Surface - Vol. 43, No. 2

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Articles

Table of Contents - Surface

A table of contents complete with a short summary of each article for Vol. 43 No. 2 of Studio Potter.

The Marks Project: A conversation with Donald Clark

Elenor Wilson

If you write a book, you can’t change it. TMP wanted the ability to add information to what already exists, as artists grow and their work changes and their marks change.

Artstream 2.0

Camila Friedman-Gerlicz

The first pot I ever bought was from the Artstream. I was living in Austin, Texas, and the Artstream Nomadic Gallery came to the city at the invitation of the Art of the Pot, an Austin-based pottery collective.

The Use of the Volumetric in the Ceramics of Pablo Picasso

Léopold Foulem

What is so remarkable about Picasso the potter is his understanding and bold utilization of ceramics per se. For him, the medium was more than just another creative adventure. He was acutely aware that he was entering a distinct artistic space and specificity.

Surface

HP Bloomer

As a studio potter, I frequently complete upward of 400 glaze tests. The majority begin with the unity molecular formula and build outward as I see the results.

Digital Surfaces

Adam Chau

I propose that we alter our thinking and ask if it’s all right to let in messiness and unpredictability. Digital Craft is a burgeoning field that explores what it means to integrate digital technology with traditional crafts.

Highlighting the Human

Grace Sheese

My small sculptures, drawings, and decals became characters while the protrusions, dangles, colors, lines, and drips became settings and props.

Embracing Embellishment

Kate Maury

My interest in surface began very early. As soon as I could crawl, I successfully horrified my mother one afternoon as she sat getting her hair styled by my sister.

Nature, Sculpture, Abstraction and Clay: 100 Years of American Ceramics

Caroline Cole, Nonie Gadsden, and Emily Zilber

The past century has been marked by unprecedented experimentation in the field of American ceramics.

Cheek By Jowl

Leanne McClurg Cambric

Touch forms the ultimate surface. Pinching a pot is both a way of making and a choice about surface. The pot’s pinched canvas tells a story of exquisite labor.

The Redemptive Surface: Clay Objects in a Changing World (Part I)

Keith Luebke (he/him/his)

Glazed or not, every object made from clay has a surface. But what does that surface tell us?

Highlighting Human

Grace Sheese

My epiphany of appreciation for a mass-produced pot significantly shaped the way I think about and value my own work. Not only did my reaction to it change my process, but it also altered my philosophy regarding surface decoration and form.

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