Heesoo Lee’s work explores the vulnerability of the human condition through the metaphor of the natural world. Her artistic language, formed by observations of material, nature, and place, engages with themes of identity, connection, and time. In describing subtle variations of light, texture, color, and shadow as they exist in nature, Lee is, fundamentally, illuminating a range human emotions and the humbling reality of being a feeling person in a vast and changeable world.
The things that influence me pertain to the natural world. My organic forms, warm colors and lively imagery feel authentic and personal. Old painted wood and mossy rocks inspire my surfaces. Birds are the imagery I most prefer to reference with their fragility, innocence and whimsy. I think my experience as a field guide in South Africa with a specialty in birds is the prominent theme of my work. Other influences include overseas travel to third world countries and the pottery of indigenous people. I work intuitively; letting things that are important to me at any given time find their way into the work.
Opening with the artist June 16th, 5-8
He has exhibited his work in well over two hundred exhibitions. His work has been recognized by numerous grants, awards and residencies, including residencies at the Archie Bray Foundation, Penland School of Crafts and at the Shigaraki Ceramic Cultural Park in Japan.
"My experiences and environment are reflected in the shapes and surfaces I create. My original inspiration continues to drive forward through a passionate relationship with the materials I use.
I not only continue to search for new ideas outside the studio, but also to push the existing boundaries of what my clay and hands can do in the studio.
Life and nature are beautiful, inspiring, unpredictable, and steadfast. I hope to express this same character throughout my work with clay."
My current work combines elements of manufactured porcelain and Japanese pottery, particularly Shigaraki stoneware. Fine porcelain is highly processed and purified, mass-produced, and fired in a controlled manner using saggars, effectively removing any evidence of an individual artist. In contrast, Shigaraki ware is typically handmade stoneware with feldspar inclusions fired in an anagama kiln, the only decoration coming from the randomness of wood ash. The connection between the potter’s touch and the fire’s effect on the final piece is retained.
Currently teaching at Bates College in Lewiston, Maine, Susan Dewsnap exhibits her ceramic work nationally and internationally with awards from The National Council on Education for the Ceramic Arts Biennial, the World Ceramic Biennale Korea International Competition, and Best of Show in the Strictly Functional Pottery National Exhibition. Her work is currently represented in Schaller Gallery, The Clay Studio in Philadelphia and Akar Design. She shows in Maine with the June Fitzpatrick Gallery, the Center for Maine Contemporary Art, Dow Street Gallery and Craft.
"I am primarily a functional potter. I work predominately in porcelain, although not from a traditional perspective. My forms are defined by functional simplicity and the white surface of each piece is decorated with abstract designs in blues, browns, and grays. I am also exploring the contrast of the white porcelain surface with a matte black glaze. The development of this glaze has allowed me to explore new forms of decoration on the clay surface.
Along with the white/black contrast, I am using a matte/glossy contrast, in techniques of dripping, pouring, and spattering. This new work is vastly different than my traditional approach of brushwork on the white glossy surface. "
Opening with Artist - Saturday, February 17th, 5-8pm
I love the process of stoking the firebox. There’s a connection there. You stay right with it from beginning to end. Wood firing means allowing this process to take some part in the aesthetics of the work. The variables are infinite and one gives in to chance. There are two to three months work in every firing and there are no guarantees. It’s continual risk. Wood fired pots are traditionally earthen colored, subdued, reserved and muted shades which are beautiful. My goal, however, has been to achieve color in wood firing - colors which combine with the conventional wood firing hues to create surfaces not unlike those found in nature’s wildest fauna, flora and oceans!
When I make pots it is with the hope that they will nestle comfortably into the lives of the wild and wonderful artists and farmers and musicians all around me and beyond, who seem to be forever raising the bar of what it means to walk around on this earth in a good way. I aim to create simple, sturdy tableware that feels and looks pretty good, and is equally at home on an intimate dinner table or on the floor of an old pick-up truck.
My pots and tiles are made with a specific intent – a function. Plates, cups and tiles are ubiquitous, recognizable. The vases and their multiple spouts are curious when empty, when filled with flowers their function is revealed. The tile is a background or canvas. The cup provides a counterpoint – the curves and movement of the form interact with the surface pattern and imagery. The parameters of the functional pot simultaneously create boundaries and endless possibilities.
