Monthly Archives: December 2011

Archie Bray Foundation for the Ceramic Arts.

The Archie Bray Foundation for the Ceramic Arts is located near the foothills of the Rocky Mountains in Helena, Montana, on the grounds of what was once Western Clay Manufacturing Co. brick manufacturing company. Bray, an avid patron of the arts, envisioned an art center and built the Pottery centre  in the spring of 1951, the first step in his dream to ” make available for all who are seriously interested in the ceramic arts, a fine place to work.”

The foundation is a  nonprofit, educational institution founded  by brickmaker Archie Bray. ” Its primary mission is to provide an environment that stimulates creative work in ceramics.”

Probably the most important reason for coming to the Bray is the opportunity to work within a community of artists actively creating art. At the Bray, artists from around the world with a vast range of experiences and diverse aesthetic approaches, cultures and perspectives come together. Sharing discoveries, frustrations and triumphs, and working together over an extended period of time establishes friendships and connections that open new paths, develop careers, and change lives.

Since its inception, the Bray has drawn more than 200 ceramic artists from around the world to work, including such well-known ceramists as Tre Arenz, Val Cushing, John and Andrea Gill, Wayne Higby, Clary Illian, Jun Kaneko, Eva Kwong, Jim and Nan McKinnell, Ron Meyers, Robert Sperry, Chris Staley, Akio Takamori, and Arnie Zimmerman.

Some current artists at Archie Bray :

Andrew Martin-

Andrew Martin currently lives in the Netherlands and earned his BFA from the Kansas City Art Institute and his MFA from Alfred University in New York. He has been a resident at the Archie Bray Foundation and the Arts-Industry Program at the Kohler Company, and was awarded two Artist Fellowship Grants from the National Endowment for the Arts. His book, “The Essential Guide to Mold Making and Slip Casting” has become the standard text on the subject.

 

Andrew Martin tumbler
 Marbled tumbler

 

Andrew Martin tumbler

 

Lorne Meaden –

Lorna grew up in the western suburb of Chicago, La Grange. After receiving a B.A. from Fort Lewis College in 1994, she established a studio in Durango, Colorado. She worked as a studio potter for the next eight years. She received an MFA in ceramics from Ohio University 2005. She has recently been a resident artist at the Archie Bray Foundation.

Lorna Meaden Teapot

Lorna meaden

 

 

Jeff Campana –

I draw lines by dissecting and immediately reassembling each pot. The result is a surface decoration with structural implications. The fault lines that decorate the surface threaten to, but do not actually undermine the vessel’s ability to contain, display or deliver.

Jeff Campana Vase

Jeff Campana JarJeff Campana Jar

Mel Griffin- 

     “I believe that the capacity to empathize can be developed through attentive engagement with daily landscape, and that the health of that landscape affects the health of our minds. In my work, animals serve as both playful and solemn metaphors for my own interactions with the environment, as well as those of society as a whole. Through imagery and metaphor, line and clay, my work seeks to capture the viewer’s emotional interest and to rekindle her sense of wonder and discovery.”

Mel Griffin Salad PlateMel Griffin Salad Plate

Sean O’Connell – 

Sean O’Connell is a functional potter living and working in Helena, MT and currently the 2011- 2012 Matsutani Fellow at the Archie Bray Foundation.

“I make functional pottery based on the idea that beauty and purpose should be a part of everyday use. It is my pleasure to make these objects and my desire to see them in the hands and on the tables of people, who like me, have a passion for that which is tended and thoughtful.”

Sean O'connell 

Melissa Mencini –

Melissa Mencini received her BFA from Bowling Green State University in 2000 and her MFA from Southern Illinois University at Carbondale in 2003. She teaches at the University of Alaska Anchorage. Melissa has also taught at Eastern Washington University and at the University of Washington in Seattle. She was the recipient of the Lincoln Fellowship during her residency at the Archie Bray Foundation. Mencini became interested in art at an early age and enrolled in classes at a local art center in her hometown of Cleveland, Ohio.

She makes pottery embellished with bright designs and decals and also maintains a body of sculptural work.

