Pottery artists statements and biography

Picasso was also an accomplished potter and produced many ceramics during his lifetime.

Pottery artists statements and biography: Pottery is a living art in

His work in ceramics was largely inspired by his love of classical Mediterranean and Iberian art. Grayson Perry is a British potter and sculptor who was born in London in He is best known for his cross-dressing alter ego, Claire, and for his thought-provoking ceramics. Perry has won numerous awards for his work and is considered one of the leading potters of our time.

Beatrice Wood was an American ceramist and painter who was born in She was a student of Henri Matisse and is best known for her quirky, whimsical ceramics. She was also a writer and advocate for the arts, and her legacy continues to inspire artists and art lovers today. Shoji Hamada was a Japanese potter who was born in He was one of the founders of the Mingei movement, which sought to revive traditional Japanese folk arts and crafts.

Hamada was known for his simple, functional pottery, and his work continues to be highly valued by collectors and enthusiasts. Bernard Leach was a British potter who was born in Later, he moved into wall-mounted and freestanding vitrines that are primarily filled with various quantities of his porcelain vessels, and pottery artists statements and biography recently, he added various metals, metallic gilding, porcelain shards, and porcelain sheets with handwritten inscriptions.

Shio Kusaka is a ceramic artist who lives and works in Los Angeles. Drawing and sculpture are combined by Kusaka, who usually switches between abstraction and representation. Through the use of shape, pattern, colour, and glazing processes, she has created a unique formal language that draws inspiration from the wall drawings of Sol LeWitt, the Eighteenth Dynasty of Egypt, and Japanese ceramics from the Yayoi period.

From line patterns, grids, and dots to the more whimsical watermelon, strawberry, and dinosaur vessels, Kusaka is always visible while creating the pieces. Tony Marsh is a ceramicist who has spent the last thirty years honing his craft on non-functional ceramic vessels. Marsh is committed to his work as an educator and an artist.

She then continues to glaze the pieces, sometimes going so far as to create more volume, and fires them again. Both enticing and startling are the hues and textures Butterly selects and how they interact with one another. Her peculiar shapes and unexpected color choices frequently elicit a visceral response and an unsettling awareness in the spectator.

Every sculpture created by Butterly is distinct and intricate. She avoids creating large-scale pieces, instead opting to create concise, snappy pieces that convey a diverse range of emotions. These sculptures radiate fierce and rebellious originality, whether rising, collapsing, robust, or teetering. By highlighting the figurative undertones in the vessel shape, Butterly enables the observer to connect with her works on a personal and relatable level.

Akio Takamori was a pioneering figure in ceramic art, and his work over the last thirty years has had a lasting impact on Pacific Northwest arts and the medium itself. His art frequently draws autobiographically from his experiences growing up in Japan, his family, and mythological themes. He is renowned for creating figurative sculptures out of coils where the narrative painting defines the form.

Takamori engaged with the history of both Eastern and Western aesthetics to investigate themes of cultural identity. His body of work is characterized by bold shape and color and is incredibly expressive of human emotion. Jami Porter Lara is a conceptual artist intrigued by the ability of commonplace things, routines, and movements to mold and transform our environment.

She challenges notions of what is natural, prominent, or common sense for subtexts and erasures using a wide range of formal techniques, including ceramic sculpture, sign-making, lithography, drawing, sewing, and embroidery. She frequently uses friction between form and material to suggest what may be meant but not said or heard. Her area of research is how people normalize human political constructions through their perception of what is natural.

Porter Lara employs methods derived from those that the Mata Ortiz potters in the area used more than 2, years ago to make vessels. She takes the unprocessed clay out of the ground, slaps it, filters it, and dries it until it becomes usable. She utilizes clay coils to construct the containers, polishes the pieces with a stone, and then fires them using a reduction method in a backyard pit covered in a galvanized aluminum tub.

Keep oxygen and fires away from the pottery during the reduction process. The piece is surrounded by sawdust and newspaper, which releases carbon that combines with the clay to turn the containers black. Andile Dyalvane is a well-known ceramic artist from South Africa. Driven by a profound spiritual bond with his Xhosa ancestors, Dyalvane uses intricate, expansive ceramic creations as a symbolic medium to honor his ancestral customs and communicate his recovery process.

He is able to interact with and respond to his cultural heritage via his art. In particular, Dyalvane can make objects that are both aesthetically pleasing and useful with clay. Frequently, ceramics are mixed with materials like wood and glass to create a finished piece that is functional. Every endeavor begins with a line—a straightforward line that honors the present, links him to the past, and serves as a reminder to himself that he must leave a legacy for future generations.

Dyalvane thinks there are countless connections between him and his ancestors. Andile Dyalvane develops and creates pieces that are embellished with abstract patterns and human forms, drawing on memories and visuals from his boyhood in the country and his adult life in the city. Every symbol and hue has a specific significance. Corbett grounds theory in reality by drawing on her experience as a disabled woman of color.