Ron Meyers is one of the most influential artists and educators living in America today. He's helped revitalize the American studio pottery, has brought about new sculptural approaches and has singularly influenced several generations of young artists. Working with red earthenware, Ron's functional pots are made in a casual and spontaneous manner reflecting the juiciness of the material as well as the pleasure of the process. His narrative, colored slip paintings of rats, fish, bats, rabbits, chickens, etc. that float on the surface in a gestural expressionistic style can be both provocative and confrontational.
Noel was born and raised in Southwest Colorado. He has a M.F.A. from Southern Illinois University Carbondale and a B.A. in Art Education from the University of Northern Colorado. He has had several residencies at Laloba Ranch Clay Center in Steamboat Springs, Colorado as well as an apprenticeship with Potter Bill Wilson, of Montrose, CO.
Reception with the artist Saturday 10th, 5-8pm
I make hand-built earthenware vessels that draw on the quiet, minimal forms of basic function, such as basins, bread troughs and baskets.
Form and Line drive my making. Line accents the changes in direction of rims, feet and form. These lines are physical and engage the user, but also serve to break up the pot visually.
Opening reception on June 6th 5:8pm
This show is about the varying degrees that wood as a fuel and or glaze effect can impact ceramics. It includes work from a broad range of techniques and artists who are known for their expertise in this specific type of work. There are examples of what happens when decal images are wood fired; the amount of ash and ash glaze that a long firing will deposit on ceramics; how speed-fired work can get the same effects as a long wood firing; and as always, just some great looking work. The artists include; Justin Rothshank, Will Dickert, Ron Meyers, Steven Schaeffer, Jason Hess, John Britt, Jason Bonhert, Joey Sheehan, Ken Sedberry .... Come by and see the show - you won't be sorry.
Reception with the artist Saturday 6th, 5-8pm
"I grew up in Northwest New Jersey with a ferret, horse, dog, cat, bird, iguana, lizards, snakes, and rabbits. Drawing and painting was my first love and I continued to search for the perfect marriage of image and clay while completing my MFA at Southern Illinois University, Edwardsville. "
Julie Wiggins is a full time studio potter living and working in Charlotte, North Carolina.
Po-Wen Liu is a studio potter and educator. Po-Wen received his BFA degree in ceramics from the Rochester Institute of Technology, and MFA degree in ceramics from Northern Illinois University.
As a gardener, cook, mother, and potter, I think a lot about food. It makes me so happy to serve something I know to be nourishing. I think that is why making pots seems so special to me. I love setting a table full of different bowls and plates and trays containing wholesome foods.
Crafting an object that can potentially exist beyond my own intention allows me to be a part of someone’s daily ritual or individual escape. The intimacy of a cup or bowl becomes something the user can abide by and confide in. In turn, the discipline of making these objects of integrity becomes a safe haven of my very own.
Asymmetry reflects the human touch, not the soul-less machine. Wabi Sabi celebrates the beauty of imperfection and the evidence of life. Marks made from the hand of the artist harbor a mysterious spirit which emotes the wisdom that impermanence emits. These concepts provide layers of depth, and serve as my compass as I explore the balance between chaos and calm.
Although I enjoy ceramics, I know that it’s just a material. What I absolutely love to do is to make things - and clay has the ability to take just about any given shape; it can be added to and taken away from, molded, sculpted, thrown, and fired to rock hardness. It is durable, malleable, and accessible. There’s a directness you get when working with clay that you don’t get painting or woodworking. You are in contact with the material physically, not separated by a brush or machine. It gets under your fingernails and stains your clothes. It’s what remains from history for us to examine and learn from and what we use every day on a regular basis. It is the material of some of the most expensive art work in history and in the finest collections as well as the most common and inexpensive objects we see and use daily. And it is because of all these factors that I was drawn to using ceramics as one of my main mediums for creation.
"Two years before I retired from the Food and Drug Administration (FDA), I started thinking about what I was going to do with my time and energy when I no longer had a full-time job. I knew that I wanted to get involved in some artistic activity and to be connected with the natural world."
