Ken Vavrek

Green Boat Vessel c. 1985

5.25 x 13.75 x 7.5

Ken Vavrek (b.1939) was 31 years old when he became an art professor at the Moore College of Art and Design in Philadelphia, a post he maintained for over three decades. In 1974 Vavrek was one of five founding members of The Clay Studio in Philadelphia, PA, where is still an active member of the community.

Vavrek's ceramic wall sculptures project a reserved and elegant physical beauty. Using a pared-down cast of geometric forms, these assemblage pieces propose a relationship between architecture, painting, motion, and play. They are remarkable for the way in which, unlike other assemblage pieces, they do not reveal the method by which they are held together. In comparison to Vavrek's more dramatic earlier works, these pieces converse more easily with the cool Minimalism of Bauhaus design. They located Vavrek firmly in the lineage of a number of iconic mid-20th century modernists. They represent the work of a mature artist at the peak of his powers, employing methodical yet always compelling probes into his own experience and imagination.

Vavrek has exhibited extensively in Pennsylvania, New Jersey, and New York. He has received commissions from companies such as the Korman Commercial Properties and ARA Services and his art is featured in the permanent collection of several museums and art centers, including the Milwaukee Art Museum, Philadelphia Museum of Art, Arizona State University Ceramic Center, and the Cleveland Museum of Art.

Donated by the artist.

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Mark Hewitt

Lidded Vessel, c. 2020

16.5 x 13 D

Mark Hewitt (born 1955) is a British-born studio potter living and working for most of his life in the small town of Pittsboro, North Carolina. In 2015 he received a United States Artist Fellowship, for contributions to the creative landscape and arts ecosystems of the country. He was a finalist for the 2015 Balvenie Rare Craft Fellowship Award, for contributions to the maintenance and revival of traditional or rare craft techniques. In 2014 he was awarded a Voulkos Fellowship at the Archie Bray Foundation for the Ceramic Arts in Helena, Montana, for outstanding contributions to the ceramic arts.

Hewitt is known for his functional pottery and especially for his large scale wood-fired, salt-glazed ceramic pots, known as "monster pots." His work is influenced by Asian pottery, African pottery, North Carolina pottery, and especially the English pottery of Bernard Leach. He currently maintains Mark Hewitt Pottery with his wife, Carol, offering large wood firings and creating functional and decorative pots made using locally sourced materials.

Donated by Marsha Gold

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Arnold (Arnie) Zimmerman

Teapot Abstraction

12 x 13 x 7

Arnie Zimmerman (1954-2021) was a highly acclaimed ceramic sculptor, beloved in the field. He was best known for creating ceramic sculptures that redefined ambition and scale in the field of ceramics. His work, ranging from the monumental to the miniature, from the figurative to the abstract, embodies his fearless exploration of surface, color, and form. Zimmerman's art embodies the movement of ceramics into the mainstream of contemporary sculpture through successive bodies of work exploring modernist abstraction, figural expression, and moral and philosophical themes.

Zimmerman's work are held in numerous public collections in the U.S. and abroad including: the Metropolitan Museum of Art, NYC; Smithsonian American Art Museum, Washington DC; Museum of Art & Design, NYC; Philadelphia Museum of Art, PA; Museum of Art at RISD; Everson Museum of Art, Syracuse, NY; Alfred Ceramic Art Museum, Alfred, NY; Chazen Museum of Art, Madison, WI; Crocker Art Museum, Sacramento, CA; Portland Art Museum, OR; Nationalmuseum, Stockholm, Sweden.

For Zimmerman, "clay is the mother of all physical art materials. Humans used it first for utilitarian objects and to express the mysterious connections to the spirit world. They processed it with water, shaped it by hand, dried it in air and made it permanent with fire." He was a lover of history and the ways in which ceramics can provide a deep connection to humanity as a form of historical record. His lifelong commitment to clay was his continued endeavor to "walk in the truth of the infinite ways humans have used this material."

Donated by the Grainer Family

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Paul Kotula

Table Space, c. 2010

base: 1 x 24 x 26.5
ceramic plate: 2 x 14.5 x 10
wooden plate: 1 x 9 x 4.5
Ceramic cup: 3 x 4.5 x 3.5
glass cup: 3.75 x 4.5 x 3.5

Paul Kotula earned his MFA from Alfred University in 1989. In addition to his own artwork, he formed Paul Kotula Projects and has supported numerous other artists through organizing exhibitions and other work. Working with an international list of artists, he has formed over 200 solo and group exhibitions pertinent to the field of contemporary art and visual culture. In 2003, Dialogue magazine named him one of "25 People Making a Difference in the Arts in the Midwest."He is a frequent visiting artist/critic at Cranbrook Academy of Art and a former instructor at College for Creative Studies. Among his awards are two Individual Artists Fellowships from the National Endowment for the Arts and a grant from the Michigan Council for the Arts and Cultural Affairs.

Kotula is known for hand-built or wheel-thrown stoneware functional ceramics. Signature forms include tableware, especially squared plates. Kotula's plates feature rims that are developed using a double-walled construction method, adding volume to an otherwise flattened form. Works are glazed using a minimal decorative palette of lines or shapes. Kotula's finished surfaces typically appear in a variety of earth tones, shades of black, or tints of white. He says about his own work, As a maker of useful pots, I explore the spheres in which my objects exist. As a society consumed with casualness, I remain increasingly engaged in those events in which formality is still embraced and respected. I articulate individual pots and larger environments to both question and celebrate what we have ignored and what we desire."

Donated by the Grainer Family

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Claire Shenk Rodgers

Cadiz-Spain

12 x 12 D

Claire Shenk Rogers has been working in clay and teaching ceramics for over 30 years. Claire came to Philadelphia, PA as a resident artist at The Clay Studio in 1976; and continued her involvement there as an Associate Artist, exhibiting artist and executive board member. She has been a ceramic school director, owner/manager, teacher and workshop leader. Claire leads "Pottery Walking Tours" of both the Philadelphia Art Museum and the University of Pennsylvania Museum of Archaeology and Anthropology. Claire exhibits ceramics and large sculptural forms from her studio in Philadelphia, and at Gallery 37 - a Destination for Artful Living - in Milford Delaware

Rogers says about this work: I am thrilled to reacquaint myself with what I describe as one of my "travel pieces"; a series of pots I have continued to make since the 1980's inspired not only by the landscapes and architecture of each country I have traveled to, but also their pots. This is what I call a 'Globe pot' inspired by the spherical shapes of African pottery; and on it is an abstraction of an ancient Spanish cliffside town, with birds flying below (Arcos de la Frontera). I use a stoneware clay body with clay slips, porcelain additions, wax and glaze.

From the collection of Arlene and Bernie Solomon.

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Kirk Mangus

El Nino, ca. 1985

8 x 9.25 x 4

Kirk Mangus (1952-2013) was an internationally renowned ceramic artist and sculptor "known for his playful, gestural style, roughhewn forms, and experimental glazing." Born in Sharon, PA, Mangus developed an early love of art from his parents who introduced him to Toshiko Takaezu, world renowned potter. They supported his interest, sending him for classes at the Cleveland Institute of Art and then at Penland School of Crafts. His parents' inspiration and encouragement led him to earn his BFA from the Rhode Island School of Design (1975) and MFA from Washington State University, Pullman (1979). Mangus would remain friends with Takaezu throughout her life and fired her work over the years in his Anagama kilns in Pennsylvania and Ohio. Kirk Mangus was an early Resident Artist at The Clay Studio, infusing the studios with joy and creativity in the late 1970's.

Mangus was Head of Ceramics at Kent State University from 1985 till his death in 2013 and also taught at Alfred University Summer School, Cleveland Institute of Art, and Cranbrook Academy of Art. He has lectured widely across the United States and internationally. His murals, works in clay, on paper, in wood, and other media pull from a rich and diverse set of influences: ancient Greco-Roman art, mythology, Japanese woodblock prints, comic books, folk stories, from Meso-American through Middle-Eastern and Asian ceramic traditions as well as the people he saw, the places he travelled, and his own dreamworld. Mangus loved experimenting with new mediums, local materials, clay bodies, slips, kiln-building and the firing process.

