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Fair Market Value: $500
Dimensions: 24"x 2.25" x 5.5"
Low-fire terracotta with gold luster
"I am attached to terracotta and low-fired technologies as symbols of my heritage. I like to imagine a potter ancestor in Luxembourg or Wiltshire pouring slip on his earthenware platter, decorating it with the details of some local or family event, sprinkling on lead oxide, then firing it in the most simple manner. My ancestor and I are alike in our interest in enlivening the daily aspects of life: mundane routines and community celebrations. Like him, I hope the plates, platters, bowls and other service pieces I make enhance those routines and rituals and that they add a touch of grace to the domestic arena." - Gale Kendall
Dimensions: 9.5" x 8.25" x 5.5"
"Jeff Oestreich was trained in the austere simplicity of traditional Asian pottery while serving as apprentice to Bernard Leach in England in the 1960s.
Driven to achieve a personal style, he overlaid this foundation with a passion for Art Deco design and a ceaseless exploration of glaze and decoration techniques.
A highly regarded studio potter, Oestreich has exhibited in museums and galleries worldwide, his work can be found in the outstanding collections of the Victoria and Albert Museum, the Incheon World Ceramic Center, the Smithsonian's Renwick Gallery, and the Los Angeles County Museum of Art among others. Every year Oestreich and other artists open their studios for the annual pottery tour in the St. Croix Valley." - Craft In America
Dimensions: 8.5"x 8"
"Byron Temple is internationally recognized for his unpretentious ceramic works. He had been an apprentice of English potter Bernard Leach, and this clearly influenced his concept and philosophy of ceramics. He liked to define himself as a production potter. He used basic designs which he dominated to perfection. This permitted him to explore intensely the fundamental qualities of the form and its expression. He described his work as "sleek and slim" with "simple lines" and "marks left exposed," he considered this to be "a combination of Bauhaus and Japan." Temple influenced generations of potters with classes and workshops at schools ranging from Pennland and Haystack to the Pratt Institute and Philadelphia College of Art. He has worked all over the world, including Australia, New Zealand, Spain, and Japan.
Temple's production reached as many as 10,000 pieces a year. His pottery is unmistakably handcrafted, bearing the marks of the artists touch or the cutting wire where the pot has been removed from the wheel. He often tied lids to the bases of pots with a cord of silk or linen, giving them the quality of a ritual object." - Michener Art Museum
Dimensions: 3"x 6"
"Bennett Bean is a quintessential polymath best known as a ceramicist for his treatment of vessels post firing; but, he works in a range of media including stone, precious metals, wool and silk weaving, and painting."
Dimensions: 8.5" x 5"
"This series started out as fairly crude etchings on stoneware clay. As the years went by the carving became more complicated and refined, often teaching me the wisdom of the adage "less is more." The medallion bowl in this group is similar in design to the piece in the Smithsonian collection. These pieces were made circa 1980-90. These are thrown earthenware, etched and carved, stone burnished, and smoked in exotic hardwood sawdust." - Nancee Meeker
Nancee Meeker's extraordinary work is in many major museums and collections, including: The Smithsonian, Crocker Art Museum, Boston's Museum of Fine Arts, The Fuller Craft Museum, and public / private collections around the world.
Dimensions: 4.75" x 4.25'
"I am interested in pottery that make connections to the human figure. The figurative analogies used to describe pots throughout history all in some way invite touch. The pots that I respond to all speak of a clear, direct sense of the hand. The hand is celebrated in the work by its maker, whether it is that of a fifteenth century rural potter or a nineteenth century court artisan. And it becomes a necessary tool for the user in understanding the relationship of the object to its function, and subsequently, to how that object informs ones life.
Though most of my work only alludes to function, I use the pot context because of its immense possibilities for abstraction. The skin of the clay holds the invisible interior of the vessel. How I manipulate my forms "around" that air, constraining it, enclosing it, or letting it expand and swell, can allow analogy and metaphor to enter into the work."
Dimensions: 4.5" x 6"
Mary Roehm is known for paper-thin wheel-thrown or cast porcelain vessels.
