed to my satisfaction." However, post firing becomes a process all its own. "It requires the precise combination of forced cooling and smoking. Smoking is finally carried out in metal cans using coarse sawdust, wood shavings, and pine needles." This potter is also a noted writer, workshop presenter, and a pottery teacher at the Thayer Academy in Braintree. Besides his work appears in private, corporate, and museum collections throughout the United States and the world. www.americanpotters.com/gallery.tpl?ID=3099287941119
Art became 'physical ed'
New challenges now artist's life

Born in Damascus, Syria, in a family of creative minds, Mayssan Shora Farra now resides in Charleston, West Virginia.
"I was blessed with exposure to many different ideas and artistic endeavors,"
she said. With this to her advantage, Mayssan went to college to study both English literature and Architecture, and graduated from the School of Fine Arts at Damascus University. Mayssan came to the United States with her husband for his specialized studies, and remained because of career and freedom opportunities. "After two children, the empty nest syndrome prompted me to begin studies in pottery." Water flow captured her architectural tendencies, so she started making fountains and enjoyed the challenges they presented. Mayssan also started making gestures of figurines that she calls "clay beings" because they took on a life of their own. Today, she does not know what is next, but everyday is a new challenge and every work an opening into another. www.clayvillepottery.com.
She mates wood and clay for one masterful work

While seeking a way to add color to her furniture, Jamie Yocono began to inlay ceramic tiles. As her work progressed, she was pleased with the concept of combining clay and wood. In doing this, she elevated her woodworking to a finer work of art. To make tiles, Jamie merged a self-taught learning process with on site classes, seminars and conferences to perfect her tile work. She now creates tiles to enhance her unique custom furniture. Tiles are created with not only interesting details, but also add focal points to her furniture. Cooler colors, like blues and greens accent wood quite well, said the artist. Throughout Jamies progression with this mixed media approach, she became fascinated with ceramic medallions. She creates medallions using geometric patterns or symmetrical shapes. Imagery is kept to a minimum allowing the tiles to simply accent the piece in which it is inlaid instead of competing with it. The medallions are installed using a router and compass setup, called: Router Buddy system. Two specific medallion types include larger flat circles with crystalline glazes or smaller tiles with center impressions. The small impression is designed to hold something precious like jewelry, mementos, good luck charms, and keys. www.wooditis.com
Destiny sets couple on artistic life paths

Melissa and Jim Hogensons story should remind you of one of those good old family movies about people who were chosen to become life partners.
Melissa was reared near New Cambria, Missouri and Jim moved to the area at age 13. While in high school, Melissa was a cheerleader and Jim played basketball. After graduation, Melissa became a high school art teacher and Jim entered the field of carpentry, however as time went on and their association grew deeper, the sounds of wedding bells set them on their today paths, mainly uniting their individual creative genes. They make clay dragons. Of course, it wasn't an overnight road, but after five years of teaching, Melissa decided to pursue her two passions: making pottery and raising a family. Gradually, Jim began taking on more and more tasks around the pottery shop and it now became his full-time career. "We both throw on the potters wheel in the development of our dragons," said Mrs. Hogenson. Also both will do some clay alterations while Melissa does the final sculptures. Although each creature is a fine sculpture, each of the dragon works have other functions, such as, oil lamps, incense burners, and drinking vessels. "I am responsible for glazing and loading the kiln. The final firing reaches 2300 F in a reduction atmosphere," says Jim. Also, he unloads the pieces from the downdraft gas kiln and does most of the traveling connected to this studio operation. "I like my dragons to have unique personalities with names attached to them," said Melissa. Many of the characters resemble experiences that people face in everyday lives. Patch is trying to quit smoking so a nicotine patch is placed on his arm. Another whimsical feature is that Wixen has a candle wick on the tongue. A long time collector in Kansas has over a hundred dragons created by Melissa. The destined creative life partners are thrilled with their career changes and "we now look for more people interested in their wonderful dragons." www.clayimages.com.
Location, location, location! Her studio and store is located where Greenville Creek gently flows through thirty-five acres of wetland, sowing generations of history along its path. The untouched stream offers generous fresh water, minerals and pristine air to its banks and islands, attracting substantial, active wildlife. Built in 1849 and in the middle of this natural retreat, stands Bears Mill, a four story building, sided with original American Black Walnut, held solidly in place with twelve-inch by sixteen inch, fiftyfoot long beams, unspliced and spectacular. Still in operation today and the National Register of Historic Places, this is where Julie Clark, a professional clay artist gains her endless inspiration, surrounded inside with the unchanged, with the outside modernized world not far away. Clay offers endless possibilities. My main interest is in the aesthetics of form. It is my desire to continue to learn, grow and change in pursuit of these aesthetics," said Clark In addition, her fascination with wood firing offers a natural finish that enhances her works. "There is an element of chance with wood firing that can be very exciting. My oxidation glazes are natural and uncomplicated as well, she added. With clay so soft, pliable and spontaneous, pieces are created that show that message in their finished state. www.bearsmill.com.
estern Ohio potter inspired by surroundings
No sleep for first-time papa produces educational windfalls