Donated by Marsha Gold

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Robert Winokur

Abstract Sculpture, ca. 1990s

13 x 7 x 3

Robert (Bob) Winokur (1933-2020), a renowned ceramic artist, first became interested in ceramics in high school. He pursued his interest at Tyler School of Art earning his BFA in 1956, then at Alfred University, where he earned his MFA in 1958. It was also in 1958 when Winokur married the groundbreaking and internationally-acclaimed artist Paula Colton Winokur (Tyler BFA and BS Ed '58). Together, the Winokurs maintained a shared ceramics studio for more than 50 years. Winokur's practice evolved over the years, with stylized house forms being a recurrent subject. He considered their physical and metaphorical space as vessels themselves.

His works appear in dozens of public and private collections around the world, including The Louvre, Paris, France; The Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; The State Hermitage Museum, St. Petersburg, Russia; International Ceramic Studio, Kecskemet, Hungary; International Academy of Ceramics, Geneva, Switzerland; and the Philadelphia Museum of Art - to name just a few. Among his extensive list of awards and accolades are a Visual Artists Fellowship from the National Endowment for the Arts (1979); an honorary fellow of The National Council on Education in the Ceramic Arts (1983); fellowships in crafts by the Pennsylvania Council on the Arts (2003 and 1988); an American Crafts Council College of Fellows inductee (2002); and a member of The International Academy of Ceramics, Geneva, Switzerland (2004).

Donated by Marsha Gold

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Robert Winokur

Cup and Saucer, ca. 1980s

base: 1 x 3.5 x 6.75
cup: 6.5 x 5.25 x 2.75

Robert (Bob) Winokur (1933-2020), a renowned ceramic artist first became interested in ceramics in high school. He pursued his interest at Tyler School of Art earning his BFA in 1956, then at Alfred University, where he earned his MFA in 1958. It was also in 1958 when Winokur married the groundbreaking and internationally-acclaimed artist Paula Colton Winokur (Tyler BFA and BS Ed '58). Together, the Winokurs maintained a shared ceramics studio for more than 50 years. Winokur's practice evolved over the years, with stylized house forms being a recurrent subject. He considered their physical and metaphorical space as vessels themselves.

His works appear in dozens of public and private collections around the world, including Le cite du Ceramics: The Louvre, Paris, France; The Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; The State Hermitage Museum, St. Petersburg, Russia; International Ceramic Studio, Kecskemet, Hungary; International Academy of Ceramics, Geneva, Switzerland; and the Philadelphia Museum of Art - to name just a few. Among his extensive list of awards and accolades are a Visual Artists Fellowship from the National Endowment for the Arts (1979); an honorary fellow of The National Council on Education in the Ceramic Arts (1983); fellowships in crafts by the Pennsylvania Council on the Arts (2003 and 1988); an American Crafts Council College of Fellows inductee (2002); and a member of The International Academy of Ceramics, Geneva, Switzerland (2004). Winokur is survived by his two children: Stephan and Michael.

Donated by Marsha Gold

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Mark Shapiro

Pitcher

5.25 x 5.25 x 2.75

Mark Shapiro (b. 1955) earned his BA in anthropology at Amherst College. In 1986, he moved from New York City to rural Western Massachusetts to make pots and build a wood kiln. He bought a farm with an unusual feature from which he took the name for my pottery-a stone pool that Russell Conwell, turn-of-the-century preacher and educator and founder of Temple University in Philadelphia had built in 1893. The farmhouse, where Conwell was born, is rich in history-it had been a stop on the Underground Railroad during Conwell's childhood, and he remembered John Brown and Frederick Douglass staying at the house. While doing work on the property he dug up a shard of a gray salt-glazed four-gallon crock that happened to have the makers' stamp on it. "Hastings and Belding, Ashfield Mass." It turned out to have been made only about 15 miles away, at the middle of the last century. It got him thinking about pots that were made, bought, used, broken and disposed of within a specific region and the connection this implies between the community of users and makers.

Mark Shapiro has taught numerous workshops nationally and internationally and mentored many apprentices at his studio, Stonepool Pottery. He edited A Chosen Path: The Ceramic Art of Karen Karnes (University of North Carolina at Pembroke, 2010) and has published many articles. A 2019 Smithsonian Artist Resident Fellow and 2021 Craft Research Fund recipient, he co-curated Crafting Freedom: The Life and Legacy of Black Potter Thomas W. Commeraw at the New York Historical Society (2023). He was a founding member of Pots on Wheels (POW!), and founded the annual Make-In Studio at the National Council on Education for the Ceramic Arts. Shapiro is on the board of the American Ceramic Circle and an advisor to Studio Potter and Ceramics in America. He is currently a National Museum of American History Research Associate. His work is included in many public collections.

Donated by Marsha Gold

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Randy and Jan Mckeachie Johnston

Collection of Works, various years

Randy Johnston - Orange Vessel: 10.5 x 4.5 x 3.5
Jan Mckeachie Johnston - Brown Vessel: 9.5 x 5 x 4
Randy Johnston - Green Dish: 1.25 x 4.25 x 9

Randy Johnston Biography

Randy Johnston has had an illustrious 47-year career in ceramics. He is recognized internationally as an artist who has pursued functional expression and brought a fresh aesthetic vision to contemporary form, and for his many contributions to the development of wood kiln technology in the United States. He is professor and department chair emeritus at the University of Wisconsin - River Falls, where he taught ceramics and drawing. His work has been exhibited internationally and he is the recipient of numerous awards, including The Bush Artist Fellowship, granted by The Bush Foundation in Minnesota, two visual artist fellowships from the National Endowment for the Arts, and a Distinguished Teaching Award in American Arts, from The James Renwick Society of the Smithsonian. Johnston received his MFA from Southern Illinois University and a BFA in Studio Arts from the University of Minnesota, where he studied with Warren MacKenzie. He also studied in Japan at the Pottery of Shimaoka Tatsuzo, who was a student of Shoji Hamada. Johnston has presented hundreds of lectures and guest artist presentations worldwide. He has his work in the permanent collections of, Victoria and Albert, London, UK; Minneapolis Institute of Art (Mia), Minneapolis, MN; Museum of Fine Arts, Boston, Boston, MA; Los Angeles County Museum of Art, Los Angeles, CA; The Nelson-Atkins Museum of Art, Kansas City, MO and numerous international, public and private collections.

Jan McKeachie Johnston Biography

Jan McKeachie Johnston studied at the University of Minnesota, Southern Illinois University, and received her BFA degree from the University of Wisconsin - River Falls. Since 1979 Jan has been active in teaching workshops across the United States and Chile, serving as a visiting lecturer at UWRF, and working in her Wisconsin studio. For the past 40 years she has participated in important national and international exhibitions, including American Shino at Babcock Galleries, New York, NY in 2001; the Moegi Gallery's 18 American Potters exhibit, Japan in 1997; Sculptural Utility, a solo exhibition at Lacoste Gallery, Concord, MA in 2004; and A Touch of Humanity, Schaller Gallery in 2018. She has been a guest artist in St. Louis, MO, Kansas City, MO, St. Paul, MN and Santiago, Chile. Her work has also been featured in Clay Times and Ceramics Monthly, and she is represented in many private and public collections, including The Chrysler Museum in Norfolk, VA; Weisman Art Museum at the University of Minnesota; and Minneapolis Institute of Art (Mia). She is represented by Northern Clay Center, Minneapolis, MN; Schaller Gallery, St. Joseph, MI; Lacoste Gallery, Concord, MA; and Grand Hand Gallery, Minneapolis, MN.

Donated by Marsha Gold

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Jenny Mendes

A Lady and Her Beau, 2019

Lady: 8.5 x 2.25x 2
Beau: 4.5 x 2.5 x 2.5

Jenny Mendes was born in Cleveland, Ohio. She received a Bachelor of Fine Arts Degree from Washington University in St. Louis, Missouri and continued her education at Penland School of Crafts in North Carolina. Years later she returned to Penland School as both resident artist for three years and instructor. She has continued her education and exploration of the ceramic arts through participation in residencies in Paris, Macedonia, Slovenia, Turkey, Serbia, The Netherlands, Philippines and Latvia. Currently she lives and works in Chesterland, Ohio as a full time studio artist and occasional workshop leader.