She explores the possibilities for manipulating her vessels, often twisting, tearing the edges, and creating less than round rims. The pieces are usually left unglazed so the effects of wood-firing can be most evident. Although she creates many domestic forms, she is most well known for her bowls, pouring, and conceptual sculptural vessels.
Dimensions: 19.25" x 6"
Dimensions: 14" x 11" x 2"
"The beauty and power of pot making is that it can elicit a range of intellectual and emotional responses. The medium is primal. Pots are abstract. Subtle nuances of form and surface and the interactivity of haptic experience offer endless means of expression. Pots are also intimate. In a post-digital society increasing divorced from human interaction, it seems pertinent to offer objects that elevate and sustain our core human needs."
Paul Kotula earned his MFA from the New York State College of Ceramics at Alfred University in 1989.Paul Kotula has exhibited his work internationally since 1991. Among his recent exhibitions are "Convergence: Pottery from Studio and Factory," Art Alliance, Philadelphia; "The 63rd Scripps College Ceramics Annual," Scripps College and "Hide and Reveal: 4th International Craft Biennale," Cheongiu City, Korea. Paul Kotula has also worked as a gallery director for Pewabic Pottery, Swidler Gallery, REVOLUTION (Detroit and New York) and paulktoulaprojects.
An opportunity of a lifetime! Roberto Lugo opens the doors to his current studio for a 10 person tour of his creative space.
Roberto Lugo is a Philadelphia-based artist, ceramicist, social activist, poet, and educator. Lugo utilizes classical pottery forms in conjunction with portraiture and surface design reminiscent of his North Philadelphia upbringing and Hip Hop culture to highlight themes of poverty, inequality, and racial injustice. Lugo's works reimagine traditional European and Asian ceramics, adding a 21st-century street sensibility. Their hand-painted surfaces feature classic decorative patterns and motifs combined with elements of urban life, graffiti and portraits of individuals who have been historically absent from traditional luxury vessels, individuals such as Sojourner Truth, Dr. Cornel West, and The Notorious BIG, as well as Lugo's family members and, very often, himself.
Dimensions: 7.25"x10.5"x2.5"
Laura Wilensky, an artist who became part of the "Golden Age of New Paltz" is known for her unique art. Wilensky is known for her "spoon ladies" that were exhibited at Fairtree Gallery on Madison Avenue. The largest gallery in NYC has exclusively exhibited her art. Wilensky has caught the eyes of many from her unique 'spoon ladies' to her sculptures of animal creatures that may have been the original 'Arthur' before the kids show.
Date Night for 2
Fair Market Value: $100
Go ahead, get a little dirty on Friday night! Couples and singles are welcome to join us at The Clay Studio for an evening of romance and throwing on the potters' wheel. Our skilled instructors guide you through the basics of wheel throwing and options for decorating the pieces that you make. The Clay Studio will glaze, fire and package your work for pickup. Beer, wine, light snacks, clay and tools are included. Wear or bring clothes to change into that you don't mind getting dirty.
Dimensions: 13.25" x .75"
Cobalt Blue Crackled Porcelain/Fiberglass Platter. As a ceramicist, my goal is to capture the unique fusion of fiber glass textile and porcelain slip. The forms, vessel or flat are remarkable thin, strong and light weight. Each is individually formed and fired. This work explores surface texture by multiple layering of fabric infused with porcelain. The raw edges suggest both fragility and informality.
Dimensions: 13" round
John Glick is known for functional, thrown, stoneware vessels with painterly surfaces. His early work reflected his Cranbrook teacher, Maija Grotell, and is characterized by simple, undecorated stoneware dinner services and functional vessels.Glick founded Plum Tree Pottery in 1964. There he produced a range of functional vessels with sophisticated painterly decoration. The surface is drawn on and painted with slips and glazes, frequently with flower and vine motifs, sometimes built up to form relief or textured underglaze surfaces, always creating the illusion of depth.
Glick is considered one of the most important functional potters of his time, not only for his body of work but also as an influential teacher and mentor. Glick introduced, to American studio potters, innovative studio practices that have been widely adopted. He worked with studio assistants, initially having them throw the desired forms or assemble the slabs of hand-built forms to his specifications. Glick concentrated on all aspects of the decoration and finishing.