Like many first time parents, potter Alex Solla curtailed making pots when his daughter was born, and also at the time, while in graduate school at Utah State, his new responsibilities brought on sleep deprivation. However at the height of 'no sleep' period, "I began to draw deep rich color patterns, in hopes that someday of using them on my pots," he said. As a result, he created "Glaze Tectonics" as a new body of work. The completion of this research culminated in his MFA thesis exhibition at the Nora Eccles Harrison Museum in Logan, Utah. While early in his graduate schooling, he was fortunate to participate in a workshop by New Zealand potter, Brian Gartside. Gumboot Glazing allowed him to experiment by trying a pinch of one raw material with another pinch of a different material. "The combinations were very exciting and became quite a fascinating venture. I came to realize that a flat platter with a thick rim would be the best vehicle for his newly found glazes." Varying the depth of the glazes, he was able to keep the glazes from running together in puddles. After many trials and errors, Alex developed a clay body that could withstand the rigors of "my forming methods and at the temperature that my glazes demanded." In his experiments, he exploited many of the glaze flaws most potters try to avoid. "I wanted bubbles, crazing, and crawling in finished works." A happy over firing accident (ending above cone 10 instead of cone 5) resulted in longer-than-usual cooling period, yielded a wonderful crystals. At these points, his glazes stopped being combination of materials and became earth forms, land masses, fluid rivers, oceans, and lakes. These platters have taught me more about glaze, patience and serendipity than anything else I've done in the studio. More than anything else, I feel they have set me free. www.coldspringsstudio.com/glazetech/index.htm.
Guild has been potter's doorway of clay education

Angelia Hayes never understood the importance of a guild until she joined the Triangle Potters Guild in Raleigh, North Carolina. Once joined, "I quickly became apparent that I was surrounded by people who are just as excited about the clay medium as I was." Even more surprising to Hayes, was the fact many had been doing clay for a lifetime and were still as excited as the beginner standing before them. "There are so many questions, so many answers all in the same room. It just doesn't get much better. I have gained much knowledge and made countless friendships as a member." Hayess experience has been that genuinely great potters have a passion for sharing their knowledge, with no fear of someone becoming better than themselves. I have been blessed by such a group of potters and have grown at an extremely fast pace due to their generosity of knowledge. In November of 2004 when Angelia stepped into the Dan Finch Studio in Bailey, North Carolina, her life forever changed. I became a part of a family of potters who have encouraged and mentored me over the last 3 1/2 years. When Angelia purchased a used Olympic DD12 natural gas kiln, she had no idea what to do with it, however "the members of the guild took the time to show me how to fire it. Edge Barnes, Maryann Purser and Nicola Godfrey were the first to assist. Many others as well as myself were scared to even light it, so it sat idle for a year before asking for help. " Fortunately, Xavier Gonzalez of California, a guild guest speaker, "talked me through the way the kiln was to be fired." With Xavier only a phone call away, with the kiln outside and different weather conditions, Angelia's general firing and cooling questions mixed with where to drill a hole in the kiln for an oxyprobe, never went unanswered. www.hayespottery.com.
Potter Mom has angels on shoulders to help
eality
is artist's forte
Jeffrey Baxter has developed a realistic style of capturing fish with the permanent medium of fired clay. Inspired by the vibrant colors and forms of coral reef, he captures these dynamic elements in his sculptures. His works involve life size to large scale outdoor art. He studied, maintained and bred 27 different species of African Chic lids. Also has published 5 national articles on the care
and maintenance of these beautiful tropical fish. Currently, he is captive propagating, growing and raising corals in four marine reef tanks. His art has been featured at juried shows USA wide and to date has received 8 national and 4 international awards. In addition, Jeffrey is a charter member of the Potters Council of the American Ceramic Society in Columbus, Ohio and is a native or Rockford, Illinois. www.yessy.com/JeffreyBaxter
Beginning as a very young child and then in elementary and high school, "I have been a potter all my life," said Cindy Clarke of Edmonton, Alberta, Canada, who is now a professional doing all type of wheel thrown and hand built pottery items. In addition, she has web sites for the beginning and advanced potters: The How to Make Pottery and The Out of the Fire Studio which also provides a broader picture of the work Cindy has produced as a potter. "I share studio responsibilities with my husband Jim who has assisted me with developing many of the glazes and firing schedules, and my two children, Kaileigh and John." Basically, the family helps Cindy in a variety of ways. Kaileigh is a graduate from Victoria School of Visual and Performing Arts and is working on improving the web site designs. John has completed grade eleven and specializes in music and video arts and uses his camera and editing skills to add to the video information available. In searching through Clarkes web sites, people will find a YouTube video Centering Clay When Wheel Throwing. It is a learning experience just to watch Cindys graceful hand movements in this centering activity. She thoroughly explains the methods to this important aspect of wheel throwing skills. Readers may view all aspects of my pottery operation from the initial selection of clay to my finished pieces. I consider it important to share these practical tips and steps with others as my contribution to their own pottery insights and developments. ww.outofthefirestudio.com
rtist's contemporary vision united with ancient methods

When Kay Yourist of Ann Arbor, Michigan rolls back her thoughts, she finds herself with the realization, "It was at the ripe old age of eight, when I knew throwing pots as well as the clay arts would be a life long passion." The feel of the clay formed an excitement, opening her artistic channels with an endless flow of creative ideas. Throughout Yourists career, ancient Egyptian, pre-Columbian and Native American pottery has been a strong influence on her exploration of classically shaped pottery forms. "I begin my artistic process by throwing the clay into classic vessels; those that are as recognizable today from a thousand years ago," said potter Yourist. By pushing, pulling and stretching the walls of the pot, she alters their form, and when the clay dries to a leather hard consistency, Kay carves into the walls to give the piece surface relief detail and texture. Glazing with copper and iron rich glazes, chosen to emphasize the organic and timeless nature of clay, completes the process. "I combine the ancient tradition of pottery making with a contemporary vision." A special career highlight was when Kay received a Creative Artist Grant from the Michigan Council for the Arts and Cultural Affairs. With this grant, "I created 21 final vessels, varying in size from a small 3 that can be hand held to a 20 that must be reached around." Each piece initially took shape as a classic form: bowl, urn, vase, etc. These wheel thrown forms were then reinterpreted by stretching and pushing the damp walls of the clay as much as the piece could sustain while still remaining true to its classic influence. The works were accessible to the viewer through sight and touch, facilitating a multi-sensory approach to experiencing the work. www.youristpottery.com.
'Happy accidents'
Artist is guided by human self