Artist Statement: Using clay as my primary material, I have found an entry way into my subconscious. I work intuitively with a palate composed of many things. First I create a structure which I overlay with painted patterns of emotional experience, sensory based memories, cellular formations, and other discoveries. Working within a human/animal narrative, I engage in a dialogue that witnesses and reflects an invitation into my world. My ceramic work has always had a life of its own, separate from my desire to control it. If I look back at my ceramics over time, there is a continuous thread that runs through my work, a signature stylistic message from my unconscious to my conscious self. Always learning and relearning how to decipher and translate the special union I experience with this material, I find inspiration from deep connection to self and friends, from my relationships with nature, humans and animals, and from working with energy both tangible and intangible. My daily practice uses active imagination in conversation with the materiality of clay. I would like my work to offer a sense of being buoyed and comforted by love, hope, curiosity and the imagination.

Donated by Marsha Gold

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William Parry

Two Honeycomb Mountains, c. 2000

black: 19 x 20 x 16
white: 19.5 x 24 x 14

William Parry is known for abstract, slab-built sculptures, as well as experimentations with ceramics and other materials. Some of Parry's work was inspired by natural forms, such as the Off Butterfly series, and from everyday objects, seen in the Knife, Fork, and Spoon series which transformed these objects into unusable sculptures. Parry often brushes applied stains or glazes to his sculptures in one solid coat.

Parry originally started working in banking in New York City and applied to Alfred University in 1938. Parry started as an engineering major in the ceramics engineering program, switching to studio arts later. Parry spent most of his career as professor at Alfred University, teaching alongside ceramic artists Val Cushing, Daniel Rhodes, Robert Turner, and Ted Randall. This Large raku-fired honeycomb sculpture is White stoneware with copper oxide slip was part of William Daley's collection and was donated by his family.

Donated by the Family of William (Bill) Daley

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Renee Reichenbach

Teapot, 2016

8 x 20 x 5.5

Renee Reichenbach (b. Jena, Germany,1956) is a celebrated international ceramic artist. She studied ceramic art in Halle when it was still a part of East Germany. The style of her exquisite and spiritual ceramics is created by her stoic manner of execution. In recent years she has been working on a series of long shapes reminiscent of fish or ships. From 1975 to 1982, Reichenbach studied and completed postgraduate work at the Burg Giebichenstein University of Art and Design in Halle, specializing in ceramics under Gertraud Mohwald and Martin Wetzel. Since 1982, she has worked freelance in Halle. Since 1990 , has participated in symposia in Germany, the Czech Republic, and Macedonia. In 1997, Reichenbach held a visiting professorship at the Koblenz University of Applied Sciences, Institute for Artistic Ceramics, Hohr-Grenzhausen. She has conducted workshops at, among others, the Hohr-Grenzhausen School of Ceramics and the Landshut State School of Ceramic Design.

She has participated in exhibitions and residencies around the world, such as: 1999 Admission to the Academie de la Ceramique, Geneva 2001, 2006 Organization, the 2nd and 4th International Ceramics Symposium at Kunstlerhaus 188 in Halle, 2006 Gruppe 83, 2008 Artist in Residence, Seto International Ceramic&Glass Art Exchange Program, Japan, 2009 Les Printemps des Potiers in Bandol, Forum public, France, and held a teaching position at the University of Art and Design, Halle, Sculpture/Ceramics.

Donated by the Grainer Family

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Kostas Ulevicius

Running Teapot, 1991

10 x 11x 4

Kostas Ulevicius is an American-Lithuanian artist set out on a journey in search of an Ideal Face. His art belongs to far more than one country of origin, encompasses a lot more than the artistic traits of one cultural context, transcends the boundaries of one spiritual tradition. A son of a Gulag and Nazi prison survivor, Ulevicius has had the opportunity to witness through his own family history the cruelty of totalitarian regimes, the impermanence of empires and the fragility of human life. It is not surprising then that his art attempts at addressing the values that do not easily change with time and context, and above all - the harmony that emerges from silent contemplation and solitude. Born and educated in Lithuania, the country that has endured a nearly total destruction of its Jewish community by Nazis as well as the persecution of Roman Catholic Church and all other religious communities by the Soviets, Kostas Ulevicius is in constant search of his own individual form of spirituality and humanism. His art asserts the locus for such spirituality to be The Face of the Other, almost as if in accord with the philosophy of Emmanuel Levinas.

Ulevicius was featured in The Clay Studio's "Contemporary East European Ceramics" exhibition in 1992 - an influential moment in The Clay Studio's history as many artists from this show donated their works to the studio beginning what is now our permanent collection.

Donated by the Grainer Family

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Peter Rose

Vessel Pair, 2011 & 2013

13.25 x 8 D
7 x 5.5 D

Peter Rose, born 1956 in Adelaide, Australia, earned his Bachelor of Education in History and Art in 1981 at Flinders University. After attaining his degree he pursued training in design receiving an Arts and Design Diploma at O'Halloran Hill Technical School. He then went to the South Australian School of Art for printmaking.

During this time Rose became more interested in pottery and decided to go to Japan, where he worked as an apprentice in Bizen, Japan, a town renowned world-wide for wood firing. Rose then spent two years learning the craft of wood firing, the tea ceremony and the Zen philosophy associated with the history of Japanese clay traditions. When he returned to Australia he was accepted into the Jam Factory in South Australia as a clay trainee for two years. After finishing this apprenticeship Rose spent two years traveling to the USA and England working in potteries.

In 1987 Rose settled in Tennessee, where he set up Potters Pond Pottery, building a wood kiln just two years later as a solid foundation for the beginning of his career as a professional potter.

In 2005 Rose was a cofounder of Imani Collective Workshops in Craft, a socio economic empowerment program for women in Eldoret, Kenya

Donated by Marsha Gold

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Ben Carter

Teal Vessel and Dish Pair,

Vessel: 7.5 x 6.5 D
Dish: 1.75 x 9.75 D

Ben Carter is a studio potter, educator, and podcast host/producer based in New Jersey. He earned his BFA in ceramics/painting from Appalachian State University and his MFA in ceramics from the University of Florida. His professional experience includes being an artist-in-residence at the Archie Bray Foundation in Helena, MT and Anderson Ranch Arts Center in Snowmass, CO, as well as the Education Director of the Pottery Workshop in Shanghai, China. He has lectured and exhibited widely in the United States, Canada, China, Australia, and New Zealand. Carter was named 2016 Ceramic Artist of the Year by Ceramics Monthly and Pottery Making Illustrated. He has authored two full-length books, Mastering the Potter's Wheel, published by Voyageur Press in 2016, and The Complete Guide to Low-Fire Glazes for Potters and Sculptors, published by Quarry Books in 2024.

In addition to his studio work Carter is the creator/host of the Tales of a Red Clay Rambler podcast, where he interviews artists about their craft, creativity, and lifestyle. In 2021 he developed The Brickyard Network-a podcast network devoted to the ceramic arts-for the Archie Bray Foundation. He is the editor and producer for Clay in Color, For Flux Sake, The Kiln Sitters, Trade Secret and other podcasts developed for the network.

Donated by Marsha Gold

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Lara Scobie

Opposites Attract (Cup Pair), 2020

both 3.25 x 2.5 D

Lara Scobie is a graduate of Camberwell Art College in London, and she holds a Postgraduate in ceramics from Edinburgh College of Art. She has exhibited extensively and has received many awards for her work including Premier winner of The Fletcher Challenge in New Zealand and Honourable Mention at Mino Ceramics, Japan. Scobie is a fellow of the Craft Potters Association of Great Britain and a professional member of Contemporary Applied Arts, London.

Graphic pattern and bold colour are a continuous source of inspiration to Scobie's work. She has a deep fascination with pattern and texture and works with these elements to develop a symbiotic relationship of both surface and form.

Although Scobie now makes artwork full time, she has extensive teaching experience having taught ceramics and design at Duncan of Jordanstone College of Art in the UK for over 20 years.

