Ceramics and Bryan Hopkins – A Passion for Craft

“I make porcelain vessels for everyday use that are both sculptural and utilitarian. I’m influenced by physically engaging textures like old barn wood or industrial flooring, and I enjoy applying common everyday materials to porcelain which is typically seen as precious.” ~ Bryan Hopkins

The Philadelphia Museum of Art Craft Show has over a dozen different categories of fine craft represented among its 195 exhibitors. Beginning with ceramics, we’ll be highlighting each category on our blog throughout the season leading to the Show in November.

Robert Hessler

Kingston, NY

This body of work is based on the simple meditation practice of counting the breath. The dots are counted as they are applied as a practice to keep a focused and clear mind. I mix various colors of ceramic stains into a liquid porcelain slip and then apply them as dots to forms that are thrown in porcelain on the potter’s wheel. The title of the piece reflects the number of dots that are counted and applied to the piece.

Alexandra Geller

Easthampton, MA

My work marries my appreciation of ancient ceramics with my ongoing dedication to create pieces that are contemporary and functional. Central to my designs and throwing technique is making pieces both light in weight and satisfying to hold and use. I believe that form and function are mutually enabling. Each vessel created is to be purposeful and visually engaging. Simplicity of design and color are the sine qua non of my work, making it both modern and approachable.

Paula Shalan

West Stockbridge, MA

My work is hand built from white earthenware using coil, pinch, and slab construction. A fine clay slip-terra sigillata- is applied and repeatedly polished before firing. The work goes from white to grey and black in the smoke firing process. Its reflective satin sheen contrasts with the light absorbing, matte surface of the bare clay. I am interested in relationship and the spaces in between. It is the play of shine and matte, texture and smooth, interior and exterior, that engage me.

Melissa Weiss

Asheville, NC

I make simple clay objects intended for use in one's simple habits of eating, drinking, serving, and holding. These objects have a life to them, a raw yet tamed look not out of place in the natural world. I strive for my pots to hold balance in a place of primitive, modern, and timeless aesthetics. To me, these pots have a melancholy presence that feels light. My process intensive work is made from hand dug clay to create a rich wild clay body that is apparent in the final pot.

Steve Theberge

Florence, MA

During the three years that I lived in a monastery in Japan, I was struck by the way that ceramic objects enter into almost every sphere of life there, one material elegantly erasing the boundary between sacred and mundane. This began a subtle and ongoing shift in how I understand the relationship between function and form, tradition and innovation, material and experience. Deeply grateful for the boundaries that function and tradition place on my work, I aim to make pots that evoke a sense of history yet are born entirely of our present moment.

Ikuzi Teraki & Jeanne Bisson

Washington, VT

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.

Justin Teilhet

Yellow Springs, OH

This work is all about surface tension; it is porcelain, made on a wheel primarily. I fire in reduction to cone 10. The pieces are created and displayed in compositions. The interplay and negative space is as important as the objects themselves.

Carol Snyder

Columbus, OH

My work comes from the ceramic craft tradition of wheel thrown vessels but moves beyond what we perceive as a domestic object to one that speaks of aesthetic of form and my primary interest in pattern and texture of the landscape. My minimal approach compels me to consider how light itself might convey patterns and textures and makes me ever conscious of the important relationship between exterior and interior; separately and as a whole. I condense and abstract patterns and textures from nature so that the work becomes less representational. My work is not about a process or a glaze: they are to express a sense - of quiet, of balance, of ties with the natural world.

Elizabeth Pechacek

Minneapolis, MN

My work is primarily concerned with the making of meaningful objects. I am fascinated by the burst of energy that finds a new form, and inspired by the calm obsession required to winnow that shape into the most ideal proportions. I then apply color and line to the surface of an object in a playful re-examination of the original idea. I use this process of invention, perfection and appraisal to charge a cup, bowl, or sculpture with a vibration which can create a positive disruption in usual patterns of living. If I can create and share something unexpected through this exploration, then I feel that my objects can be of use.

Pages

Subscribe to RSS - Ceramics
© 2002 - 2019 Philadelphia Museum of Art Craft Show. All rights reserved.
Privacy | Copyright

The Women's Committee of the Philadelphia Museum of Art
P.O. Box 7646
Philadelphia, PA 19101-7646
Phone: (215) 684-7930
E-mail twcpma@philamuseum.org

Subscribe to our eNews