In her works, paper clay artist Val Lyle was influenced Carl Jung, Mary Frank and Stephen De Staebler for their mythological and archetypal representations of the subconscious mind. While intellect plays a significant role her art, Val relies more heavily upon intuitions, emotions and subconscious as guiding forces. She maintains a physical relationship with nature in her immediate environment for artistic expressions. This approach allows me to bring viewers to find the primitive and abstract representations in my completed paper clay works. Paper clay has many advantages to clay artists. Its green ware is stronger than the more fragile types of regular clay bodies. Breakages are rather rare, but may be mended quite easily in all states from the raw state to bone dry. Also, paper clay may be used for repair purposes of regular vessels made from other clays. I make my own paper clay by adding bathroom tissue which is the cellulose to a hearty sculpture clay body. Her new clay will fire the same and glaze the same as a non paper clay piece. She then vents the kiln more during the beginning stages of a bisque firing as the cellulose burns out. www.ValLyle.com.
proves his love of clay is real
Creativity is a passion with Kevin Lehman. "I enjoy the spontaneous and limitless approaches." His pottery works vary with functional, architectural, and sculptural. "My approach starts with an idea that I work through in developing a variety of clay objects." Kevin's process is open to "happy accidents" which lead to other possibilities. His results are products of self ideas, experiences, and the natural of the creative process. Kevin developed a love of clay in his hometown of Lancaster, Pennsylvania. It began in elementary school where he had his first experience using a potters wheel. This experience drove him to pursue ceramics in his education and life. After graduation from Millersville University, "I was eager to apply my skills. I started a pottery business in a small backyard shed with my home-built throwing wheel and a salvaged gas kiln." Today, his business is now located in a 5000 square foot warehouse which allows him to have ample room for teaching classes and engaging in clay projects, large and small. His focus is with large pottery colossal jars, tile fireplaces, grand wall dcor, and large exterior sculptures. www.klpottery.com.
Surrounded by towering mountains, flowing streams, fields of variety, rich vegetated forest, and with a nearby wetland habitat, many wild animals travel through Porcelain potter Lisa Ernsts place on Earth, a rural area where people can measure their own pace. "I am deeply inspired by these natural settings. My present goals are to create clay pieces with strong underlying vibrancy and to animate this tangibly." Born in Japan in the early 50s, playing with clay at an early age has become a life long pursuit. While in college, "I was influenced by Ken Ferguson at the Kansas City Art Institute. He deeply cared about the Japanese Folk Craft tradition which fostered an artistic bond with me." In the early 90s, Lisa began to use water birds and fish in her designs, however leaves and flowers are now more dominant in her porcelain forms. Lisa has been fascinated with surface design and its relationship to form. "My interest is in how they offer a transformable quality to everyday life. I thoroughly enjoy making functional objects that evoke a certain pleasure when used at meal times." These functional items are meant to enhance daily life. Large platters satisfy her painterly instincts while teacups and saucers bring about my desire for the intricate. "Drinking from one of Lisa's botanical cups and saucers gives me the pleasure of holding a floating Monet in my hands," said Jane Hayden, a Halter Museum volunteer. www.lisaernstpottery.com.
ontana's 'Monet' artist besieged with nature awe
Potter 'paints with fire'

Pottery designs by Tom Radca of Port Washington, Ohio have been treasured for their depth of color and lustrous highlights. Expertly handcrafted in his rural barn studio, Radcas large scale designs feature the 36 diameter plates and vessels measuring up to 60 in height; his trademark. Beginning at the potters wheel, Tom often works with as much as 50 pounds of clay. The warmth and splendor of his pieces are attributed to his carefully developed firing process. Color and effects result from controlling the firing temperature and introducing combustible materials in the kiln near the end of the firing process.
"I call it Painting with Fire."

After the pots are fired and allowed to cool, "I apply muriatic acid that eats away at the carbon buildup and exposes the color
underneath. It took me years of exploration to perfect this technique and my unique firing process." Working as a potter has taken Tom on a journey. "I am very eager to start each day. I love my life and creative works, and I know that I am a very fortunate." www.tomradca.com.
90- The Art-to-Art Palette - Potters Shed Section/People, Places, Events department - 2008-09 Fall/Winter Edition
Ex prof in touch with his right side