Donated by Marsha gold

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Jim Connell

Thrown and Altered Vase, c. 2015

7 x 4.47 D

Jim Connell lives and works in South Carolina and has been an active studio artist for over thirty five years. Connell creates ceramic pieces in unusual sizes and shapes but his process is firmly grounded in the traditional techniques of pottery making.

Although his process varies, Connell's vessels are generally wheel-thrown. The thick walls are paddled and carved producing a secondary, three-dimensional surface. He says: "I strive for beauty and elegance in my pieces. On my very best days in the studio I get glimpses of it and it keeps me going. It is all about that eternal elusive quest for beauty. I enjoy interplay and tension in my pieces and continually strive to excite my forms through the use of carving. If pressed into service, my ceramics could hold and pour liquid properly; however, their function is purely decorative."

Connell earned his BA from Loyola University (IL), his BFA degree from Kansas City Art Institute (MO), and his MFA degree from the University of Illinois. His work has been exhibited at The South Carolina State Museum, San Angelo Museum of Fine Arts and Contemporary Clay (TX), Austin Museum of Art (TX), Huntington Museum of Art (WV), Columbus Museum (GA), Huntsville Museum of Art (AL), the Holter Museum of Art (MT), Fine Arts Museum of the South (AL), Downey Museum of Art (CA), Sonoma County Museum (CA), and Roswell Museum (NM). Connell's ceramics are in the collections of the South Carolina State Museum, the Charles Wustum Museum of Fine Arts (WI), the Minneapolis Institute of Arts (MN), and the Yixing Ceramic Museum (China).

Donated by Marsha Gold

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Jim Romberg

Taking Flight, ca. 1990

3.75 x 4.25 D

Jim Romberg has been working with Raku ceramics for over forty years. He earned his MFA in ceramics from Claremont Graduate University and was an early student of Paul Soldner. Romberg is well known to collectors and academics for his outstanding and progressive work in sculptural ceramics.

Presenting work that is an interplay of sculpture and painting, Romberg uses the particular characteristics of Raku in an unique way. Rather than leaving the effects to the whims of natural reduction, his process is a deliberate interruption, often described as "painting with smoke and fire" to add a dimension of color, depth and surface that is truly engaging on many levels. His study and appreciation of the origins of Raku ceramics centered around the development of the Tea Ceremony and tea vessels brings a particular contemporary interpretation of Eastern aesthetics and philosophy into his work. The result is a particularly vital expression of an ancient art form "brought up-to-date" inviting contemplation that speaks to us today of the excitement of the creative imagination.

Romberg's work is featured in numerous permanent collections, some of whom are Janss Sun Valley, Northern Arizona Museum of Art, Geneva Municipal Art Collection, The Banff Art Center, and the Mater Collection of Contemporary Ceramics at Scripps College. Romberg's work has appeared in numerous publications and has been described as an important influence in the development of Raku ceramics. The independent publication "Ceramics Today: James Romberg" was published by the International Academy of Ceramics, Switzerland. Galerie Mediart in Paris presented Romberg's solo exhibition "Invocation" featuring his sculptural Raku works and abstract ink paintings.

Donated by Marsha Gold

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Debra Oliva

Artist signature on bottom

Dot Jar, c. 2012-2014

3.25 x 4D

Debra Oliva was born and raised in the suburbs of Chicago. She earned her BFA at Northern Illinois University in Drawing and Painting. After graduating, she went on to work in the printing industry for more than a decade. Drawn to clay since elementary school it was not until she married and moved to Michigan that the opportunity to work with clay presented itself. She began taking classes at an area potter's guild and continued her education attending over 80 workshops. She has been working in clay for 23 years and currently teaches adults and children at area art centers.

Her work has been awarded prizes in several national and international shows, and was selected for inclusion in Lark Books 500 Pitchers and the upcoming 500 Teapots II. She maintains a studio in her Okemos, Michigan home and sells her work through galleries and group ceramic shows.

Her ceramics are a combination of coloured clays in black, grey, and brown with the added bling of bright hues. Pattern, texture and fine details are carefully etched onto the surface of this fine covered jar.

Oliva's work is informed by Japanese art and craft traditions, including contemporary and traditional textiles, basketry, costume and Japanese prints. She has an affinity for the simplicity, serenity and precision craftsmanship once may find in the Asian aesthetic. She is particularly interested in the armor and implements of the Samurai warrior. These garments are an amalgamation of craft traditions where she finds endless inspiration for form, color, pattern and texture. It is her intention to create objects that share the same spirit, temperament and timelessness.

Donated by Marsha Gold

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Randy Brodnax

Pond Vessel, c. 1995

12.75 x 17.5 D

Randy Brodnax, a life-long potter and educator from Dallas, Texas, creates everything from functional dinnerware to large decorative vessels to clay sculpture. A Louisiana native, Brodnax has retained much of the Cajun joie de vivre with which he was raised, and has spent a career building bridges among clay artists of all levels of experience. In workshops, he entertains as he shares his knowledge with participants, and helps individuals seeking a refined focus, new direction, or simply camaraderie among clay artists.

As master raku potter for over 50 years, he has been featured in numerous books and magazines and has given hundreds of workshops. Brodnax is also known for his entertaining culinary skills, often cooking gumbo while creating pottery. Accordingly, many of his creations exhibit images of nature, animals and fish.

Donated by Marsha Gold

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Novie Trump

Beekeeper's Book, c. 2013

Tile: 0.5 x 5 x 4
Accounting for stand: 5.75 x 5 x 2.5

Stand included

Novie Trump is an Arizona based sculptor and installation artist working in ceramic, mixed media and sound. Formally trained in classical archaeology at the University of North Carolina, her work has been selected for juried and invitational exhibitions in the US and Europe and has been featured in numerous publications. Winner of the Fairfax Strauss Fellowship, she has been awarded numerous grants and commissions for public art works, most notably at the National Institutes of Health in Washington, DC. In 2013, Novie Trump was selected as a Fulbright Candidate by the Council for the International Exchange of Scholars.

Formerly the Executive Director of Lee Arts Center in Arlington, VA, Novie Trump currently curates exhibitions and juries for arts organizations throughout the US. She has served on the boards of several arts organizations, most recently as the Chair of the Distinguished Artist Series on the James Renwick Alliance Board, a non-profit support organization for the Smithsonian Renwick Museum. She is also an educator who teaches workshops in ceramics and professional development.

Novie Trump is the founder and director of Flux Studios, a contemporary arts space formerly of Washington, DC and currently based in Jerome, AZ.

Donated by Marsha Gold.

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Karen Aumann

Hunebedden Urn Pair, 2018

brown: 8 x 6 D
celedon: 8.5 x 5.5. D

Karen Aumann (d. 2024) earned her BFA at the University of the Arts in Philadelphia and was Associate Professor in Ceramics and Design at the Community College of Philadelphia. She exhibited at many locations nationally, and her work can currently be found in the permanent collections of The Mint Museum of Design, NC, The Wustum Art Museum, WI, the Stevens Gallery, CT, and The Clay Studio, PA. She is survived by her husband Thomas C. Kennedy, her sister Jean Aumann, and the many students, and artists whose lives she touched over her years teaching.

Aumann said of her work: nature has always influenced my work. As a potter that seems inevitable - the earth, the fire, the quartz and feldspar rocks that become my glaze. There is a perverse excitement in knowing that with however much care I make my pots and glaze them with, in the end all is in the hands of the fire and flame. They are like children who, however carefully raised, will go their own way in the end. I am not completely in charge of how they turn out; each kiln contains unexpected pleasures and disappointments. For me, this is the seductive lure of the wood kiln. These forms capture the element of chance, of change, what is now, and what is yet to come

Donated by Allen Willoughby

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Cheryl Hendershott

Sacrifice, c. 2015

21 x 23.5 x 12

Cheryl Hendershott has been a long time Associate Artist at The Clay Studio. She is well known for her figurative works.

