NCECA Conference 2013: Pt. 2

This is a continuation of the recap regarding my recent trip to Houston for the NCECA conference. I am like a hound on a scent with taking photos of finished work that I like. Enjoy the following photos with explanations.

Elephant by Lindsey Pichaske.

Elephant by Lindsay Pichaske.

This clay sculpture of an elephant stood at roughly the height of a large breed dog, and has sunflower seeds carefully encrusted as a sort of strange skin. Lindsay Pichaske was one of the Emerging Artists for the conference.

A close-up of the elephant's face.

A close-up of the elephant’s face.

The sculptor’s use of taxidermy eyes and expressive facial features somehow both adds to a sense of beautiful morbidity: lifelike deadness.

The other sculpture on display by Lindsay Pichaske.

The other sculpture on display by Lindsay Pichaske.

This beast has a more human-like face and a strangely proportioned mythological overall appearance. Being coated in ombre silk petals will do that, I suppose.

Another facial close-up.

Another facial close-up.

Onto the functional pottery…

Diana Fayt dinner plate.

Diana Fayt dinner plate.


This is the first of many images from a show I always truly enjoy and have made of habit of photographing at length, La Mesa hosted by Santa Fe Clay. Featuring all manner of tableware, the show always attracts scores of viewers and thus always stays close to the conference center for accessibility’s sake. Diana Fayt, shown above, makes beautiful drawings on her dishes accompanied by animal silhouettes and has a lovely sense of color.

More of her work.

More of her work.

Each artist presented either one or several pieces, in this case Diana Fayt executed a themed place setting.

Stacked plates by Susan Dewsnap.

Stacked plates by Susan Dewsnap.

The beautiful pattern style on Susan Dewsnap’s pieces probably utilize wax to resist the pattern from the glaze and likely received atmospheric firing due to the color variation. I suspect soda firing since much of her work elsewhere reflects that description detail.

The entire place setting.

The entire place setting.

I love a soda fired porcelain pot with a fumed copper glaze: a woman after my own heart!

Margaret Bohls flower brick.

Margaret Bohls flower brick.

Despite the name this stamped porcelain pot by Margaret Bohls really is light in weight. A vase to me typically has only one orifice for flora whereas a flower brick offers multiple outlets.

Another place setting, by Sarah Jaeger.

Another place setting, by Sarah Jaeger.

Some more porcelain pots, this time beautiful forms featuring a focus on glaze interface. Sarah Jaeger works meticulously on how she patterns and blends her glazes together.

Place setting by Suze Lindsay.

Place setting by Suze Lindsay.

I have loved the line quality and quiet sophistication in Suze Lindsay‘s pots since my college days. Again, well-executed atmospheric firing brings about part of my admiration.

Multiple slipcast options by Hiroe Hanazono.

Multiple slipcast options by Hiroe Hanazono.

Resplendent in pastels a bevy of streamlined self-serving objects pepper this display by Hiroe Hanazono.

Silver luster on a jar by

Silver luster on a jar by Jeremy Kane.

I am not that familiar with Jeremy Kane but I liked this jar for it’s craftsmanship and humor.

Pticher and teapot by 2 very different potters.

Pticher and teapot by 2 very different potters.

On the left another of my favorite atmospheric potters Charity Davis Woodard has elected to present one of her distinctive pitchers alongside a highly precise and meticulous teapot by an equally talented but totally different artist named Shawn Spangler.

Detail of the pitcher.

Detail of the Charity Woodard pitcher.

I’m crazy about this form plus the handle feels amazing in my hand.

Oh, the lovely kitsch of Sue Tirrell!

Oh, the lovely kitsch of Sue Tirrell!

A personal connection to farming and Western culture emerges in these absolutely killer drawings/pots by Sue Tirrell.

Detail of the dinner plate.

Detail of the dinner plate.

Would you be surprised if I told you Anthropologie is currently selling a few of Sue’s designs? I thought not. Also, google Objective Clay before midnight this Thursday to get the skinny on a happening group of potters, some of whom have work featured in this blog post. Stay tuned for the next segment of my conference recap!


