My goal is to create utilitarian pots for every day use, simple forms that speak primarily about functionality and the intimacy gained through daily use. The life of a pot becomes complete only when it is used and so I strive to make work not for the shelf but for the table. I am very interested in telling a simple story or narrative about place; whether that is an objects place in time, a direct reference to location or an object’s intended place within the house.
My work is primarily wheel-thrown, altered, embellished, and assembled from several sections. My utilitarian work is made from a white stoneware clay. The glorified vessels are made using various cone 6-10 white stoneware clay bodies. All my work is fired to cone 6 in either an electric oxidation atmosphere, a gas reduction atmosphere, or in an oxidation soda firing. I enjoy layering many glazes to achieve various effects and apply them using several methods depending on the glaze and glaze effect. I have developed all of my own glazes. Glazes that come in contact with foods are food safe. The functional work is microwave and dishwasher safe.
“All my life I have loved making things with my hands. Tree forts, doll clothes, sculptures of animals, pies, pottery, knitted socks, jam. I love the practice of choosing and assembling materials; getting physical with the process; following the piece from idea to tactile, useful, beautiful, delicious object. When I stand back and survey my efforts, I know the best part is yet to come. . . sharing these gifts from my hands makes my efforts joyful, the work a pleasure.”
“My great passions in nature are water, color, fire and clay. Each element invokes joy and excitement in me, but I also discover a deeper satisfaction when I’m able to incorporate the essence of each element into my work. Handmade from porcelain, each piece is individually formed, shaped, and glazed by hand.”
Using an array of different tools, she carefully incises lines of different depths and widths, into the surface of each piece, to create movement and a line quality all her own. All of her drawings are original and done freehand, with the addition of her signature graphic markings, radiating shapes and random scratches. Each piece is individually hand-built or slipcast with the use of molds that Diana makes herself.
Using clay as my primary material, I have found an entry way into my subconscious. I work intuitively with a palate comprised of many things
Her love for pottery started during her time at college at Tama Art University in Tokyo, where she studied contemporary art and museum curation. In her leisure time she enjoyed visiting numerous ceramic galleries, museums and pottery towns and cherished the very rich pottery culture in Japan. This experience eventually led to a desire to be a potter herself.
I find remarkable importance in objects. This significance manifests in my life as a need to have, move, and, most importantly, make objects. I love to shift all of the furniture in a room in an effort to recombine a constant set of objects—to fundamentally change what is inherently the same. I
Opening Evening June 14
I am fortunate to get up everyday and have the opportunity to express myself through an artistic process. I make choices whether to do that or participate in other aspects of my life. Regardless, I still embrace the artistic side of my life with pretty much everything I do.
Who cares if it's a pot or a sculpture, or a figure or abstract, if it's big or small, if it's flat or round or how it was fired.
I intend my pots to function at several levels, both for myself and the user. First, I strive to make everyday objects for the home, pieces that individuals use in the supposedly mundane activities of their lives.
“I have been fascinated with nature, forests and the life cycles of trees my entire lifetime. The aspen of Colorado, the bald cypress of Louisiana and the white oak and acorns in my own backyard have all been sources of my inspiration. My art work reflects this in the form of trees, acorns, leaves and stumps.”
Michael Kline makes utilitarian ceramics with botanical-themed painted and stamped surfaces. For most of his career, Kline has worked with wood-fired salt-glazed stoneware, usually with organic patterns painted on a thick white slip surface, glass”runs,” and an alkaline ash glaze.