Laura Zindel

Guilford, VT

My tableware is fabricated in small batches of white earthenware and brushed with hand mixed glazes. The surface of each piece is collaged with silk screened enamel transfers of my pencil drawings of flora and fauna. Each piece is fired 3 times to create the rich surfaces of each platter, setting serving dish and table accessory. My wish is for my collectors to be able to curate from my menagerie, their personal own cabinet of curiosities and be inspired to put their personal story on the table.

Jonathan White

South Portland, ME

I create sculptural vessels and wall pieces inspired by nature and industry. I work with stoneware, porcelain and earthenware to achieve rich surfaces and patterns.

Candone Wharton


My education is American, the firing technique is Japanese, the glaze influences are from Morocco, and the forms are inspired by ancient architecture and vessels. My work is unglazed porcelain and black stoneware with a small touch of gold luster on some of the rims. Each piece is made from carved coils.

Jenifer Thoem

Rome, GA

2019 Best of Show

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.

Ikuzi Teraki & Jeanne Bisson

Washington, VT

We make 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

My work is all about surface tension, it is porcelain made on a wheel. 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.

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 landscape. Most pieces are records of an experience I have had in nature but condensed and abstracted, so that the work becomes less representational of a particular place, at times perhaps just a blur. 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.

Paula Shalan

West Stockbridge, MA

I use the direct, hand-to material methods of pinch, coil and slab construction. In an attempt to capture the soft sensual surface of clay, I do not use any glaze material. I polish areas and use some colored clay slips. I distill my naturalist's observations into formalized elements expressed through the vessel. By paying acute attention to how I handle the clay and its reaction to my touch, I am forever discovering its seemingly endless subtleties. I want my clay vessels to hold and convey some portion of the immense beauty found in the physical world.

Michael Schwegmann


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.

Ibrahim Said

Greensboro, NC

My interests lie in expanding on forms and principles rooted in my culture: namely ancient Egyptian pottery and Islamic arts. Through bridging the languages of function and sculpture, I hope to conjure stories about rituals, memorializing, and cultural proverbs, that feel both ancient and currently relevant. My carvings are inspired by artifacts of water jug filters made between 900-1200 ACE in Fustat, Egypt. But what was particularly poetic about them was that only those drinking from them could see the designs. Searching for ways to bring these ancient carvings and their narratives back to life has become one of my interests.


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