Utilitarian Clay Symposium Recap: The Conclusion

I am just going to present the remainder of my photos from the Symposium for your viewing pleasure. Most of these were taken in the Past Presenters exhibition, with a few final-day studio photos. Next on the agenda I’ll post about my experience at the Forrest Lesch-Middelton demo in Plano, TX last weekend. But for now, please enjoy the following photos!

A teapot by Mark Shapiro and an Aysha Peltz jar. I am the proud owner of this jar, which I don’t expect in the mail until mid-November.

A place setting by William Broullard. I found the design of this set particularly beautiful.

Check out this gorgeous Suze Lindsey candelabra.

Free-form pots come so easily to Nick Joerling, or so it seems. This incredible ceramic object was easily 2-3′ in length.

Two pitchers with totally unique surface treatments. Cynthia Bringle (if memory serves) incised her buff surface while Sarah Jaeger employed color and pattern.

One of Ellen Shankin’s glorious teapots.

Another acquisition for my budding collection, a Diane Rosenmiller berry bowl.

An elaborate, highly decorated jar by Michael Corney.

Atmospheric fired Bernadette Curran cup with a sake set by Ayumi Horie, incised through white slip to create drawings.

The Peter Beasecker heavy slab plate comes from a line of work called “string series.” I studied under Peter in college at SMU. I definitely like the adjacent nested vessels, but I can’t recall the artist and my margin cut off the label.  :/

Lorna Meaden watering pot with a large Linda Sikora jar in the background.

A. Blair Clemo plaster molds for pressing sprigs from which to handbuild vessels.

Some leather hard partial and complete demo pots on Blair Clemo’s table.

Leather hard Shawn Spangler pouring pot.

Greenware assortment of cups by Shawn Spangler.

Monica Ripley, about to demo her method of slip manipulation for her cut-rim plates.

A tureen body form by Blair Clemo, probably sprinkled with corn starch to inhibit sticking between lid and flange.

At the Saturday night party, my good friend and fellow SMU alum Brooks and I had to get a photo to commemorate the occasion. I found this silk dress at Buffalo Exchange, and as soon as I saw the blue and white Chinese pottery print I knew it would look perfect for the event. I had a fabulous time at the Symposium, and my studio work is still reeling from a fresh and much more ambitious approach.

UC VI Symposium Recap: Part 2

I’m not going to wax quite as poetic about the photos today because I’m about to get crisp for a Fishbone concert in Dallas with my hubbind this evening. So here we go.

Some mind-blowing Blair Cleamo pots.

A. Blair Clemo showed me a revelation in making: hand-molded sprigs cast in plaster, then press-molded and re-applied into form molds to develop walls with thrown parts. Plus, he’s a deep thinking individual with whom I had some great, meaningful converstion. Bonus!

Close-up of the mighty tureen.

Ornamentation lovers, eat your heart out.

Cup with individual saggar by a Texas artist.

George Bowes had this piece on display in the past presenters exhibition. I have one of his super fancy ornately glazed mugs, which I almost never am generous enough to share. 😉

Precision embodied in pottery.

Love the forms, love the glaze, love the layered strap handles, and adore the big, fat glaze droplets. Shawn Spangler wins at functional potree influenced by masterful ancient Chinese pieces. He’s also a damn fine thrower, an articulate communicator, and a nice guy to boot.

The other case of Spangler’s vessels.

Computer-rendering from…

These objects.

A wall platter of considerable size.

Jennifer Allen already occupies a space in my pantheon of personal influence. This fat-rimmed platter features her signature engobe, lovely color choices, and one of the many post-war or Edo-era patterns.

More great work from a UC VI presenter.

I had seen Doug Peltzman‘s work before, and really enjoyed his discourse and process during demonstration. These really are another version of lovely. I think it’s valuable to see the variety of successful ventures in functional ware, to emphasize how important your own vision is in the face of the difficult challenges inherent in making functional objects.

A teapot, sugar jar, and tumbler.

And with that I’m wrapping up another installment. I can’t wait to get back on the wheel tomorrow!