From the collection of Arlene and Bernie Solomon

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Brad Johnson

Teapot and Dish Pair, ca. 2001

teapot: 6.5 x 9 x 5
plate: 1 x 8.5 D

Brad Johnson's soda fired porcelain and stoneware pots are inspired by the English gardens, wooded suburban landscape, and sporadic assemblage of neighborhood swing sets, fences, and rocks that appear outside his Pennsylvania studio window. The carvings on his pots are interpretations of life - some narrative, others abstracted, referencing a dream or memory. He accentuates his forms with squares and rectangles, "windows" that allude to those of his studio and reveal pieces of his surroundings.

Johnson earned his BFA in Ceramics from Kansas City Art Institute before going on to complete his MFA in Ceramics at Pennsylvania State University in University Park, PA. Following his residency at The Clay Studio, he has maintained close ties with the community. Johnson has been featured in several solo and group exhibitions, including Brad Johnson: Recent Work (2010), Philadelphia Urban Potters & Guests (2018), Brad Johnson: Full Circle (2018), and 50 Years in the Making (2024). Brad Johnson was a Resident Artist at The Clay Studio from 1998-2003.

From the collection of Arlene and Bernie Solomon

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Shawn Spangler

Teapot, c. 2010

8.25 x 9.25 x 4

Shawn Spangler is a ceramic artist currently living and working in Hawaii. Spangler's work draws inspiration from historical artifacts, design, and technology. His projects raise questions concerning authorship and collaboration, while highlighting both the connections and margins between digital and analog processes. His wheel-thrown porcelain forms can be complex, yet clearly articulated, oftentimes created through the combination of multiple parts. He states. "My work is an amalgamated map of the world I reflect upon. Producing vessels is a kind of play; a regenerative act ripe with reverence, revealing the human hands enduring connection to creativity. It guides us through stories of our past remaining as a cultural signifier to help us locate where we once were and where we are going. "

Spangler earned his Bachelor of Fine Arts degree from Pennsylvania State University (2001), and a Master of Fine Arts degree from Alfred University (2006). He was a resident artist in Jingdezhen, China, The Clay Studio in Philadelphia PA, and Watershed Center for the Ceramic Arts in Maine. He has exhibited internationally and has taught workshops at numerous art centers, colleges, and universities throughout the United States. Spangler was a Visiting Assistant Professor at Western Illinois University before currently serving as an Associate Professor at the University of Hawai'i at Mānoa. He is also a founding member of the artist collective Objective Clay, a member of ArtAxis, a peer-reviewed educational, and contemporary art community. As well as being inducted into the International Academy of Ceramics (IAC). IAC is an official UNESCO Partner, recognized internationally as the principal organization demonstrating excellence in the field of ceramic art globally. Spangler was a Resident Artist at The Clay Studio from 2006-2011.

From the collection of Arlene and Bernie Solomon

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Paul Donnelly

Celadon Collection, various years

Lidded vessel: 4.5 x 8.25 x 5.25
Pitcher: 5.25 x 6.5 x3.25

Bowl: 5 x 7.75 x 6.5

Paul Donnelly is a studio potter residing in Kansas City, MO. He is currently an Associate Professor of Ceramics at the Kansas City Art Institute working with students in the vessel concentration. He received his BFA from Edinboro University in 1997 and his MFA from the NYSCC at Alfred University in 2008. He has participated in residency Programs at The Clay Studio in Philadelphia, The Pottery Workshop in Jingdezhen, China and Watershed Center in Newcastle, ME. He has exhibited both nationally and internationally and has been published in numerous books & periodicals.

Donnelly says about his work: The home is sincere because it is an environment where we can be ourselves. It is the place where how we live is a reflection of who we are. We create domestic values through the objects we choose to collect and how we decorate our surroundings. Functional pottery is important to me as a vehicle for expression because it operates within this landscape. I am interested in integrating my work into people's lives because of the close proximity between (the) user and object. Through use and display, pots will impart meaning that will change with the user's relationship with the work. The objects we interact with on a daily basis can conjure experiences in our lives often becoming an article of sentiment. I intend to create work where there is a similarity between pieces but everything is unique in some way. Variability is one of the potter's strengths in terms of designing work. Crafting an eclectic array of dishes is a response to the ubiquity of objects sold through chain stores.

Donated by Marsha Gold

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Sandy Blain

Tulip Vase, c. 2005

7 x 8.25 x 5

Sandy Blain is Professor Emeritus - Ceramics, The University of Tennessee, Knoxville, and Director Emeritus - Arrowmont School of Arts and Crafts, Gatlinburg, TN. Her background includes a B.S. in Art Education from Northern Illinois University, and a M.F.A. in Ceramics from the University of Wisconsin-Milwaukee. Having worked in teaching and administration since 1964, she has a diverse background related to educational programming - classes/ conferences/seminars; gallery programming/installations; fund raising; public relations and personnel development. Her public service work includes involvement with national/regional/state/local craft organizations, often serving as a board member, consultant, conference coordinator, grant reviewer, exhibition juror, or presenter/workshop leader. As a practicing artist, her clay pieces have been seen in juried and invitational exhibitions throughout the country with reviews and photographs in media publications and catalogs.

After moving to Arizona in 2004, Sandy set-up a ceramic studio working with mid-range stoneware and emphasizing functional vessel forms. Her work is inspired by nature as well as architecture and industrial objects. Utilizing handbuilt slab-construction techniques for the simplified forms, and heavily marked / texture impressed surfaces, the combination is enhanced with multiple layers of sprayed glazes. Surface depth with subtle color variation help to convey a timeless expressive personal statement.

Sandy recently retired from her position as an adjunct faculty member at the Mesa Arts Center, in Mesa, Arizona. ​She continues to serve on the Advisory Council of the Shemer Art Center, in Phoenix, and serves as a consultant to various national regional arts organizations. Her studio practice continues to be of utmost importance and she hosts 1 - 2 sales a year at her home studio.

Donated by Marsha Gold

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Jenny Lou Sherburne

Piggie Pair

both within 4" x 4" D

Jenny Lou Sherburne has been a production potter for over 25 years. Upon earning her MFA in ceramics from Louisiana State University in 1991, she resumed her studio career with much commercial and critical success. Her bright, gestural, award-winning pots are exhibited nationally.

At her studio in Bakersville, Jenny Lou Sherburne works to infuse a Dr. Suess-style joy with her own love of the functionality of pottery. Jenny states that her work celebrates the "beautiful excesses of both mother nature and human nature." She does this by utilizing bright colors, ornate textures, and fanciful forms.

Artist Statement

I believe that life is a gift. Making pots is my way of celebrating and maintaining this belief. The process of creating compels me to question my assumptions and listen to my intuition which, in turn, provides me with clues about how to live my life.

My inspirations range from garlic cloves to onion domes, from the Isle of Crete to the Land of Oz and from Antonio Gaudi to Dr. Seuss. I see humor, beauty and growth everywhere and I am devoted to creating work which reflects these aspects of life.

Donated by Marsha Gold

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Matt Wilt

Fuel, c. 2015

7 x 12.5 4.5

Born and raised in Pennsylvania, Matt Wilt earned his Bachelor's degree in Ceramics and Art Education from Penn State University. After completing undergraduate school, Matt worked for two years at Boston Valley Terra Cotta, an architectural terra cotta restoration firm in Buffalo, New York, where he began to work more extensively with plaster molds and imitative glaze surfaces.

Matt completed his Master of Fine Arts degree at Ohio University, in Athens. He was then awarded The Evelyn Shapiro Foundation Fellowship through The Clay Studio in Philadelphia, Pennsylvania. While working as a Resident Artist at The Clay Studio (1995-1999), Matt continued to show nationally and internationally and taught at several universities and art schools, including the University of Pennsylvania, Moore College of Art & Design, and Arcadia University. Wilt is currently a professor of art at Skidmore College.

Artist Statement

I strive to combine objects and forms from the diverse culture and society in which I live, the United States of America in the 21st century. Initially, this approach resulted in vessels derived from street trash such as mufflers and styrofoam cups, buoy forms on the Delaware River, and the urban architecture of Philadelphia. I am conscious of the connecting threads that link the many disparate elements of history, culture, and what it is to be human.

