MICHAEL SCHWEGMANN

CHAMPAIGN, IL

I hand form all these pieces out of porcelain clay. I use wheel-thrown, extruded, and hand-modeled parts without casting molds. 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.
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SANG-JOON PARK

CRESSKILL, NJ

The white bowl is placed on the brown base one by one. The work can be transformed or changed into a whole new piece by a different user. It enables anybody to participate in the work of art. I believe that anything, any kind of act in our life, can become an art.
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JENNIFER MCCURDY

VINEYARD HAVEN, MA

I use a translucent porcelain body because it has a beautiful surface, and 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. I burnish the surface and then I fire my work to cone 10, where the porcelain becomes non-porous and translucent, and one of the hardest surfaces known to man. Some of the finished pieces hold elusive glimpses of the balance between the convex and the concave, and light absorbed and reflected. In further exploration, 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.
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CLIFF LEE

STEVENS, PA

I work on a potter’s wheel with translucent porcelain. I then carve, apply, alter or sculpt the porcelain to obtain the desired form. I use a gas kiln to high fire monochrome reduction glazes.
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LYNDA LADWIG

LAFAYETTE, CO

My career with clay has been a relatively short one, fourteen years, but the act of creating and capturing volume has been a long one, thirty years as an architectural designer. Through this profession I am able to answer my need to manipulate environments; working with clay addresses this need as well. I hand build from slabs of porcelain clay. I create series of functional pieces: trays, ewers and vessels.
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MARK KLAMMER

HAMMONDSPORT, NY

Inspired by Mid Century Modern and Danish Modern design, Mark Klammer Pottery is wheel thrown using a durable stoneware clay body. A satin matte glaze provides a creamy feel to the smooth, clean lines of each piece. Bold, energizing colors draw the user into the piece. The pottery is microwave-safe, oven-safe, dishwasher-safe, and food-safe. The color palette coordinates with most decors. The pots are fired in electric kilns using electricity from 100% sustainable sources.
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JARED JAFFE

CLARKS SUMMITT, PA

Impact and assemblage: The artwork presented brings to mind these two words. Taken individually, they provide some information regarding the origin and intent of the artwork. Together they begin to tell a story. Impact: What force came into contact with this object? Was it a violent and sudden act or was the impact more deliberate? The intent seems uncertain. Upon first inspection, the resulting object could have been made from a random act of violence. It seems more likely to have been created from a calculated and predetermined act of destruction. Assemblage: What do you do with the resulting wreckage? Chalk the whole experience up to fate or try to salvage something meaningful from the debris?

THOMAS HARRIS

BLOOMINGTON, IN

I enjoy pushing the boundaries of what is termed functional in ceramics. I begin by throwing functional shapes on the wheel, then alter them by cutting, folding and re-assembling. I make extensive use of layered, sanded underglazes to create a rich matte texture with contrasting cone-6 glazes to finish my work
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RYAN J. GREENHECK

PHILADELPHIA, PA

A structured composition is vital within the framework of my vessels. The rim and feet of my pots are strongly defined areas, while the space in between lends itself to be broken down in parts. I incorporate a repeated pattern over the surface to assist in accentuating the volume within the forms. The surface of my vessels is constantly explored. Sensitivity in the glazing process must be attained in order to preserve the essence of the piece.
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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.
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