Works project rich 'expressions of life'
Melody Ellis is a ceramic artist residing in Edwardsville, Illinois who creates figurative earthenware toys and tile mosaics with richly colored and patterned surfaces. Posture, expression and the potential for movement in her sculptures are used to convey the humor and sadness of the human condition. "I have adopted the movements and intricacies of these objects to show their innate sense of joy, mystery or menace." Her pieces are inspired in part by 19th century dolls, automata and wheeled or balancing toys. Ellis' tile works reflect a study of historical narrative art forms, such as, "Italian majolica and medieval stained glass. I like to lure the viewer into a curious world of spectacle." She has an abiding interest in puppet theater, sideshow, and morality tales feeds this endeavor. "The unchanging state of humanity through the ages, and our complex relationship with the world around us, inspires me to create work in the primal and tactile material of clay." Originally from Reading, Pennsylvania, Ellis initially studied ceramics at the Glasgow School of Art in Scotland before earning her BFA at Tyler School of Art in Philadelphia. She continued her education through apprenticeships at Moravian Pottery and Tile works and the Fabric Workshop and Museum. While living in Philadelphia, she also held positions at the Clay Studio, an international ceramics art center, and Moore College of Art and Design. She now works as a studio artist, exhibiting nationwide. www.melodyellisceramics.com. Kurt Wild has enjoyed working with clay for one basic reason: "It gives me great pleasure because I make pots primarily to decorate." His very vivid imagination and natural artistic talents are easily seen in his works. A graduate of Cranbrook Academy of Art in Bloomfield Hills, Michigan, he majored in ceramics and minored in jewelry and metalwork. After graduation, he joined the faculty at the University of Wisconsin in River Falls, where he assisted in the start-up of the newly approved art major. Also, he set up the first clay studio and held a variety of positions which led to a full professorship. Upon retirement, Kurt began to focus on his clay works. He has done low-fired pots, highly polished black ware, salt glazed stoneware, and fine reductionfired stoneware. His present challenge is the designing and execution of imagery on pots. www.kurtwildpottery.com.
Art-to-Art Marketplace Guide
entuckian
has many artistic outlets
Melvin Rowe is a full time potter living in Louisville, Kentucky. He has over 35 years in the clay arts and spends a full week creating his functional stoneware. Melvin delights in creating an everyday object to be special with
I have always tended to create works of art and objects that reflect my current interest in my personal life. In 2007, after a lifelong interest in horses, I finally found myself in a position to become a horse owner. This, of course, influenced me to create pieces with a horse theme.
every moment becoming special. My skills with the materials, which allow me to express myself the way I do, are a direct result of my ability to throw a form repeatedly with consistency and accuracy. These skills were honed as a production pottery in the early 1980s. Today, he places emphasis on gallery exhibitions and collections of private citizens and organizations. His studio is located within his restored Victorian-era home, where he also engages in amateur wine making, wood carving and leatherwork.
www.potteryrowe.com.
Her hands were made to shape

Some twenty-five years before she became a portrait sculptor, Heidi Maiers discovered that she could make figures out of the clay soil from the hot Mojave Desert. Also certain pieces would dry to a state of permanency, when left in the scalding sun. That youthful experience proved to be a doorway to the arts for her as she grew. In 1980, she received a bachelor of fine arts from the University of Oregon and has studied with a few renowned sculptors, John Coleman, Eugene Daub and Tuck Langlund at the Scottsdale Artists School. "I have been sculpting on and off all of my life between raising two children and working a full time job at a terrific software development company." Heidi has spent many early morning hours working on a piece, "long after any sane person would have gone to bed." However for some reason, when she is working on a piece, "I just can't pull myself away because there is just one more thing to do before stopping."
Work shown are the start to finish stages of her husband Gary. http://heidimaiers.com.
I Love Lucy
Logic and creativity are artist's attributes