Donated by Marsha Gold

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Douglas Baldwin

Duck Tray, c. 1997

2.75 x 16.25 D

Douglas Baldwin's (1939-2018) career in ceramics spanned over half a century. Baldwin's family moved to Missoula when he was a sophomore in high school. He studied art at the University of Montana (UM) and earned his BA in 1961, expecting to focus on commercial art and illustration. After getting drafted, Baldwin served 2 years as an illustrator in the Army. He returned to the University of Montana to study Printmaking, earniing his M.A. in 1965. While at UM as an undergraduate, Baldwin took a class with Rudy Autio and worked in ceramics additionally later in his graduate studies. His focus shifted to ceramics and he earned a scholarship to study ceramics with Jolyon Hofsted and Bruce Breckenridge at the Brooklyn Museum School. During this time he began to teach and found teaching rewarding, working with students every day and then watching as they developed successful careers. He taught for a year at the University of Wisconsin, followed by 34 years at the Maryland Institute of Art from 1967 to 2004.

Doug Baldwin, famous for his whimsical duck sculptures (duck stadiums, ducks playing games, ducks in studios).While in Baltimore, Baldwin engaged many of his ceramics students with the work of Baltimore Clayworks through internships, community teaching and events, keeping the two institutions connected, lively and mutually supportive. After retiring, Doug returned to his beloved home state of Montana, lived near his daughter and grandchildren, and became active in the life of The Clay Studio of Missoula. Baldwin's works were exhibited nationally and internationally, featured in publications and collections.

From the collection of Arlene and Bernie Solomon

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Allen Littlefield

Friends Column, 2024

3.5 x 6.25 x 24.25

Born in Wilkes-Barre, Pa, Allen Littlefield spent his childhood years in areas of the United States as divergent as New York City, Pennsylvania, Florida, and the state of Washington. Littlefield later returned to Wilkes-Barre where he graduated from Wilkes College with a BA in Art Education. After four years of teaching art on both the elementary and high school levels in the Kingston City School system of Kingston, NY, Littlefield moved to New Paltz. There he pursued graduate studies under ceramics instructors Kenneth Green and Robert Sedestrom at the State University of New York. Littlefield was employed as a graduate ceramics teaching assistant and earned a Master of Fine Arts degree.

An observer of people and their foibles and habits, Littlefield's work deals mainly with his comments on the human condition. He also does pieces that are mostly fantasy but still have their origins in reality.

From the collection of Arlene and Bernie Solomon

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Juan Barroso

Mano de Obra: Figure Study Pitcher, 2023

9.5 x 6.5 x 3.5

Juan Barroso's work is about Mexican labor and the plight, struggle, hope, and heritage of Mexican immigrants. With the current political administration enforcing policies that dehumanize and force immigrants into the shadows, he believes that recognizing an immigrant's humanity is vital. Notions of us or them deteriorate and it becomes clear that we are all working and fighting to provide a shelter and a decent meal for ourselves, and often a family. As the son of immigrant parents, Barroso hopes to pay homage to his people and the dignity of their labor. Barroso's work mixes 2-dimensional imagery, influenced by personal narratives, with 3-dimensional functional forms.

Barroso describes his work: I paint images with black underglaze, a small brush, and a pointillism technique. I chose pointillism on functional vessels because the process is time-consuming and labor intensive. My wrists and neck hurt after thousands of dots placed with care and accuracy to produce an image. The process becomes an act of devotion. I cannot think of a better way to show my respect and admiration for my people and their will to survive than with labor of love and time invested. After the imagery is painted on bisque-ware, I bisque again to set the image and avoid smearing the underglaze. I protect the images with liquid latex and airbrush a clear glaze on the rest of the piece. I make the work permanent and functional by firing to cone 6 in an electric kiln.

Barroso earned his BFA at Oklahoma University and his MFA at University of North Texas, Denton. He was named a Ceramics Monthly Emerging Artist in 2020.

From the collection of Arlene and Bernie Solomon

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Margaret Keelan

Portrait of Straw and Fire, 2001

13 x 6 x 8

Margaret Keelan earned her MFA in 1976 from University of Utah, Salt Lake City, Utah in Ceramic Sculpture and her BA in 1970 from the University of Saskatchewan, Saskatoon, Canada. She has received many awards from the Canadian craft community, been in dozens of exhibitions over the years, and is currently the Associate Director of Sculpture San Francisco, CA, Academy of Art University.

She says about her work, "for the past few years my sculptures have been glazed, stained, fired, then glazed, stained and fired again to give the surfaces the look of disintegrating paint over weathered wood. This softening and reduction of form so that its essential nature is revealed is a metaphor I am using for life being lived, my exploration of the process of growing up and growing older. These latest small sculptures recall the "Santos" figures of Mexico and Central America and incorporate a reproduced 19th century doll head. Although my figures echo contemporary concerns, the borrowing of earlier styles gives them more of an ageless quality. Linda Gastrom, Professor of Art, states, "The subject conveys a sweet sentimentality twisted into melancholy that touches my emotional core and helps me remember the complexities of childhood and life."

Donated by the family of William (Bill) Dailey

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David Binns

Pierced Form, c. 2010

8 x 20 x 19

Part of his Pierced Forms series, this work resembles organic material, like brain coral. It represents his interest and experimentation in science that would lead to his development after retiring of a company focused on material research for industrial purposes.

David Binns has worked in ceramics for over forty years in the UK. He has divided his time between his own art practice, teaching and research. On graduating he worked with David Roberts, a highly regarded Raku potter, based in Holmfirth, England. He taught at Wrexham College of Art between 1982 and 1990, before moving to teach ceramics at the University of Central Lancashire, in Preston, UK.

In September 2020 he retired and was awarded the title of Emeritus Professor of Contemporary Ceramics. During his time at UCLan, he ran the MA Ceramics programme, and was Head of the Silicate Research Unit, combining his interest in science with his art. Investigation developed through his art practice and more formal research led to the formation of a University spin-out company. ALUSID makes architectural surfacing materials (tiles, cladding and solid surfaces), made almost entirely from recycled industrial ceramic and glass waste. The company has undertaken projects for a number of prestigious clients including, Nando's restaurants, Wells Fargo Bank, Amazon, Selfridges, and Harrods, and numerous private clients in the UK and Middle East.

​

Now retired from my teaching post, I devote my time to my own art practice, whilst continuing to undertake R&D work for ALUSID.

Donated by the Grainer Family

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Jamie Davis

Jar, c. 1990

12 x 8 D

Jamie Davis was born in Philadelphia in 1945. He earned a B.A. from Vanderbilt University, Nashville, in 1967, an M.A. from Exeter College, England, in 1971, and an M.F.A. from Clemson University, South Carolina, in 1973. Primarily a ceramicist, Davis also creates wall-mounted sculptures of metal, fabric, and paper. His work has been exhibited at the Renwick Gallery, Smithsonian Institution, Washington, D.C., the South Carolina Arts Commission, and in several galleries, and is in the permanent collection of the Brooklyn Museum, among others

This carved and decorated raku fired vessel is a great example of Davis' decoration technique. He combines stenciled animals or figures with graffiti linework and applied color before raku firing his earthenware vessels.

Donated by the Grainer Family

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Kathy Erteman

Teapot, 1993

8.5 x 10 x 7.5

Kathy Erteman is a New York-based ceramic artist dividing her time between studios in New York City and the Hudson Valley. With a studio practice spanning more than 40 years, Erteman creates vessels as well as wall mounted compositions and installations. Employing technical expertise with a modernist aesthetic, her work demonstrates a reductive approach to formal composition resulting in works that are minimal in form activated by abstract surface decoration and energetic texture.

Erteman, a native of Santa Monica, CA, received her BFA in ceramics from California State University Long Beach. After graduating, she interned with Judy Chicago, working on The Dinner Party. Erteman's work has been exhibited internationally and is included in private and public collections including the Renwick Gallery of the Smithsonian Institute, Los Angeles County Museum of Art, Taipei Museum of Fine Arts, Icheon World Ceramic Museum, and the Johnson Collection.

Artist statement:

There are many ways to approach art making with clay. I adhere to traditional ceramic practices in making sculptural vessels and works for the wall. The study of early 20th-century architecture and design by international modernists contribute to my attitude about form. European ceramists Gertrude and Otto Natzler, Lucie Rie and Hans Coper were my earliest influences.

