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STANLEY ANDERSEN I NORTH CAROLINA

BEN BATES I MORE INFORMATION
"For me, the ideals of the utilitarian vessel clarify design and are a basis from which I explore how the manipulation of volume and form can effect the overall composition of a piece."

CYNTHIA BRINGLE I MORE INFORMATION

ROBERT BRISCOE I MORE INFORMATION
"My pots are directly about food and flowers, cooking and display. For me, a successful pot is one that inspires the viewer to imagine serving a favorite recipe, displaying their garden’s blooms, or enjoying the sensual pleasures of a quiet dinner at home. These are simple pots, with quiet but robust surfaces, made in a scale meant to convey generosity."

BEDE CLARKE I MORE INFORMATION
"In this work, I'm most interested in distinguishing a record of the hand touching clay, the
actual quality of feeling surrounding the work, and, the caliber of the the works compassion and insight - the genuineness of its response to being a human."

MICHAEL CONNELLY I MORE INFORMATION
"My decision to focus on making pots comes from a deep appreciation of food and the pots we serve it in. I also feel that pots help me connect with people on a very basic human level."

CHARITY DAVIS-WOODARD I MORE INFORMATION
"Most often I am attracted to the subtle or understated qualities of a form or surface, whether it is a building or a seed pod, and this in turn influences my own work. I try for a basic simplicity in form and add complexity through surface and detail, choosing surfaces that don’t reflect a lot of light or those that are translucent."

HARRIS DELLER I MORE INFORMATION
Working with a deliberately limited vocabulary, Deller investigates the permutations of selected formal elements. Incising pattern is an activity that lies somewhere between marking time and chaos management, at times a spiritual adventure.

JOSH DEWEESE I MORE INFORMATION
"I try to make pottery which is successful in several ways; comfortable to use, enjoyable to look at, and interesting to think about. For me utilitarian pottery is an arena for playing with the plasticity of clay and its potential in the fire, and a response to the rich history of ceramic arts throughout the world."

WILLEM GEBBEN I MORE INFORMATION
"I feel it is important for me to work within the traditional role of potter, which is to say, making pots that are meant to be used. It is this aspect of craft that separates it from the other arts, such as painting or sculpture."

BRUCE GHOLSON I NORTH CAROLINA

JOHN GLICK I MORE INFORMATION
"I remain very pleased to be discovering what it is that I will be doing in my work by the actual process of doing it. I love surprises and I look on every day as a chance for encountering a few to play with."

CHRISTOPHER GUSTIN I MASSACHUSETTS

GUSTIN 4 I VASE
PORCELAIN I ANAGAMA FIRED
6 X 6 X 7.5
$400 I UNAVAILABLE

JASON HESS I ARIZONA

CHUCK HINDES I MORE INFORMATION
"The plastic and gestural qualities of clay should be emphasized, not dulled or subdued with an opaque or transparent skin. For my work the movement of the form is heightened with the orchestration of natural color created by wood firing."

GAIL KENDALL I MORE INFORMATION
"I am compelled by many streams of pottery production and tradition throughout the history of ceramics, from simple slipware and humble peasant pottery to the most elaborate and mannered industrial production from 18th and 19th century Europe."

MARY LAW I MORE INFORMATION
"Within the parameters of function, I am drawn to form before surface. For this reason I prefer to fire in a sodium vapor kiln or wood kiln, where the flame tends to enhance the form. When I glaze fire, I gravitate towards rich monochrome surfaces, like shino, celadon and temoku."

DICK LEHMAN I MORE INFORMATION
"I have loved the idea of making pots of utility and function that grace and bless the lives of users, making common moments special and memorable."

LINDA MCFARLING I MORE INFORMATION
"My Primary Interest Has Always Been In Form. I Want My Work To Show A Strength And Freshness From The Making Throughout The Firing."

NIEL PATTERSON I PENNSYLVANIA

PATTERSON 4 I VASE
STONEWARE, WOOD FIRED, WHEEL THROWN & ALTERED
6 X 4.5 X 9.75
$175 I UNAVAILABLE

PETER PINNELL I MORE INFORMATION
"My work is intended to be both utilitarian and decorative, with both aspects being equally considered. The surfaces are embellished with textures and ornament of a regular, rhythmic nature."

LIZ QUACKENBUSH I MORE INFORMATION
"The terracotta pieces I make are inspired by ceramics made during the 13th through the 17th centuries in Iran, Spain, Portugal, Italy, France and England. I call it my “crazy quilt” homage to ceramic history because I patch together many different inspirations."

JAMES ROBINSON I OREGON

BRAD SCHWIEGER I MORE INFORMATION
More recently I have been exploring various styles of architecture. My interest lies in the overall shape that a structure takes on; it's primary function and the unique details that adorn the structure.

JANE SHELLENBARGER I MISSOURI

GERTRUDE SMITH I NORTH CAROLINA

MCKENZIE SMITH I MORE INFORMATION
"The pottery I produce is made in stoneware clay and influenced by folk traditions. My aim is to make functional pots that are lively and show the natural beauty of clay and fire."

RICHARD SWANSON I MORE INFORMATION
"An important aspect of all my sculptural work, teapots included, is the way forms relate and flow together. I am constantly combining and simplifying to enhance movement/ rhythm/ unity."

WILL SWANSON I MORE INFORMATION
"I try to create pots whose lasting appeal might enhance the simple, aesthetic pleasures of everyday use. The best of these pots should attain an elegant simplicity even while expressing their unique
character."

BRUCE WINN I MORE INFORMATION
"I strive to build up surface through levels of order and control. It is the balancing of strong design concerns such as color, line and repetition that forms the structure for the surface. It is, however, when the order placed upon these surfaces is struggling to stay in control that they are most successful."