Maine ceramic artist Meryl Ruth creates those one-of-a-kind, hand-built, whimsical and innovative works which have won her wide recognition and an international following. "I attribute the acceptance of my work to my ability to use the best of the cerebral half of her brain, in conjunction with the creative half," she said. The artist considers herself blessed to intellectualize ideas, mostly relating to construction and problem solving, while allowing her artistic sensibilities bring complex art works to fruition. This interplay often yields ceramic pieces with fanciful design and elaborate detail that surprise and delight. Meryl receives much joy in giving her pieces meaningful names. She seeks names that are pithy and perky, while reflecting her sense of humor in word play. She shares the pleasure with like-minded family and friends who are constantly contributing ideas. She says, "that sometimes a name will conjure up an image of a future work that she would like to make." With her husband, she lives in Portland, Maine. They enjoy both the cultural wealth and stimulation of city life and nearby country activities. Both are avid runners and ballroom dancers. www.merylruth.com.
Wali Hawes was born in India and went to college in England. Pottery studies took him to Spain where he became more deeply involved as a clay artist. He continued his fascination with pottery by living in Japan, where this exposure gave him a very varied perspective on things. These early experiences influenced him to be eclectic without being confined to one particular style or mode. There is one very distinctive contribution that Wali has given to the clay world. He is an expert in non-traditional kiln construction that amazes people seeing the firing demonstrations. Hawes says, The development of Kiln Technology has historically been accomplished in China. These Chinese potters elevated kilns to higher temperatures and achieved dazzling results with their glazed pottery pieces. Thus, their kilns have been developed as a tool for decoration of these clay vessels. In addition, Wali has borrowed and further developed and simplified his kiln constructions. His kilns have the capacities to be tools for the creation of various atmospheres which will intervene directly on his clay surfaces. One very notable invention is his "tree kiln" which became a huge and varied vessel because he built it from clay. The kiln was fired through the same process as green ware which logically made it become a ceramic object. "I molded and shaped this mammoth clay structure to be like tree trunks with limbs from raw clay for woodfiring purposes. The kiln name became recognized as a Firetree." In kiln building and experimental firings, Wali has placed an emphasis upon de-mystifying the firing process. It has allowed him to launch into the unknown as these firings unleash the forces of nature in a controlled way. "To date, I have never purchased a kiln in my life! I just continue to construct more and more Firetrees." www.walihawes.com.
W
Artist's foundation is ways of the past
orks expresses creators 'hybrid' cultural feelings
Cheryl Weisz was born and raised in the heart of Amish country where she learned to admire and use their ways with wood, metal and especially create in clay. Making pottery with children is one of Cheryl's fortes. The works exhibited, mouse wares and bear mugs, express wonderful memories of fun, laughter and family time. "They are keepsakes that are meant to be shared with loved ones." www.cherylweiszpottery.com.
Marie-Elena Ottman has experienced dual cultures. Her American father is from Indiana and her mother is Panamanian. Growing up around the Panama Canal, its natural blend of many cultures, floras and fauna in the tropical rain forest has been the main source of inspiration in her works, especially pre -Columbian artifacts. Today to overcome missing her roots, I began creating ceramic sculptures that are metaphorical self-portraits which portray my multicultural feelings. Colors, textures and forms are the essentials of her works which include a hybrid species, a blend two opposing forces into one living force. www.marie-elena.com.
rof digs
mass production
Daniel Bare created an unusual clay piece titled: Green Tea Platter. There is a solid base of original thought behind this work. I began to collect teapots and saw a reality for the mass-produced ceramic objects. This visual impact emerged from viewing the large vendor displays in the streets of Chinese ceramic cities. A relationship to a single beautiful object changed, as Daniel was driven to re-present such tiny teapots in a new way. His technique changed to ready-made teapots. Instead of dipping the created teapots in a glaze, I began to encase, envelop, submerge, and cement the commercial teapots together. This formed a new image of his platter. Daniel developed a glaze that is thick, textured, and colored-like that of a frothy green tea. As the commercial objects became encrusted in thick glazes, he zeroed out the intended use of the unit. The result opened a whole new view of a beautiful artwork that is different from any other clay artist. He discovered another approach to clay - I found how fired clay objects that were encrusted in the earth at various archeological sites. Altered effects were noticed in the surfaces and forms of the objects. He began to develop new insights for a forthcoming tea platter. Saggars were made that would contain Daniels newly developed glazes which had textures for surface treatments. The saggars allowed me to almost feel like being at an archeological dig site as the finished glazed piece came from the kiln. Once he opened the sagger, I experienced the feeling an excavation as I gently brushed off the excess material. Bare is a ceramic instructor at Grand Valley State University in Wall-mounted blue and orange ceramic sculpture with a detailed Allendale, Michigan. portion shown. Made with 75% post-consumer found ceramics; 20% www.danielbare.com. porcelain; 5% glaze. 13H x 14 W x 6 D.
eelings of imagination portrayed in works
Laura McLaughlin is like most artistic minds: daily events influence them and with their medium, images are created. Clay sculptures, vessels, linoleum prints, or a combination of clay and prints are Lauras forte. I apply swirling brush strokes to the clay or linoleum surfaces, and then I imagery techniques to express my true feelings. Imagery that represents human psychological struggle, chaos and violence, are weaved into her works. Also, animal figures are revealed with metaphors, such as, a moose may represent the clumsy, awkward, and strong individual living in a beauty conscious society. The chicken and bird are like individuals who want to fly, but are somehow caged in by society. Many of her works tend to be very busy with closely packed composition. The chaos stems from the constant bombardment of information, mainly with structure, being, family, religion, and the media. In any given day, we find confusion with our abilities to process what is right and wrong in our choices. Artist McLaughlin strives to lend a common understanding through her works, using a basic object such as a ceramic cup. www.laurajeanmclaughlin.com.
Wolverine artist searches for the

Spring Lake, Michigan's Judy Greets has won numerous awards. Her work is included in many public and private collections, and she exhibits in galleries throughout the United States. Her medium specialty is copper-flash Raku, an Americanized version of the traditional 16th century Japanese firing process that involves removing pieces glowing hot from a 2,000 kiln, and placing them into combustibles. The resulting smoke and flame creates a serendipitous display of vivid color on the copper patina and unique carbon patterns on the unglazed areas. "There are many variables in achieving good color with the copper-flash process, and I enjoy finding that 'sweet spot' that maximizes the beauty of the color with my hand-built figures. Achieving a repeatable palette, with a very unpredictable process is one of lifes great adventures." Judy is presently focusing on creating stylized, Asian-influenced figures that
eacher opened his eyes

Tom Turner had no college plans until his teacher encouraged him to enroll at Illinois State University. Although it is almost a half-century later, he knows his educational experiences were the pathway to work in clay. In addition to his artistic talent, he demonstrated the mechanical abilities that were helpful in his chosen career. He rewired kilns and built a salt kiln in his hometown. While enjoying being a graduate student, Tom was drafted into the Army and stationed at Fort Jackson, South Carolina. There he taught art in the Army and toured potteries in the region. After the Army, he started a Ceramic Arts program at Clemson University. When time permitted, a small salt glaze kiln was built by him from salvaged bricks. This is where Toms very first Copper Red Vapor Glaze was done on salt glazed porcelain. Other major changes took place in Toms life. In 1979, Florida was where I built my first gas fired kiln. Several years later, he not only moved to the Akron, Ohio area, but also became a Visiting Artist at Illinois State University. Another move took him to Delaware, Ohiohe established Peachblow Pottery with his wife Gail Russell. And just a few years ago, Tom started an eighth studio, school and ceramic museum in Mars Hill, North Carolina; less than 30 minutes from Asheville as well as within a hour from the world famous Penland School of Crafts. Tom now creates porcelain vessels and teaches his knowledge and philosophy to younger pottery enthusiasts. "North Carolina is the 'Potters State' because I find a real sense of history and continuation." www.tomturnerporcelain.com.
artistic 'sweet spot'

combine copper-flash patina and white crackle glaze in these Raku processes. For a Wabi Sabi effect, some carry miniature vessels that she throws on a pottery wheel. Others hold torchworked glass birds in handwoven wire cages, or carry individually fashioned fishing poles that hold handmade clay fish.
Changeofvenue proventobe doublysuccessful

