JENNIFER FALTER

SPRINGFIELD, MO

I strive to make pots that others will enjoy using. My craft as a potter allows me to both create and embellish. The potter's wheel is my chosen tool for creating clean, classic, and uncomplicated porcelain vessels dressed in intricate pattern. I am attracted to the purity and challenge that porcelain offers to its user. The pure white canvas of this clay provides a striking contrast to the layers of liquid black slip that coat my surfaces. After all layers are applied, I sgraffito the entire surface with a small loop tool to expose the clay and bring my imagery to life. My designs are my collection of favorite patterns, images, memories, or stories. The subjects I prefer have two volumes: quiet, nature inspired imagery or whimsical, light-hearted, narrative pictorials. Enveloping my pots in this detailed imagery creates a marriage of surface and form.
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LUCY DIERKS

ASHEVILLE, NC

My pieces express my delight with nature and like nature, I want them to reflect a harmony of form, surface, and purpose. I strive to make small intimate pieces whose design and texture invite you to hold them. The contradictory aspects of birds intrigues me. I find the exquisite detail of their claws and the patterning of their feathers very satisfying. I perch them on my pieces to encourage contemplation and conversation.
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DWO WEN CHEN

PROVIDENCE, RI

I was born in a little farming village in the southern part of Taiwan. I am very fortunate to have come from a family that encouraged my artistic endeavors. It is to my greatest surprise that I now find myself to be a studio potter living in New England. To this I owe a great deal to my RISD education. While it discouraged any of my further fantasy of becoming a painter, it fortunately introduced me to the wonderful world of pottery. Clay is a very forgiving medium. I can translate almost anything within my imagination using my hands and clay. Sometimes with great success and sometimes with amusing end results. Either way, it only makes me want to explore the endless possibilities of clay-making even more.
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TERESA CHANG

PHILADELPHIA, PA

Functional craft can bring great beauty to everyday life. As a practical ceramist who loves food, my passion for tableware is natural. I credit many influences for my design sensibilities: early Korean and Japanese pottery, my architectural studies and an appreciation for simplicity instilled by my mother. All work is made of porcelain thrown on the potter's wheel.
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ROB CARTELLI

SOUTH NEWFANE, VT

Functional tableware is my canvas. I make porcelain pottery that is handled, moved to the table, the sink, then back to the cupboard. In this tactile cycle, my pottery communicates. It speaks of architecture, containment, service, earth elements, and human effort.
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WINTHOP BYERS

ROCK SPRINGS, WI

I throw pots with rims, weights and proportions that satisfy me. Stoneware glazes change color as they get thicker. I spray multiple layers of wood ash and glazes over the ridges and valleys of my forms to create integrated timeless pieces used to enhance daily living.
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SANDRA BYERS

ROCK SPRINGS, WI

Exploring form and texture as they interplay with light is the current focus of my work. Using fine, high fired porcelain, I form each piece individually by handbuilding, pinching, and carving. I am trying to find simplicity and calm in an increasingly complex world.
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DAVID K. BRYCE

GREAT BARRINGTON, MA

My pieces unite Baroque movement, abstract expressionist gesture, and Asian decorative spirit with a commitment to my own gentle whimsical voice. All sculptures are modeled in stoneware, fired to cone 4 and colored with iron oxides and applied pigments.
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MARVIN BLACKMORE

DURANGO, CO

In 1989, pottery was Marvin’s medium of choice and also his only form of income. He was initially drawn to the pueblo-style carved pottery with gloss and matte black finishes, famously known in the Southwest as Black-on-Black pottery. Initially successful with the traditional Black-on-Black style, Marvin’s pursuit of his own style slowly began to evolve. In the mid 1990's he developed a two-tone technique. As Marvin’s techniques evolved, more layers of color were added and the designs have become more intricate.
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BENNETT BEAN

BLAIRSTOWN, NJ

There are a number of ideas that I deal with in my work, and they are continually evolving. Presentation is one. How does one put an object into the world yet separate it from the world? My resolution of this formalist concern resulted in my use of black bases. Another concern is the idea of control, which in my case takes the form of refusing to let the fire have the last word. So, much of the embellishment of these pieces is done after the firing, i.e. the paint and the gold. And finally, beauty. There is a large amount of suffering in the world. If, when somebody sees my work they feel some pleasure that is success.
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