Illustration by Zoe Pappenheimer for Studio Potter journal, 2018.
It has been my pleasure to serve as the Editor of Studio Potter journal for the last five years. ... My parting request, dear readers, is that you get more people to read this journal.
Ahrong Kim. “Kimcheese,” 2017. Porcelain, stoneware, luster, stone. 7.5 x 8 x 19 in.
People read a visual artwork through many different things: a title, prominent color or patterns, etc., but they react quickly to something that’s more familiar to them.
Watkins in June 1962, location unknown.
Watkins's accomplished career, spanning four decades, included achievements in the academic, studio, curatorial, and scholarly realms. It’s a wonder that someone with this breadth of experience and success has received only modest attention in the ceramics and crafts fields.
Ray Brown. Low Pitcher, 2018. Soda-fired stoneware, flashing slip, black underglaze, glaze. 2019 NJSE Merit Award. Photo by SP.
There is satisfaction in developing the best iterations of a form, creating an aesthetic harmony among them, and making decisions that fulfill my desires for their function as utilitarian objects.
Harriet Harriet Brisson. Clouds, 1990. Stoneware clay, reduction fired to Cone 10, 7x7x7 in.
Others will praise and remember Harriet for her teaching or her studio work, but the extraordinary person she was loomed largest, for me, in her role on the Studio Potter board.
Harriet Brisson Cube Striped in Half, 1989. Raku; 6 in. sq. 46th Concorso Internazionale, della Ceramica D'Arte, Faenza, Italy. From Brisson's 50NOW retrospective exhibition catalog.
Harriet had a mathematical mind, richly reinforced by her artwork and the life she created with her husband and fellow artist, David Brisson. Her modular ceramic creations, with components that fit together effortlessly, are evidence of her keen logic.
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Timea Tihanyi mentoring student intern Wanna Huang at Slip Rabbit Studio, Seattle, Washington, 2019. Photo by Mark Stone, University of Washington.
We don’t know if and how objects will matter in the distant technological future. This poses interesting dilemmas for ceramics: How do we hold on and innovate at the same time? How do we imagine a new future of tactility with clay?
The Heinos in front of their salt kiln, Ojai, California, 1992. Photograph by Bill Dow.
Equally celebrated in New Hampshire and California, Vivika and Otto Heino's ceramics are part of a continuum that stretches back into history, and continue to inspire those who follow along the path of clay.
The Lugos - Roberto, Ashley, Theodore, and Otto, 2019. Photo courtesy of the author.
I come from a large family: fifty-seven first cousins, and each of them have children of their own. Early on, I knew that I wanted to be a father—apart from my knack for the ill-advised pun.
Santiago Isaza working in his home studio. January, 2019. Photo by author.
On a research trip to Medellín, Colombia, I met a thirty-five-year-old anthropologist and ceramist who enlightened me to the role of indigenous ceramics in contemporary culture.