Tessa Morgan first took to pottery as a teenager. Her mother noticed the stress when they moved from the city to the country, and felt pottery lessons would help. While I never took to rural life, I did wholeheartedly embrace clay. From the beginning, she covered her pots with colored slips, creating a clay canvas for her images. After majoring in ceramics in college, she set up a small studio and has been enjoying a dual career path: a potter and illustrator. Marine life inspires many of her fanciful pieces. My pots tell little snapshot stories. For Tess, each pot is like a miniature painting, depicting a world that is small and separate, however part of a much larger picture. Creating mainly functional pottery that includes, mugs, vases, and bowls, the artists subjects of mermaids, fish, cats, mice, sunflowers, trees, and pigs, can also be found on her large lamps, plates, and jars which give me more room for more complex designs and creative expression. www.flyingpigpottery.biz.
www.judygeerts.com
Jeweler takes new artistic direction in pottery-making

Ruth Radin lived in Caracas, Venezuela as a child. "When I was 10, I went downtown with my Dad to pick up an anniversary gift being made for my Mother." She recalls her father ringing the doorbell of the small workshop, located on a side street and going up some rickety stairs. Inside the workshop were two elderly men working at jewelers benches. While one discussed the project with her father, the other asked my name and then took a small piece of gold and began to saw out a small R. Once cut out, he quickly smoothed the edges and then embellished it with a Florentine finish in about ten minutes. "At that moment, I decided that I wanted to be a jeweler and has kept the pendant as a reminder of that day." Years later after working both as a jeweler and in her own studio making Cloisonn enamel jewelry, "I decided to take a ceramics class as therapy from the tedium of working with tiny pieces of metal." She chose a class called Japanese Porcelain Methods with Jim Srubek at the University of New Mexico. Ruth has always been intrigued by crystalline glazes and "just reading about the process was daunting." Later she took a crystal workshop with Willard Spence and Jim Kempes. When Radin began working with these glazes, she would sit by her kiln for the entire 2-3 hour soak period, gauging the kilns temperature and turning it on or off as needed in order to grow the crystals. " Now I have the luxury of computer controllers on my kilns and I can program the firing schedules." www.ruthradin.com.
ll things 'worthwhile' at the end for artist

Jesse Wiseman Hull has been involved in both the artistic and technical levels of ceramics for more than a decade. Creating his own crystalline glazed work, he has participated and organized ceramic art events around the globe. Motivations derived from Asian and Islamic art can be seen in his pottery, often adding intricate levels of Art Nouveau and Art Deco styles. Today, "I focus on glazes termed, zinc-silicate macro-crystalline. My wheel thrown vessels may be hand altered or lathed at high speeds before the crystalline glass shell is fuse onto the porcelain surface." Lattice structure is the term describing the formation of a crystal. If molten glass is cooled rapidly, it is denied the chance to revert to a crystalline state which will appear smooth or translucent. If it is cooled slowly within the right environment, crystalline lattice structures can form in the glaze. "I use computer-guided kilns designed or modified to my own specifications to accurately heat the work; well above the glazes melting point at 2300-2400F." The kiln is dropped quickly and held within the range of 1825-2185F to initiate and grow the crystals. Colors are derived by mixing different oxides into the glaze before firing, or fuming the glaze with metal vapors at high temperatures. He has recently been achieving a more difficult color palette by altering the atmospheric conditions in either the first or subsequent firing. Glass enamels and metal luster compliment the form in the final stages, leaving a wonderful finish on his works. In the midst of constant testing and a high loss rate, "I find no part of the process to be easy, but the joy experienced when a finished piece makes it through the process, makes all the preceding trials worthwhile." www.jessehull.com.
Before moving to Western Massachusetts in 1986, Mark Shapiro was been living in New York making sculptures and supporting himself as a carpenter. His turn to pottery was an answer "to my vexing problem that I had been unable to resolve with sculpture: is there a place for sculpture that allows intimate connection and engagement with the viewer?" On the other hand as a potter, Mark's work would be held and used. Also, his pottery would stay in the main places of peoples lives. As his work evolved, I continued to be compelled by the challenges of domestic potter. He became interested in larger scale works appropriate for abstract gallery space and making pots for the kitchen and table. When Mark moved to rural Massachusetts, "I bought a shipwreck of an old place that had an unusual feature from which I took for the name of my pottery a stone pool." It was built as a landscaping feature by Russell Conwell, who founded Temple University in Philadelphia. Several years later, Mark began working and firing with Michael Kline, who was the only one with a degree in ceramics, and Sam Taylor. "We all learned from one another by bouncing around ideas. There was much camaraderie and competitive playfulness." The end result of this trio association, produced exceptional works as well as into full-time potting. Michael, Sam, and Mark found a turning point when they all took Michael Simons workshop at the Penland School. Simon gave them greater understanding of profound and expressive possibilities in pottery vessels. The dozen or so pots that Simon placed on the table for participants to see just blew me away. In spite of their modest size, they seemed to have great scale and power. "Simons work continues to inspire me, as does the work of octogenarian potter, Karen Karnes, whos sculptural vessels seem to synthesize European modernism with Mingei aesthetics." www.stonepoolpottery.com.
He chose the less traveled road of clay
Cultural differences beyond roots broadens artists works

