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.

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.

Elizabeth Pechacek

Minneapolis, MN

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.

Nick Moen

Asheville, NC

Since I started working with clay when I was 14, I became obsessed with the material. My career has been based on refining the way I work with clay to reflect precise craftsmanship and innovation in design. In 2019, I began exploring the possibilities of using porcelain to diffuse light. The result is a collection of porcelain lighting that reflect a sensitivity through the process through modern geometric forms. By utilizing technology and complex mold systems I have developed a system to create an infinite number of geometric vessels that glow when illuminated from within.

Jennifer McCurdy

Vineyard Haven, MA

I use a translucent porcelain body because it has a beautiful surface. It can convey the qualities of light and shadow that I wish to express. After I throw my vessel on the potter's wheel, I alter the form to set up a movement of soft shadow. When the porcelain is leather hard, I carve patterns to add energy and counterpoint. Some of the finished pieces hold elusive glimpses of the balance between the convex and the concave, and light absorbed and reflected. I marry the fine porcelain with the ancient art of gilding. The 23 carat gold leaf illumines the interior of the vessel, to reveal new curves and patterns.

Kreg McCune

Seal Cove, ME

As a respectful steward of the natural world I bring to my work a sensibility toward the simple, timeless and artful lines and tones that reconnect us to the planet and our common human heritage. I strive to craft functional pots that are beautiful both alone and in combination with one another. I hold a deep belief that in our age of mass production, it is both radical and deeply important to use objects envisioned and created by human hands as part of our most basic and fundamental aspects of daily life.

Ahrong Kim

Brooklyn, NY

My work is based on psychological observations that are representative of voices we all hear inside. I make ceramic figurative sculptures that describe emotions from my life as a diary. By exploring expressive possibilities of my visual language, the figurative form and its multi-colored surfaces reveal the abstracted version of my interiority.

Lori Katz

Springfield, VA

I am intrigued by contrast, the play of dark against light, the pull of empty space against the inclination to fill it up, the placement of line and shape and the use of subtle texture. My current work is stoneware with inlays and additions of black and white stoneware. Additions to the raw surface can include slips, underglaze and high-temperature wire. Post firing additions can include acrylic paint, oil paint, cold wax and metal leaf.


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