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POSEY BACOPOULOS I MORE INFORMATION
"I am continually exploring this relationship between surface decoration and form. In the surface treatment of my work, I strive for lively expression of line, pattern and color. My hope is that my pots invite use and that my pleasure in making them is shared by those who use them."

JIL FRANKE I MORE INFORMATION
"I like the natural textures and subtle variations found on each piece after the firing. The colors achieved are the direct result of the firing playing on the pots."

SARAH HEIMANN I MORE INFORMATION
"My goal is to make work in which each element is considered. I am tremendously concerned with how a piece functions. The heft of a lid should make sense with the perceived mass of a box, a teapot should pour, a cup provide a pleasant sensation to the lip, a handle fit naturally."

JULIE JOHNSON I MORE INFORMATION
"The search to find a balance between the decorated surface and the pot’s form is a puzzle, with an elusive solution, that sustains my interest. I am prompted to design the surface spontaneously; to map my experiences and draw from my inspirations."

KRISTEN KIEFFER I MORE INFORMATION
"I am curious about our culture’s conceptions of the “everyday object” and find myself wanting to playfully challenge those notions within the parameters of pottery."

BARBARA KNUTSON I MORE INFORMATION

MEGAN MATSUTANI I MORE INFORMATION
"...when asked why I do ceramics I respond that it is not to remake what was broken, but to connect the pieces and make one of two. "

RYAN MITCHELL I MORE INFORMATION

STEPHEN ROBISON & KATHLEEN GUSS I MORE INFORMATION
"Our direction is focused in both sculpture and utilitarian ceramics. Historical and contemporary use of visual language and utilitarian objects are two main sources for our research. Working within the context of sculpture and the utility of ceramics allows us to communicate more than purely the use of the object."

MICHAEL SIMON I GEORGIA
"The choices I have made in attempts to attain a more specific expression include the color, texture and density of the clay, the shape, proportion and scale of the pot form, the specific treatment of the surface, and the temperature and atmosphere of the fire. These are my tools, my language."

GERTRUDE GRAHAM SMITH I MORE INFORMATION
"These days I contemplate the relevance of living as a practicing artist on a planet torn by conflict and exploited for resources. I am blessed to live where the fireflies emerge on the first warmest night of spring, where earth and weather miraculously transform seeds into food..."

MCKENZIE SMITH I MORE INFORMATION
"My aim is to make functional pots that are lively and show the natural beauty of clay and fire. I am drawn to wood, salt/soda firing because of the rich effects these firings techniques have on my clay, slips and the glazes I use."

FRED SPAULDING I MORE INFORMATION
"My work is a physical response to a culture characterized by a continuous flow of products and information. Bits of information are gathered, packaged, and repackaged in an effort to understand and cope with an ever changing and highly complex perceptual field."

SUSANNE STEPHENSON I MORE INFORMATION
"The images I deal with in the covered box forms are fragmented and abstract. The seascape becomes condensed as I try to express a very large image concept in the relatively small space of the pottery form. I am committed to expressing the visual energy that I see in nature at a particular time of day."

ANN TUBBS I MORE INFORMATION
"My son, Peter, for one of his high school projects, planted a large, bricked-path garden near my studio, with interesting flower and vegetable variants, many of which have inspired my decoration."

ANDREW VAN ASSCHE I MORE INFORMATION
"I am self-taught and have been a ceramic artist since 1976. My pieces are slab-built with stoneware clay and decorated with slips and under glaze pencil."

ROSALIE WYNKOOP I MORE INFORMATION
"Cathedral windows, golden tabernacles, brocade vestments, baroque architecture, carvings and statues, and all of the elaborate décor and pageantry of the church shaped my early visual senses. My pottery with its intricate designs, bright colors and gilded accents reflects this appreciation for the decorative arts."