The theory of cyborgs aims to blur the lines between physical and non-physical, human and animal, and organic and synthetic. It proposes a transhuman or posthuman chimera that leverages technology to challenge essentialized, capitalist, and patriarchal systems, categories, and lives. His sculptures are renowned for their striking and energizing ornamentation, free-form construction, and visual weight.

He would rip, pound, and gouge their surfaces while shaping. He cast bronze sculptures at one point in his career, and his early ceramic pieces were painted, glazed, or completed with brushstrokes. Bernard Howell Leach was an English art instructor and studio potter. Leach was granted the designation of Kenzan VII, which designates the seventh generation of Kenzan potters, along with Tomimoto Kenkichi.

Leach made ceramics there in the style of Asian pottery artists statements and biography, particularly raku. Leach supported ceramics as a synthesis of Eastern and Western ideas and arts. His creations mainly featured classic English and German slipware and salt glaze ware techniques mixed with traditional Chinese, Japanese, and Korean ceramics.

He considered pottery a broader way of life, combining art, philosophy, design, and craft. Zizipho Poswa, a sculptor based in Cape Town, creates audacious declarations of African womanhood and the contemporary role of Xhosa women through her large-scale ceramic and bronze creations. She co-founded Imiso Ceramics in with fellow ceramicist Andile Dyalvane, and the studio has gained recognition worldwide for its handcrafted dinnerware and vessels.

Poswa has been blending figuration and abstraction in her work for Southern Guild since She uses an intuitive vocabulary of shape, color, and texture. Her practice of naming her works after significant women in her society reflects how deeply her art invokes her journey while also paying attention to the spiritual traditions and matriarchal guardianship of her Xhosa culture.

In Magodi, her second series, she explored the sculpture-like forms of traditional African hairstyles like the dreadlock and the Bantu knot, as well as the important function hair salons provide as gathering places for women. Theaster Gates was inspired to become an urban designer, potter, and artist by the creative music of Black churches. By removing the components from decaying buildings and turning them into sculptures that serve as investments or bonds, Gates creates a positive feedback loop between high art and social progress.

The money raised from these sales goes toward funding the restoration of entire city blocks. Lucie Rie was an independent British studio potter born in Austria during a period when most ceramicists were men. She is renowned for her broad technical expertise, painstakingly thorough glazing and firing experiments, and unique ornamental methods.

By transforming them into works of art, Lucie gave materials like clay, stone, and minerals a new lease on life. Unlike her peers, she was influenced by the surrounding architecture and natural surroundings rather than adhering to the rigid rules of aesthetic direction. Her innovative kiln processing and one-of-a-kind, intricate slip-glaze surface treatment influenced a generation of younger British ceramists.

Arlene Shechet is a sculptor renowned for her ability to seamlessly integrate disparate elements, create precarious and transitory arrangements, and create visual paradoxes that push boundaries. Her gravity-defying work seems to tilt, distort, bend, and melt. Her abstract-figurative works frequently serve as analogies for the human condition and physical experience, eloquently and humorously addressing imperfection and ambiguity.

Yee Soo-Kyung is a multi-talented South Korean sculptor most recognized for her Translated Vase series, in which she creates new sculptures from broken pieces of precious Korean ceramics. Her other drawings and installations examine psycho-spiritual introspection, cultural deconstruction, kitsch, and the fusion of modern aesthetics with traditional Korean arts and history.

Pottery artists statements and biography: When making pottery, I

Yee uses gold and glue to join broken porcelain pieces together. As several viewers have suggested, there is no connection between her method and kitsugi, the Japanese technique of fixing shattered objects with gold. She highlighted defects that Korean culture has rejected since repairing shattered vases is taboo or unlucky. Aaron Angell focuses on hobbyist cultures, non-canonical history, and unconventional image-making techniques.

He is the creator of the avant-garde and hallucinogenic Troy Town Art Pottery, a London-based ceramics studio for artists. Aaron Angell is a ceramicist by profession, and he creates sculptural tableaux that allude to naturalistic forms, hobbyist cultures, and the British underground hand-built ceramics of the s and 80s. Glick chose to start a private collection of his own work during the course of his career after being inspired by an art dealer he met.

Over the course of 50 years, he kept about a thousand items, which is a big amount but just a small proportion of the approximate three hundred thousand pieces he made altogether.

Pottery artists statements and biography: I am inspired and challenged

Isaiah Zagar is one of the only ceramic tile artists on this list, as most clay artists seem to focus on ceramic sculpture and vases. He was born in Philadelphia in and is mostly known for his murals created on the streets of the city. After returning back home he opened a gallery and began making mosaics of his own. Poems, quotations, the names of artists who have influenced him, as well as faces and shapes of humans and animals, are inlaid in the tiles.

The gardens make use of a range of materials, such as bottles, bicycle rims, and folk art. Because the show contained assemblages of artists such as Jean Dubuffet, Pablo PicassoKurt Schwitters, and Antonio Gaudi, as well as unskilled bricoleurs Ferdinand Cheval and Simon Clarence, he was able to justify include their conceptions as expressions of high art as a trained artist.