The essence of my work is minimal form activated by its surface treatment. I embrace a modernist aesthetic and employ a reductive approach to formal composition, aiming to eliminate unnecessary details to arrive at an articulate vessel form, one that could work at any scale, and allows for texture and color to become integrated within.

As my craftsmanship skill increases, my desire to control the process lessens. Control versus chance currently plays a larger role in my work as I surrender to the process and allow the clay to speak more freely.

Donation by the Grainer Family

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Jonathan (Jon) Middlemiss

Totem, c. 1980

30 x 9.5 x 6

Jonathan Middlemiss (UK, 1949 - 2021) was an internationally renowned artist recognized for his exceptional skills in creating intricate ceramic sculptures which integrate themes of geometry, ecology, spirituality and landscape. He described his ceramic forms and paintings as openings to different experiences of nature, using sensory immersion in the landscape as the foundation of his work.

Middlemiss' personal philosophy explored maps of consciousness that offer portals to the physical, emotional, mental, and spiritual states that arise from engagement with nature. This metaphysical relationship used different visual languages to express sensory experiences in different mediums, most notably clay. He often used natural materials such as stone, wood, and metal in his work, applying pastel and charcoal in his dynamic and evocative paintings.

Jonathan's ceramic artwork has received numerous awards and can be found in public collections and museums around the world, including in Britain, the U.S.A, Europe, and the Far East. Jon began his career making functional ware between 1972 - 1977, during which time he studied the techniques of other artists in his local area of Devon. In 1979, he was invited to exhibit his work at Exeter University and created the first exhibition based on his visualizations of the Tree of Life - a theme he continued to explore throughout his career. His work is held in the permanent collection of The Clay Studio.

Donated by the Grainer Family

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William (Bill) Schran

Bowl, c. 1985

3.5 x 14 D

William Schran retired as Assistant Dean from Northern Virginia Community College, Alexandria Campus after 38 years teaching and was awarded Professor Emeritus. Bill has been working with Crystalline glazes for decades and presents at many forums and cares deeply about the entire arts community.

Here is what he says about his research,"Though traditionally produced at cone 10, I have discovered very satisfactory results with crystalline glaze formulas fired at cone 6. My research in this area started as a result of the kilns at school not firing to cone 10 quickly enough to allow time for necessary temperature holds to grow the crystals (this was before we had all L&L kilns). I experimented with existing cone 10 recipes by adding increments of low temperature fluxes until I found a few newly formulated glazes that produced consistent results. I've continued this area of research, concentrating on glaze formulas using various commercial frits as the primary flux. The results of this research will provide studio ceramicists and schools with limited firing capabilities the opportunity to explore crystalline glazes."

Donated by the Grainer Family

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Antonia Salmon

Standing Form, c. 2015

8.75 x 19.5 x6.5

Antonia Salmon (English, b. 1959) has been creating artwork for over 40 years. Her work has been exhibited and collected in Britain, Europe, USA and Japan. She was brought up in a household dedicated to modern sculpture and architecture; her childhood was infused with awareness of form and space. She studied Geography/Geology at Sheffield University, later at Harrow School of Art as a studio potter. A year spent studying in the Middle East and India made a deep impression on her approach to work and after returning to England in 1985 she established my first workshop in London. By 1989, in search of a life closer to nature, Salmon returned to Sheffield from where she continues to work today.

She says about her own work, "I have long been intrigued in the relationship between man and the natural world. My sculptures are strong abstract forms that reflect qualities of being: such as chaos and order; holding and letting go; stillness and dynamism. The works also represent my lived experience, such as the space between moments of time, listening to sounds of wind, water and silence; walking through landscape; touching rocks, moss twigs and seed heads.

I seek to make sculpture that stands as if poised in space, inviting you to reach out and touch. The sculptures ask you to contemplate space, form, light, shadow; stillness and dynamism, silence, poise. They ask you to find within them both personal meaning and a sense of unity beyond yourself."

Donated by the Grainer Family

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Kathy Dambach

Abstract Form, 2005

15.5 x 5.5 x7

Kathy Dambach earned her BFA at Ohio State University, and her MFA at Wayne State University. Dambach showed in many exhibitions during her career. She taught at the School for Creatives Studies in Detroit, and then at Florida International University from 2004-2014, when she retired.

In her work Dambach focused heavily on capturing the human experience through abstraction. Dambach explains. "I'm interested in how we collect these mementos and how they mark certain periods of our lives." This abstract sculpture has the amazing quality of being both free standing and having the ability to hang on the wall.

Donated by the Grainer Family.

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Gilbert Kulish

Smoked Out, 2011

1.25 x 9.75 x 10

Gilbert Kulish (1925-2015) was born in California and lived much of her life in Bucks County. She often drew on her life in the deserts of California to create her clay art. Kulish grew up on a small ranch in the hills and desert of California, where Warner Brothers and Universal Studios among her nearest neighbors. She spent afternoons with friends chasing wild horses and playing with "gopher" snakes, some as long as seven feet, the kids draping the reptiles around their necks, arms and wrists. Gilbert was the daughter of noted architect Gilbert Stanley Underwood. She painted and exhibited for decades before switching to ceramics. She and her husband, Anthony, also an artist, bought a barn in Bucks County, raised their children, and each worked on their own art practices. Anthony said about Gilbert's artwork, she could do anything. Often she made traditional wares, such as finely cut porcelain Christmas decorations in the shape of stars and characters from Victorian children's books. Sinuous, multicolored snakes hold candles in their jaws. She illustrated the poster for Lambertville's annual shad fest with a pair of anthropomorphic fish dressed as cowboys.

The piece in our auction is part of a series of trompe l'oeil ashtrays containing ceramic cigarette butts emerged from an artistic discussion with her husband.

From the collection of Arlene and Bernie Solomon

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San Ildefonso Pueblo Pottery

Vessel Collection,

Bowl made by Rose Martinez: 3 x 7.5 D
Vessel (brown accent) made by Dora Tse Pe: 4.25 x 3.5 D"

Vessel (all black) - unattributed: 4.5 x 2.75 D

San Ildefonso pottery is one of the best-known art forms of the New Mexico Pueblos because of the famous black-on-black pottery which originated there and was revived in the nineteen-twenties.

At that time San Ildefonso Pueblo, like many other Pueblos, was suffering severe economic depression. Long-standing internal conflicts, encroachment upon tribal lands by squatters, and illegal cutting of timber all contributed to the low subsistence level to which the Pueblo had fallen. When American Indian crafts began to be popular with collectors, it was fortunate for the San Ildefonso people, because although the Pueblo population was small, there were a number of skilled artisans, makers of pottery, and painters, who set to work to improve the economic condition of the Pueblo. Before long, the outstanding quality of San Ildefonso pottery became known. It was then that the famous black pots were revived, primarily because of Maria Martinez.

From the collection of Arlene and Bernie Solomon

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Novie Trump

Bee Tile,

0.5 x 6.25 x 6.25

Novie Trump is an Arizona based sculptor and installation artist working in ceramic, mixed media and sound. Formally trained in classical archaeology at the University of North Carolina, her work has been selected for juried and invitational exhibitions in the US and Europe and has been featured in numerous publications. Winner of the Fairfax Strauss Fellowship, she has been awarded numerous grants and commissions for public art works, most notably at the National Institutes of Health in Washington, DC. In 2013, Novie Trump was selected as a Fulbright Candidate by the Council for the International Exchange of Scholars.

Formerly the Executive Director of Lee Arts Center in Arlington, VA, Novie Trump currently curates exhibitions and juries for arts organizations throughout the US. She has served on the boards of several arts organizations, most recently as the Chair of the Distinguished Artist Series on the James Renwick Alliance Board, a non-profit support organization for the Smithsonian Renwick Museum. She is also an educator who teaches workshops in ceramics and professional development.

Novie Trump is the founder and director of Flux Studios, a contemporary arts space formerly of Washington, DC and currently based in Jerome, AZ.

