Justin Teilhet

YELLOW SPRINGS, OH

This work is porcelain, made on a wheel, it is all about surface tension. I fire in reduction to cone 10/11. The pieces are created and displayed in compositions. The interplay and negative space is as important as the objects themselves.
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Will Swanson

Harris, MN

I create handmade dinnerware, serving bowls, platters, baking dishes, mugs, bowls and plates for everyday use. Working in durable stoneware clay, I form each piece on the potter’s wheel. I also utilize a black temoku and a white matte glaze that I think enhance the forms and complement what I hope is seen as the tasteful simplicity of my body of work
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Carol Snyder

Columbus, OH

I wheel throw and hand carve all pieces using high fired unglazed porcelain. This minimal approach compels me to consider how light itself will convey patterns and textures in each piece. My influence is nature and the landscape. I put great emphasis on the craftsmanship of each work and believe that through this, the true beauty of form is revealed.
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Rob Sieminski

PHILLIPS, ME

These are wood fired, hand made and sculpted clay, heavily textured in a variety of ways. The pieces are then encrusted with wood ash, both before and during the firing, giving them their unique coloring. This combination creates objects with an ancient, possibly unearthed feel, as if removed from the forest floor or ripped from a volcanic rift.
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Michael Schwegmann

CHAMPAIGN, IL

I hand form 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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Irina Okula

IPSWICH, MA

Using white earthenware clay, each saggar bowl or vessel is made on a potter’s wheel. After drying, it is sanded, and hand burnished to a shiny surface with a smooth stone. Several layers of a fine clay slip, terra-sigillata, are applied and polished again with a soft cloth. The piece is then bisque fired to 1830°F. After cooling, shard pots are broken into several pieces. Each piece is decorated with stamps, copper wire, tape or string, and packed into an individual saggar, a covered clay container. It is packed with combustible materials, such as sawdust, salt marsh hay, or seaweed, which has been soaked in solutions of salt, iron, cobalt, or copper oxides. These saggars are stacked and fired in a gas kiln. The fire, salt and combustibles all dance on the surface of the pieces, leaving distinctive marks. After cooling, the shard pot pieces are assembled and epoxied together. The saggar process yields a beautiful melding of patterns, designs, textures, and colors.
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Elisabeth Maurland

Decorah, IA

I was born and raised on the southern coast of Norway and my work is deeply influenced by the natural surroundings of my childhood. The sea, the mountains, and the forest contain life that have become vessels for my expression throughout my artistic career. The birds, the fish, and the animals move fast, light-footed, upward, outward, sometimes right off the pot. The bright colors and the light weight and simple lines of the pots themselves complete the picture of the joy I feel about the world around me, wherever I am.
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Jennifer Martin

BRYN MAWR, PA

My ceramic work celebrates tradition while not being inhibited by its vast history. I strive to reveal the sensual nature of clay as reflected by the touch of my hand. Using similar tools and processes to that of a traditional potter, I look not towards the ideal symmetrical vessel but instead towards asymmetry. I use the repetitive lines and patterns in my work to create a vocabulary able to describe gender, a specific situation, a human journey or simply one’s personality make-up. I hope to elevate the ceramic vessel from simply a utilitarian object by creating different scenarios in which to view it.
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Cliff Lee

Stevens, PA

I work on a potter’s wheel with translucent porcelain. I will then carved, 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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Mark Klammer

HAMMONDSPORT, NY

Mark Klammer Pottery is inspired by Mid Century Modern and Danish Modern ceramic designs. The work is crafted by either wheel throwing or slab building white stoneware. Sgraffito, slip trailing or impressing using found objects gives each piece a unique look and feel. Energizing colors and a touchable sheen make each piece a joy to use!
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