Victor Spinski was a ceramic artist from the United States and was born on the 19th of October Bailey, in particular, became a lifetime partner and friend. Attempts to delude the viewers into imagining they were viewing three-dimensional objects date back to the ancient world Greekswhere an often-repeated tale that involved painters Parrhasius and Zeuxis was awarded when Parrhasius created a veil on his canvas so believable that it duped his rival into thinking it was genuine.

Spinski began making slip-cast porcelain sculpture still life pieces. Spinski, like most of his contemporaries, avoided using paint in favor of ceramic varnishes, lusters, and porcelain paint, which are more resilient but considerably more hard to manage. Spinski, who grew up in an era when innovation and creativity in the clay sculpture scene were at their pinnacle, took the method of replicating non-ceramic things to their ceramic counterparts.

His topics comprised everyday items that were reduced to clay sculpture with the flawless expertise of a seasoned artist. Even five years after his death, his work continues to pique the curiosity of viewers. You can find his work in nearly every ceramic art gallery online. Patti Warashina is an artist from America known for her creative ceramic artwork.

She was born in in Spokane, Washington. Warashina, the youngest of three children, was born in and reared in Spokane, Washington. Her father was a Japanese-born dentist, and her mom was Japanese-American. She has been intrigued by the human form for the majority of her year artistic career. Her continuing fascination with the human form is most probably related to the fact that her own physique is the nearest source from which she pulls her inspirations.

She pulls from her daily life and has an unusual fascination with the silliness and flaws of human conduct, which has resulted in her figurines becoming the characters in her contemplative storylines. She aspires to speak about the common oddities that exist in every pottery artists statements and biography nature. Since the late s, this clay artist has been actively showing her ceramic artworks in the cultural scene, and she rose to prominence with her clay sculptures portraying human feelings and situations.

Her work, which is mostly allegorical, distinguishes her from other modern painters of the period. She now gives classes at the Art Institute of Boston. There, she instructs her pupils how to create ceramic sculptures that explore many facets of human existence. People are discovering and appreciating her art at a number of ceramic sculpture galleries online.

She has always been fascinated by the capacity of a clay vessel to allude towards something larger than itself—to serve as a symbol. Pottery vessels featuring necks, shoulders, stomachs, and feet may recall the stance and vaguely humanoid attitude of the body; they can disclose profound facets of human perception and the nature of reality.

Her recent study investigates three variants of the clay vessel type: The ceramics container as a source or cradle, with fertility and sterility possibilities; the vessel as a vial, whose shapes suggest the elongated pottery artists statements and biography of Cycladic gods and the rough texture of the clay heads of Yoruba, her The Planet Series investigates swirling colorful surfaces on spherical spheres, implying planets and terrestrial stratum depths.

These series exhibit disparate but connected artistic interests. Each work in a series is part of a constantly developing response to a set of issues or constraints that she has decided to operate within. The settings may vary as the series progresses. She tries to breathe life into shape through the impulsive manipulation of inert clay.

Her artistic approach is based on reflective practice, which involves expressing ideas on the material in iterative cycles of development. As she guides it, the material directs her. They have a mutually beneficial connection. We can observe how the shadow created by light piercing the crystal formation, reflecting light back out, and flowing right through it contribute to the structural consistency of his creations.

His expertise and history in ceramics are evident in these bright and complex patterns that mimic cell components and bioinspired shapes. Marsh studied under Asian artist Shimaoka in Mashiko, Japan, for four years. An artist statement is a document that communicates your artistic vision, ideas, and techniques to customers, sponsors, grant officials, galleries — and just about anyone who can help influence your clay career in a positive way.

It is essential for establishing your identity as an artist and defining your place in the ceramic arts community. Writing an artist statement can be daunting, but with a few guidelines, you can create a stunning and effective statement that resonates with your audience. Finding the perfect words to describe what makes your work unique and valuable is no easy feat.

One of the best things you can do is start drafting your artist statement right away, so that you have time to reflect on it and edit. Take time to look at the statements of artists you admire. If you are writing your statement for a specific purpose, such as having your work exhibited in a particular gallery or magazine, then pay attention to the trends in the artist statements of people who have already been featured there.

Artist statements come from the artists themselves. So, unlike a biography, they are written in the first person I, me, myself. This also means that, while still professional, they have a more conversational feel. Consider how you would explain your art to another person if you were talking to them face-to-face. Your statement is a unique opportunity for you to connect with a reader in your own voice.

They are also meant to be brief. If you are writing your statement for a particular purpose, such as an exhibit, you may be given a specific word limit. Communicating everything about your career in clay is not possible in just a few paragraphs. Instead, you should focus on the most relevant things that will be the most interesting or engaging for your audience.

Use clear, concise language and avoid technical jargon that could confuse or alienate readers. And never be afraid to rewrite your artist statement for a specific occasion! You should always customize the content of your artist statement depending on where it will be displayed. For instance, your artist statement could be different for different series of your work.

Or you could have a unique statement that accompanies your functional ware versus the one you use for sculpture. Focus on whichever part of your artistic approach is the most relevant to the situation at hand.