Donated by Marsha Gold

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Helen Carter

Wings

#1: 14 x 12 x 8
#2: 12 x 12 x 10

Helen Carter attended Middlesex University, London before moving to Berlin, Germany in 1993.

Artist Statement

Technique - Clay and other materials: the clay used is T material, with the occasional addition of small amounts of porcelain or other white-firing clay, to create a smoother surface. T material on its own is finely grogged and readily takes on an encrusted, ancient appearance. The piece is then bisc fired, with or without the addition of oxides, or coated with a slip of some kind, then fired again to 1135°C, sometimes with the reluctant addition of a real glaze, e.g. one based on Gordon Baldwin's opaque white or one cobbled together from bone ash, Finnish wood ash, frit and oxides.

Forming- the pieces are all handbuilt: pinched, coiled and scraped. As T material is especially good at being taken from a dried-out state back to plastic, alterations can be made to certain areas even when the main body of the piece is dry. The work is as thin-walled as is practicably possible, sometimes with an encrusted surface, achieved by applying a number of layers of clay or grogged slip or both, with intervening firing

Donated by the Grainer Family

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Jessica Wilson

Perfume Bottle Set for Denise

Both within 3" x 3"D

This perfume bottle duo would make the perfect addition to further glamorize any scent collection. Both are constructed with a dauber connected to the bottle stopper. This refillable vessel will lend glamor to your morning routine.

Artist Biography

MFA-Ceramics, Rhode Island School of Design; BFA- Crafts with a Concentration in Ceramics, The University of the Arts. Jessica Wilson was born and raised in New Jersey. Jessica was a studio technician at The Penland School for Crafts, The Brambleton Center, The Long Beach Island Foundation of Arts and Main Line Arts Center. She completed residencies at both Odyssey Center for Ceramic Arts and St. Petersburg Clay Company. Jessica worked as an Adjunct Instructor of Ceramics at The State College of Florida and Eckerd College's Program for Experienced Learners. From 2007-2013, she was Assistant Professor of Ceramics at Western New Mexico University located in Silver City, N.M. She maintains an active studio practice and exhibits her work nationally. Her work explores the aspect of layers through time as we grow and develop in life, exploring to show these "human layers" through her glazing palette composed of pattern, incising and relief.

Artist Statement

Human beings are composed of many layers created by life experiences. Our "human layers" can be likened to the layers of surface built up on the walls in an old home. Some layers covered and hidden, some revealed through wear, age, and time. I strive to show these "human layers" through my glazing palette. The use of heavy, cracking slip conveying a guarded layer covering an area that was once beautiful or adorned. The two contrasting elements juxtaposed allow the viewer to question whether the piece is being covered or revealed; if layers are being accumulated or shed.

In 2014, I began creating the Layers series, a project born from the profound loss of my sister, Denise, who died unexpectedly at the age of 38. Her death shattered me in a way that was unimaginable. I could understand the death of a grandparent, as I had experienced that loss before. While it was painful, I could accept it as part of life. But Denise's death-someone so young, so full of life, so eager to live-was beyond my comprehension. I couldn't make sense of it. I couldn't accept it.

...

These layers I built up around myself were protective, a way to shield my heart from the overwhelming sorrow. They kept me from truly connecting with others, but they also kept me from fully experiencing life. Everything I saw was through a negative lens. Even when I found a moment of joy, it was fleeting, tainted by the reminder that Denise would never experience joy again.

In my work, the adorned, floral layers are a reflection of this duality. They represent Denise-once vibrant and full of life-or they represent me, as I slowly shed the layers I've accumulated over the years in an attempt to reconnect with myself and the world around me."

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Unattributed

Cream and Sugar Set

Set on Tray: 4" x 8" x 4"

This cream and sugar pair is perfect for that nice cup of warm coffee or tea in the dining room, with the matching holder which holds both vessels, making it easy to carry to the table.

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Unattributed

Vessel with Crystalline Glaze, c.2000

6.5 x 4.25 D

This lovely vessel is perfect for a single bud adornment for any room. Using the eye grabbing crystalline glaze that brings out a symphony of lovely colors in conversation with one another.

Donated by the family of William (Bill) Dailey

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Bede Clarke

Goat Jar, c. 2015

6.5 x 4 x 3

Bede Clarke is a Professor Emeritus of Art at Missouri University. He earned his BFA at the University of Iowa and her MFA at Eckerd College in Florida. Clarke's work is found in collections in the U.S. and abroad, such as: Taipei County Yingge Ceramics Museum, Taiwan; Ichon World Ceramic Center, South Korea; South Bend Museum of Art; Martin Museum of Art; Baylor University; and Nora Eccles Harrison Museum of Art, Utah State University. Clarke has conducted over 100 workshops and lectures around the country and internationally. Awards have included Kansas City Artist Coalition Lighton International Artist Exchange Award; the Sturt Australian Contemporary Craft Center Residency Award; the Fletcher Challenge Ceramic Award, New Zealand; the Kennedy Center Fellowship for Teachers of the Arts; and the University of Missouri Byler Distinguished Professor Award.

Artist Statement: "People often comment about the range of my work and I guess I have always cast a pretty wide net in terms of my exploration of clay. Pots and the vessel have held the center but there has been a strong overlay of interest in drawing, color and leaving a trace of the hand. I am on friendly terms with wood kilns and electric kilns, high fire and low fire. No matter the technique it really only holds merit if it leads to "good" pots, and for me good pots are not defined by a technique but most often by a healthy balance of energy/wildness and restraint/firmness. I have always thought pots are a lot like people. "

Donated by the family of William (Bill) Dailey

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Eric Pardue

Marked "EP"

Vessel, c. 2005

7 x 5 x 5

After receiving a Bachelor of Fine Arts from Alfred University, Eric Pardue went on to serve a Winter Residency at Watershed Center for Ceramic Art in Maine and a studio assistantship at Peter's Valley in New Jersey. Along with these, Eric spent a year as an apprentice for Jeff Shapiro in New York. After completing this apprenticeship, Eric moved back to his home state of West Virginia to set up the studio that he maintains in Milton, WV.

"In my current ceramic work, I am combining layers of underglaze, slips, glazes and decals of images that I come into contact with during my daily activities into a narrative. These narratives may refer to a specific current situation, past experience, a specific song lyric, or passages from books. Although the references I make are personal and come from my experiences, I do intend for the viewer to build on my intentions with their own ideas and to develop their own story as they interact with the piece."

Donated by Marsha Gold

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Unattributed

Salt Glaze Vessel Set

Large Lidded Jar: 8.5 x 8 D
Small Lidded Vessel: 6.75 x 4 D
Small Vessel: 5 x 3.75 D
Large Lidded Vessel: 7 x 5.75 D

A collection of four vessels of various sizes, claybodies, and storage methods. This set of covered vessels shows off the beauty achievable through salt and wood firing. They each speak to the history of well made ceramic vessels from around the world. The history of Japanese, British, German, and Pennsylvania German storage vessels echo through this grouping. The clean lines and references to history could look either contemporary or give an air of tradition to any collection.

Anonymous Donation

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Unattributed

larger vessel signed "dpenny"

Day and Night Vessel Pair

vessel: 7 x 3.5 D

lidded: 8.5 x 8.5 D, 1979

This complimentary vessel pair embraces the adage 'opposites attract'. Both with beautiful ribbed edges and lovely dynamic glaze work this pair will effortlessly fit into any space or collection.

Anonymous Donation

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Unattributed

Platter

2 x 19.5 x 11

This abstract leaf form platter is beautiful and has an elegant glaze. It could be used as a table centerpiece or hung on the wall, lending a reminder of the hand made and the natural world to your home.

From the collection of Arlene and Bernie Solomon

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Unattributed

Large Vase

18.5 x 10 x 6.5

This large vessel brings a burst of vibrant colors into any space, lighting it up with images of flora and fauna. Perfect for holding larger plants or simply brightening a space.

From the collection of Arlene and Bernie Solomon

Shipping is NOT included in the winning bid.

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• Items can be picked up at The Clay Studio for no additional cost.
• All winning bids or purchases will be billed to the credit card on file.
• All items will be shipped to the address given with registration.
• Please allow two weeks for shipping