I am a New York based artist that has roots in Israel and Europe. I began my line of jewelry after falling in love with nylon mesh, a supple, dramatic and incredibly lightweight material that holds endless possibilities. From there I expanded my interest, and began studying silversmithing. Today I make jewelry out of nylon mesh and silver, and a combination of the two. All my pieces are handmade and many of them are one of a kind.
Multi talented metal artist Jim Adams will be having a show at In Tandem Gallery with an opening on Saturday, August 20th from 5:00 - 8:00. Jim Adams is an artist and craftsman working in a variety of mediums and processes. The jewelry, furniture and architectural elements he creates are born from the same passion that is foundational in his drawing, painting and sculpture. Jim's show will definitely show the depth and breadth of his creativity with jewelry, large scale sculpture, wood and metal forged furniture, and much more. “Blur” is an exhibition of new work blending many of the elements from his architectural work and furniture making into jewelry and sculpture. He is based in Hillsborough, NC. Jim teaches and travels as a visiting and resident artist at places like Penland School of Craft and the Burren College of Art.
CJ Niehaus began her ceramic career in 1988 after finishing her undergrad degree at Xavier University in Cincinnati. Twelve years of doing art fairs and wholesale work led her to the Fine Line to further explore clay. With the support of staff, CJ began teaching classes in throwing and design. She left in 2010 to pursue her MFA in ceramics from Southern Illinois University in Carbondale. After graduation, she was the resident artist and adjunct for the Paducah School of Art and Design until August of 2014. She returns to the area, excited to share her experiences with the creation of meaningful objects and various surface designs.
I have been making pots for 17 years, and firing with wood for 15 years. I chair the ceramics department, and teach 1 class at the Lighthouse ArtCenter. This enables me to spend about 30-40 hours a week in the studio making pots. My home studio, Live Oak Pottery, is equipped with 3 wheels, glazing area, a Skutt electric kiln, a 350 sq ft working area, and a small gallery. The kiln I fire my work in is a teardrop shaped 100 cu ft Anagama wood burning kiln located at my home. You can see more info, and weekly updates by visiting my website at www.jlpottery.com .
When I am not teaching, working in the studio, firing kilns, splitting wood, or doing wood firing workshops, I like to fish and spend time with my wife and our dogs Rusty and Daisy.
Sarah Rachel Brown is a full-time studio artist living at the Arrowmont School of Arts and Crafts as an artist-in-residence. Prior to Arrowmont, Sarah completed the two-year Core Fellowship at the Penland School of Crafts from 2013- 2015, and a 3 year apprenticeship with Seattle based jeweler, Sarah Loertscher. An adornment artist, Sarah’s work has been selected for exhibitions such as Touch: Interactive Craft at the Arrowmont School of Arts and Crafts (TN), Metal V at Light Art+Design (NC), and The Contemporary Jewelry Show at the Penland Gallery (NC).
Joseph combines the styles of traditional, Southern alkaline glaze ware and East Asian design, among others. Using two wood-fired kilns, he produces both salt and ash-glazed wares, ranging in size from very large sculptural vases to planters and a variety of beautiful, functional tableware. In 2015, he expanded his creative range to include large, hand-built sculptural ceramics.
There are subtle yet intimate relationships between object and user. When we describe an object, we describe it in human terms. Using language like lip or shoulder, reinforce this human connection. I try to work with these visual and tactile cues to create work that invites conversation about humanity and process. We are increasingly connected with our technology, but there is a distinct lack of human connection in this paradigm. In our culture of instant everything, making time to engage our senses in the world around us, is more important than ever. It is fascinating that we might make objects that slow down the ever increasing pace of living just a bit, and cause some sense of wonder.
My personal history in the Ceramic Arts goes back to my high school days when I took a class hoping to get some easy credit. It was the proverbial “duck to water” routine and I immediately fell in love with the materials and processes of making pots. I even rewired an electric kiln that had been left on high for an entire weekend. I had no plans to go to college until my graduating semester in 1963. My teacher, Mr. Joseph Corsello, was an incredible teacher who went way beyond the call of duty for his students. He helped me get into Illinois State University where Mr. James Wozniak took over andhere I am after 45 years. Both teachers had a passion for teaching and guided students along their own path. I am most grateful to them both.