Melissa Mencini mug

Kenyon Hansen –

“I believe that finely crafted, thoughtfully made pottery can contribute to a renaissance of tradition and habit. My hope is that the pots I make can play a role and be a factor in a renewal of ritual. Clay allows me to play with a physical language. When I throw or hand build, I’m engaged in the conversation, curiosity often pushes the dialog, while the desire to find something new guides me forward. I strive to create pottery that is both considered and balanced containing a healthy dose of spirit and care. “

Kenyon Hansen Jar

Jennifer Allen –

 Jennifer received her BFA from the University of Alaska Anchorage in 2002. In addition to a formal education, she worked full time as a studio assistant for Bliss Pottery from 1998 to 2002. For post baccalaureate study, Jennifer attended Rochester Institute of Technology School for American Crafts from August 2002 until June 2003. In the summer of 2003, she was awarded the Eric Myhre Scholarship at the Archie Bray Foundation in Helena, Montana. In 2006, Jennifer received her MFA in ceramics from Indiana University. Jennifer was awarded the Taunt Fellowship at the Archie Bray Foundation in 2006-7.

Jennifer Allen

Jennifer Allen Vase

Andrew Gilliat –

” I am fascinated how, culturally, we define ourselves and personalize ourselves through the objects we use and accumulate. The clothes we wear, the cars we drive, the shoes we buy- all of these objects reflect our personality and aesthetic proclivity both publicly and privately. Within this body of work I want to provide a framework that allows for the user to search out a bowl or cup that suits their need for function and their desire for aesthetic. With my functional pottery I am designing and fabricating objects in the want of creating visibly dynamic forms that, with the use of color and imagery, are expressive, visually inviting, and easily accessible as objects for domestic use. ”

Andrew Gilliat Bowl

Tom Jaszczak –

Tom received a Bachelor of Arts in Visual Art and a Bachelor of Science in Biology from Bemidji State University. After graduating, Tom apprenticed for Simon Levin at Mill Creek Pottery for a year and learned the process of wood firing and developed his work further. Following Tom he was an artist in Resident at the Cub Creek Foundation.

Tom Jaszczak

Martha Grover –

I seek to enhance the experience of interacting with functional objects. Creating a sense of elegance for the user while in contact with each porcelain piece. Reminiscent of orchids, flowing dresses, and the body, the work has a sense of familiarity and preciousness. Direct curves are taken from the female figure, as well as the fluidity of a dancer moving weightlessly across the floor. The space between elements is electrified with anticipation and tension. I think of the fluid visual movement around a piece, as a choreographer would move dancers across a stage. Transmitting desire- there is a sense of revealing and concealing, a layering of details that serves to catch our attention immediately and then the details draw us in, to make a closer inspection.

Martha Grover Pitcher

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Larry Clark –

Chilly Aroma - Stoneware Lowfire glaze

Jordan Wood ” Chilly Aroma ” 2009

Stoneware Lowfire glaze

Katherine Taylor LandBody2,

2008 Porcelain Glaze

Patricia Sannit Amphora 2007

StonewareSlipStainGlaze

Jim Connell Green carved vase

Jim Connell Green carved vase

Vince Palacios Alchemy Series

Jose Sierra – El Nudo  2009

For more Archie Bray Foundation information on their artists and programs click here.

 
 
 
 

 

Design Innovator – Christopher Dresser

 

Cristopher Dresser Metal KettleC.Dresser designed metal kettle

 

 

Without a doubt, Christopher Dresser ( 1834 – 1904 ) can be regarded as one of the great pioneers of  modern design. He was among the first independent industrial designers, and he  championed design reform in 19th century Britain while embracing modern manufacturing in the development of wallpaper, textiles, ceramics, glass, furniture and metalware.

During his time,  Dresser was a household name, who was  famed for his innovation in industrial design. He became a force for furnishing ordinary people with well-made, efficient and engaging goods, along with the hundreds of objects he  designed in textiles, wall coverings, ceramics, glassware and metalware. His commercial success is all the more remarkable as Dresser also pioneered what we now recognise as the spruce, simple modern aesthetic. Radical for the time, some of Dresser’s products, notably his 1880s metal toast racks, are still in production today.