Ovidio Giberga is a first generation Cuban-American. Born in Washington D.C., he has also lived and worked in such places as Spain, Italy, Columbia, Venezuela, and various regions of the United States. These experiences have given him broad cultural perspectives that has lead to many successful self-works. Sculptural creations, using materials as wood, marble, and steel, were Ovidio original mediums. As I began to explore my ideas, through clay, I became increasingly engaged with the history and traditions of ceramics. These two sensibilities are evident in my work. Inspired by autobiographical experiences, I use symbolism and metaphor to convey ideas of duality and/or struggle expressed formally through the relationships between inside and out, surface and form, organic and geometric. His results can be seen as decorative or disfiguring, beautiful or grotesque. Artist Giberga also derives much of his imagery from an immediate environment. As the head of the Ceramics program at San Antonios University of Texas, Ovidio earned a Master of Fine Arts degree from the University of Florida and then became a resident clay artist at the Archie Bray Foundation. In addition, he has been an invited professor at New Mexico State University and Alfred University College of Ceramics. Presently his figurative vessels, has gained considerable recognition which are inspired by preColumbian ceramics. Prior to todays advances in glaze technology, ceramicists did not have a color wheel to use as painters. However, ceramics developed its own unique aesthetic vocabulary, which continues to influence art and the commercial industry. Its an exciting time to be working in ceramics. The education, availability of resources, and scholarship in the field is better today than it has ever been. In September 2008, Giberga was a featured presenter for a regional Potters Council conference held in Indianapolis, Indiana. http://ovidiog.com
Onion Eater
nowledge and creativity are artist's roads taken
"I believe clay vessels are based on the use of hands as a decorative tool." Ceramic sculptor Vipoo Srivilasa takes this approach which allows him to create, relax and enjoy many varied clay adventures. "Knowledge becomes my key to refinements in my finished works. My inspiration evolves as I explore innovative uses of clay and glazes." Hand building is incorporated in his works with the techniques of pinch, coil and slab methods. "I like to do aquatic creatures and sometimes will use press-molding with paper clay with these animals. It is much visual, this artist uses basic tools to design creatures with delicate decoration. Another sculptural feature is Vipoos decorative tea sets. He uses slabs, coils and press moulds that are pierced and textured. Colorful applications by glaze-on-glaze techniques add to lush and exotic effects to his works. www.vipoo.com.
Works have a natural 'spiral' of creativity

Inspired by nature and the human spirit, the pottery works by Beth Lykins of Indianapolis demonstrates these strong artistic elements. She has been transfixed with the spiral that emerges working on the wheel. Frozen ripples kept appearing from my hand marks, caused by my finger grooves up the side of the clay surfaces. Beth has applied slab built leaves derived from real leaves to represent a statement of nature and geologic time. The leaf-inspired designs began to appear as handles and spouts to her teapots. Water-inspired forms began to seep through like splashing lid handles, and bubble-like spouts with pronounced swirls and spirals. Further designs grew as I let each piece find its own way of speaking. Her teapots make ideal canvasses for her works - to be as organic and fluid - as the ideas that inspired them. These works have focused on the theme of leaves while, I find my creations beginning to emphasize more toward the geologic style with more abstract expression of natural themes. The teapots created by Beth, are very fluid with sizes ranging from 1 to 2 cup sizes, however her largest one was a 4-cup pot. These pots are intended to be an intimate dialogue among the creator, the user, and the natural world. They are usually very thin and
fragile looking, but the teapots are very functional and deceptively strong.
www.spyroterra.com
Deborah Maxwell: Pit fire clay artist

For this Michigan potter, her childhood memories and personal relationships have played a major role in how she uses clay to design her art. On the other hand, space has not been a situation. Deborah's Red Mudd Studio is surrounded by 21 acres. "Pit fire has become my passion. I love taking naked bisque pots and letting the fire do its magic; transforming the pieces into works of art," said artist Maxwell. She starts with thrown pots or by slab building cylinder forms, using corrugated cardboard and adding texture. Sometimes she throws bottleneck vases and attaches them to the top of the forms. Each piece is encased in a copper scrubby. Additions are included with salts, copper sulfate, dog food and leftover chicken bones to a bed of sawdust in the bottom of a 55gallon drum. She adds newspaper kindling which is ignited from the bottom, and the fire is started. The next day she removes the char broiled pieces to a bucket of water. The awesome treasures are then scrubbed and cleaned. "It fascinates me to see the transformation of the bisque pots absorb the fumes, flames and eventually becoming a piece of art." http://redmuddcreations.com.
Her classroom is now a studio

