Ikuzi Teraki & Jeanne Bisson

Washington, VT

We make utilitarian porcelain tableware and sculptural vase forms and wall pieces. Innovative oxide slips and clear glaze application allows beauty to also be a function of our creations. The work is thrown, slab or hand built. The motivating concept is function and creative drama in color, texture, form and weight. Mindful creations for mindful consumption.

Laura Zindel

Guilford, VT

Handmade tableware fabricated in small batches of white earthenware and brushed with hand mixed glazes. The surface of each piece is collaged with enamel transfers of original graphite illustrations of flora and fauna. Every piece is fired 3 times to create the rich surfaces and heirloom quality of place setting, serving dishes and table accessories.

Matthew Yanchuk

Brooklyn, NY

My new body of work using porcelain clay either in slip-cast constructed, thrown, or slab hand- built forms has opened new avenues of making for me. Playing with containers as an expression, I have created new ways for me of manipulating porcelain. Making work that has a lot of play in them to pieces that strive to be the culmination of that play but with a more refined ending. Working with porcelain has allowed me to explore that sense of play in my work.

Jonathan White

South Portland, ME

I create sculptural vessels and wall pieces inspired by nature and industry. I work with stoneware, porcelain and earthenware to achieve rich surfaces and patterns.

Kate Tremel

Ann Arbor, MI

My porcelain pieces are made using a pre-Colombian technique that I learned as an anthropology student in Peru. Beginning with a leather hard form, I slowly thin and give the clay volume by beating the exterior with a wooden paddle against a round stone held on the inside of the pot. In the pierced series, I cut holes with a tapered tool and then go back with an exacto knife to shape them individually when the porcelain is nearly dry.

Jenifer Thoem

Rome, GA

My work is a reflection of my own personal experiences, thoughts, and emotional responses to circumstances, typically out of my control. I am especially fascinated with common textures and objects that go unnoticed. A bright red fire hydrant, a muted pink band aid, text on a manhole cover, the soles of our children's shoes, the grungy type on industrial machinery. I capture these abundantly common textures and hand build objects in stoneware clay and use them to create both framed and unframed wall instillation pieces.

Paula Shalan

West Stockbridge, MA

Using local clay, no glaze, and recycled materials for fuel, I try to respect the earth's limited resources. The direct hand- to- clay method of pinch, coil and slab construction (no wheel) begs attention to a nuanced touch. I want to honor this material and our earth by distilling my naturalist's observations into formalized elements expressed through the vessel and sculptural forms. Through innovation and experimentation, I am able to take a random and primitive atmospheric pit firing and create work with a controlled contemporary aesthetic.

Michael Schwegmann

Bement, IL

I hand form all my work out of porcelain clay. I use wheel-thrown, extruded, and hand-modeled parts without casting molds. All work is fired in natural gas reduction atmosphere with my glaze formulas. I create ceramic representations of common objects through attentive, selected details and surfaces. Most works reference objects relating to labor and hands-on activities. Instead of trompe l’oeil sculptures, these look like memories of objects or icons. I alter and combine these icons to engage intellect and emotion in unexpected ways.

Mea Rhee

Silver Spring, MD

I am guided by my Korean heritage, Maryland upbringing, and graphic design education. I care deeply about functional designs, always thinking about the balance and movement of my pots in action. My work has a minimal and rustic style, meant to appeal to those who appreciate the natural world.

Ian Petrie

Philadelphia, PA

Born from the inherently black and white nature (in aesthetics and ethics) of the comics/manga universe, the surfaces of my pieces are used as utilitarian canvases to explore individuals' narratives. To this end, my work is made using very traditional comic/manga materials and processes. The illustrations are drawn with a crow-quill pen, shaded with an application of half-tones, and ultimately screen printed by hand. On some of my pieces I utilize gold or silver luster to intentionally censor part of my drawing.

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