Bryan Hopkins

Buffalo, NY

Following in the lineage of fine china I produce objects for domestic service, adding my own sense of affect and defect. When you think of porcelain, you first consider its physical qualities of strength, fragility, translucence, then porcelain's class association and cultural significance. The work's primary use is that of a functional object and all the pieces perform as they should. My urban environment, Modernist architecture, backyard forts, 19th century European porcelain, Minimalism, and Song Dynasty porcelain all inform and affect the work.

Ryan 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.

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.

Teresa Chang

Philadelphia, PA

2019 Excellence in Clay

Functional craft brings great satisfaction and beauty to everyday life. As a practical person who loves food and clay, my passion for tableware is natural. For me, there is something inherently beautiful about forms pared down to their structural essence. In my work there is no applied decoration, no excess in shape, mass, or profile. 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.

Winthrop 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.

Marvin Blackmore

Durango, CO

By 1989, pottery was Marvin’s medium of choice, being initially drawn to the pueblo-style carved pottery with gloss and matte black finishes, famously known in the Southwest as Black-on-Black pottery. In the mid 1990's he developed a two-tone technique by adding a layer of a colored clay slip and then carving exceptional detailed designs through the slip to the base color of the pot. As Marvin’s techniques evolved, more layers of color were added and the designs have become more intricate.

Dana Bechert

Nottingham, PA

I hand throw all my work using porcelain. After coating the entire piece in black slip, I freehand carve original patterns into the surface of the unfired piece. With my carving tool I draw horizontal lines while the pot is rotating on the wheel, the rest is carved freehand without the use of rulers, stencils or guides. Designs are created intuitively directly on the surface of the piece. All functional one-of-a-kind work.

Bennett Bean

Blairstown, NJ

There are a number of ideas that I deal with in my work. 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.

Ceramics and Bryan Hopkins – A Passion for Craft

“I make porcelain vessels for everyday use that are both sculptural and utilitarian. I’m influenced by physically engaging textures like old barn wood or industrial flooring, and I enjoy applying common everyday materials to porcelain which is typically seen as precious.” ~ Bryan Hopkins

The Philadelphia Museum of Art Craft Show has over a dozen different categories of fine craft represented among its 195 exhibitors. Beginning with ceramics, we’ll be highlighting each category on our blog throughout the season leading to the Show in November.

Robert Hessler

Kingston, NY

This body of work is based on the simple meditation practice of counting the breath. The dots are counted as they are applied as a practice to keep a focused and clear mind. I mix various colors of ceramic stains into a liquid porcelain slip and then apply them as dots to forms that are thrown in porcelain on the potter’s wheel. The title of the piece reflects the number of dots that are counted and applied to the piece.

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