When Allyson May of Bloomington, Indiana retired from teaching and turned her interest and focus to ceramics. Her clay works have been influenced by the Pueblo Indian tribes because of their skill, imagination and reverence. Allyson has had three significant experiences in becoming proficient in naked raku vessels, a relatively new process in the field of pottery. She took non-degree work in fine arts and ceramics at Indiana University in Bloomington, Indiana. Further mentoring by Charlie and Linda Riggs helped her with advanced methods of alternative firing methods. And Wally Asselbergh facilitated her specialty in the field of naked raku. Her works exhibited, "were completed in a rush of excitement, smoke, and frantic activity." Artist May chose a clay body that could withstand the tremendous stresses of rapidly changing temperatures. The pieces were burnished leaving a hard, smooth surface for an initial firing. A thin coating of slip was applied and left to dry to the bisque fired pieces.. A sacrificial glaze then covered the applied slip causing the works to form crackled surfaces. Allyson then fired the vessels in a propane fueled kiln to temperatures reaching 1800 degrees F. The glowing hot works were quickly removed from the kiln and placed into metal cans containing newspaper and sawdust. When cooled, the works with slip/glaze layers were gently peeled leaving naked clay surfaces. As a result, random and beautiful smoke designs were very evident in these pieces. http://localclay.net/indartistspages/may_allyson.htm.
orcelain painter creates fine art

Denise Dufresne of Fredericktown, Ohio discovered china painting was her artistic medium and her description of fine art. She incorporates contemporary subjects with the component of light. The artful display of overglaze on porcelain breathes vitality and life into my works. Each of her compositions speaks a transparent message of experience and observation to a viewer. Overglaze on porcelain is a powdery medium comprised of ground glass and minerals. The powder is blended with oil, first for mixing and then a lighter oil for painting. When low fired in a kiln at 1400 degrees, the glass and minerals melt into the surface of the glazed porcelain. This becomes a permanent and colorful part of it's surface. It is a beautiful medium which I introduced years ago." Published several times in the China Painter Magazine, her work also been selected for various awards. Currently, she teaches locally and through international porcelain club events. http://overglaze-on-porcelain.com.
And the winners are . . .

The Michigan Ceramic Art Association began a traveling art exhibition to celebrate its 50th year anniversary. The first exhibit was at the Kalamazoo Institute of Arts and currently on display at Wayne State University in Detroit through December 19, 2008. A broad range of works by Michigan and some Wisconsin ceramic artists, range in size from small vessels to very large, almost lifelike sculptures. The qualities of the creations were consistent from functional pieces to more nonfunctional works. The MCAA was first established as the Michigan Potters Association in southeastern Michigan and renamed the Michigan Ceramic Art Association in 2003. This Association has over 300 members.
Best Functional Work
Elizabeth Lurie
Best Sculptural Work
John Stephenson
Best Sculptural Work
Mark Chatterley
Juror Merit Awards

Daniel Bare Craig Hinshaw Jeri Hollister Thomas Szmrecsanyi Dennis Swartzlander Clay Leonard Tom Phardel Chrys Lewis Sarah Lindley
shown left to right
Best Work by a Student
Janelle Songer
Emerging Artist Award Best Non-functional Vessel Oriented Work
Nate Tonning
Susanne Stephenson

Potter&#39;s Shed Section-2008-09 Fall-Winter-Art-to-Art Palette Journal

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Portrait Cup with Yellow Lines Ceramic ( 7.

5" x 8" x 7")

2008-09 Fall/Winter Edition - 61

Cox: Mud was great!

they are amazed that any sane person would do that.

was great! Approachable, moldable, cool and fun! this

Betsys Terra Sigillata

a gallon at a time so I can control the thickness.

The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition - 63

elements to fume to the surface of the pot.

of my saggars to fit the pots. Things used to

help from my Kiln Gods and lots of Luck.

64 - The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition

rtist turns family chaos into art

The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition - 65

Far East travels gives couple a lasting gratitude of ancient history

66 - The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition

The Art-to-Art Palette - Potters Shed Section - 2008-09 Fall/Winter Edition - 67

Studio: 513-897-2406 Trish direct: 937-626-4333 E-mail: ZeffersStudios@earthlink.net www.geocities.com/zeffersfarm http://groups.yahoo.com/group/OhioMetalClayArtisansGuild

Zeffers Farm Studios

Dichroic Glass Medallion

People, Places, Events

People, Places, Events

Programmer becomes a true artist entrepreneur

He 'juggles' earth, water, fire

She wears two hats on an Ohio 'art highway'

Mud works set the course for Colorado clay artist

e went where there was no path and left a trail

trip in her youth made the difference

Experimentation leads to crystal growth

His goal is to 'produce beauty'

Chosen country lends his artistry to flourish

Raku firing is magical for Pennsylvanian artist

His happy guys smiles with creativity

Teacher provides the clay of inspiration for Ohio potter

Shape it, glaze it, raku it:

The Reason for Pots

Jewelry works preferred by Michigan clay artist

Midwest Clay Guild

rt and Science in potter's works

Left: Copper Reds. Right: Stoneware with oxide washes.

Clay pushed to limit by hands of time

Fish Stringer on Wire

ather's skill in artist's works

Art became 'physical ed'

New challenges now artist's life

She mates wood and clay for one masterful work

Destiny sets couple on artistic life paths

estern Ohio potter inspired by surroundings

No sleep for first-time papa produces educational windfalls

Guild has been potter's doorway of clay education

Potter Mom has angels on shoulders to help

rtist's contemporary vision united with ancient methods

Artist is guided by human self

proves his love of clay is real

ontana's 'Monet' artist besieged with nature awe

Potter 'paints with fire'

"I call it Painting with Fire."

Ex prof in touch with his right side

Art-to-Art Marketplace Guide

Her hands were made to shape

Logic and creativity are artist's attributes

orks expresses creators 'hybrid' cultural feelings

eelings of imagination portrayed in works

Potter's Shed Section-2008-09 Fall-Winter-Art-to-Art Palette Journal

Potter's Shed Section-2008-09 Fall-Winter-Art-to-Art Palette Journal