Paula Shalan

West Stockbridge, MA

My work is hand built from white earthenware using coil, pinch, and slab construction. A fine clay slip -terra sigillata - is applied, the work is polished, and then smoke fired. I am drawn to the naked or simply clad clay pot. Just as a woman’s silk slip emphasizes every curve and crevice of her body, terra sigillata shows off the nuances of the clay surface and highlights its form. Its reflective satin sheen contrasts with the light absorbing, matte surface of the bare clay. It is the play between shine and matte, texture and smooth, interior and exterior, that interests me.
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Elizabeth Pechacek

Bloomington, IN

My work is primarily concerned with the making of meaningful objects. I am fascinated by the burst of energy that finds a new form, and inspired by the calm obsession required to winnow that shape into the most ideal proportions. I then apply color and line to the surface of an object in a playful re-examination of the original idea. I use this process of invention, perfection and appraisal to charge a cup, bowl, or sculpture with a vibration which can create a positive disruption in usual patterns of living. If I can create and share something unexpected through this exploration, then I feel that my objects can be of use.
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Sangjoon Park

Highland Mills, NY

One day, sitting in my studio, I saw a pile of bowls sitting on a work table. These were the bowls I used to make every day without feeling any pressure to create art. At that moment I realized these bowls - my training foundation - made me an artist long ago. In the past, as a student, I did not know how to appreciate them
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Mary O'Malley

Long Island, NY

My motivation for making has always been led by an interest in seventeenth to nineteenth century decorative arts. Initially evoked in a body of work called Bottom Feeders, I have developed an interest in subjects that involve curiosity - natural imagery playing a large role in my work through allegory. With the current climate regarding immigration, particularly the dialogue surrounding Brexit and the rhetoric of the U.S. Presidency, I am finding the juxtaposition of the past's celebration of the exotic and unknown cultures, compared to today's closed boarders and xenophobic hate speak interesting. By exploring this subject and placing it in the context of historically affluent decorative arts, I am remediating this old, traditional method of hiding political messages in decorative work into my own personal and contemporary dialogue.
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Lisa Naples

Doylestown, PA

After 39 years of working with clay, I find myself deeply curious about the creative process itself. In 2005, the surfaces of my pots took on illustrated characters and began to tell stories. In 2008, those stories became 3-D as I began exploring narratives through sculpted animal figures. Both of these developments came as a surprise. Being open to compelling impulses has been my guide. Staying open fostering a life in which staying open is possible my challenge. With that in mind, I consciously watch for assumptions in my studio practice. I don’t make art by entering my studio knowing, rather with a disciplined commitment to not knowing. This leaves a lot of room for experimentation, failure and profound gratitude.
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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 will 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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Nancy Kubale

Rutherfordton, NC

My current work contemplates our shared existence and individual essence. I liken it to a pursuit of universals. I am intrigued by who we are, how we live and the ideologies we embrace. Here's what I know so far: people and relationships are the most important thing. Hand built red stoneware clay. Multiple firings: burnished terra sig, oxides, under glaze, glaze, and colored pencil. Figures are often placed in a staged context with pedestals and painted backdrops.
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Ahrong Kim

Philadelphia, PA

Humans are emotional creatures. Individuals feel a diverse range of emotions even during a short time or on a small occasion. Emotions are formed naturally through many experiences of individuals and there are an innumerable number of ways to express emotions. Of these, the artist’s task is to conduct analysis of these experiences from the perspective of emotion and to sensitively materialize them. My work is based on psychological observations that are representative of voices we all hear inside. I make ceramic figurative sculptures that describe emotions from my life as a diary. By exploring expressive possibilities of my visual language, the figurative form and its multi-colored surfaces reveal the abstracted version of my interiority. Through my works, I aim to express the topic of emotions outwardly by attempting to describe a various range of psychological states existing in our environment with visual formation of colors and figurative form.
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Ani Kasten

Shafer, MN

I create one-of-a-kind and small groupings of sculptural vessels that explore the meeting point between natural and man-made worlds. The forms integrate these divergent sensibilities into a composed landscape, such as a stand of bamboo-like, truncated cylinders, perforated with windows to look like corroded skyscrapers, or a simple form such as a sphere, marked on its surface with an off-center, wandering imprint, like bird tracks in the sand. The pieces are often segmented, asymmetrical, weathered-- combining natural movement and an apparent state of organic deterioration invoking the cycle of life, death, decay. They investigate the nature of change, the compiling of memory, and a feeling of loss, the recognition of temporal beauty bound with grief. As creative expressions of form, movement and texture, my work embodies a modern, minimal aesthetic while reminding one of a natural or ancient object exposed to the rigors of time.
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