Dresser was born in Glasgow in 1834, and from 1847 to 1854 he studied at the Government School of design, Somerset House. Having specialised in botanical studies, Dresser became a lecturer in botany when he left the College in 1854. This study of plants had a profound effect on his approach to design. Seeing nothing superfluous in nature, where every beautiful thing had simplicity of form and a clear function, Dresser applied the same principle to design.

Christopher dresser, porcelain pilgrim flask.Minton & Co, Christopher Dresser, porcelain pilgrim flask. Dragons, masks and geometric decoration.

 

 

CHRISTOPHER DRESSER OLD HALL JAPANESE AESTHETIC STYLE ELEPHANT HEADS POTTERY VASE

Christopher Dresser  Old Hall Japanese aesthetic style elephant heads pottery vase

In 1876, he became the first European designer to be commissioned to visit Japan, which had reopened its borders in 1854, in order to view craft and manufacturing techniques for the UK government.  As well as lecturing about Japan and Japanese craft techniques on his return to the UK, he published his acclaimed book ‘Japan, Its Architecture, Art and Art-Manufactures’ in 1882.

Dresser’s trip to Japan had a profound effect on his approach to design as well as his understanding of manufacturing processes. Prior to his trip, his output shows a great amount of attention to surface ornamentation. Upon his return, however, Dresser began to take a holistic approach to design. Form and decoration became inseparable.

At a time when the fast-expanding Victorian middle classes were enthusiastically furnishing their homes, Dresser designed all the effects necessary for the family table: claret jugs, tea services, serving dishes, toast racks, candlesticks and cruet sets. Much of Dresser’s most influential work was produced from the late 1870s when he worked increasingly as an adviser and designer to smaller firms which allowed him greater control over a range of products. While he still provided designs anonymously, his stature was so great that many manufacturers now used Dresser’s name as a marketing ploy. He supplied designs to at least fifty companies, both in Britain and overseas.

 

 Pots made by Linthorpe were potted by hand and then finished in a wood mold. Hand painting and glazing were done after the first biscuit firing. Innovative methods, such as spray color and gas ovens, were used. The glaze, possibly made with ground flint or granite added to Cornish clay and oxide tints, created a random yet richly mottled effect that emulates Japanese Raku teawares.

 

 

Wedgwood & Sons Aquarian flower potWedgwood & Sons
Aquarian flower pot, 1873, design –  Christopher Dresser

( The Minneapolis Institute of Arts )

 

 

Dresser’s designs were radical in the context of a period when many designs combined a heady mix of cultures and periods with the highly decorative Rococo revival style dominating silverware. His reduced, geometric forms revealed the influence of Japanese and Islamic silverware and a desire to be economic with the use of costly materials. Maintaining an acute awareness of function, Dresser also became adept at utilising standardised components for handles and lids to reduce costs for manufacturers.

The contrasts in his designs for different materials showed how his approach to design was also shaped by the properties and nature of a material. In 1879 Dresser was appointed art director at the newly established Linthorpe pottery, near Middlesbrough. Founded by John Harrison, the pottery’s aim was to use local clay to provide jobs for local men. Dresser’s design for the moulds for the pottery were inspired by a wide range of cultures from Japan, Peru, Mexico, Morocco and Ancient British forms. These pieces were very striking at the time, with the metal oxides in the complex and innovative glazes providing the only decoration.

Six-handled bowl of lead-glazed earthenwareLinthorpe Pottery Six-handled bowl of lead-glazed earthenware, design C.Dresser

( The Victoria and Albert Museum )

Watcombe Pottery Co. Glazed earthenware, moulded and gilded vase. Design-C.Dresser ( V & A Museum )

 Lead-glazed earthenware dish . Design - C.DresserLinthorpe Pottery – Lead-glazed earthenware dish . Design – C.Dresser

( The Victoria and Albert Museum )

He also promoted design through his writing and lectures. Speaking to the Royal Society of Arts in 1871 he argued: “True ornamentation is of purely mental origin, and consists of symbolised imagination only… Ornamentation is even a higher art than that practised by the pictorial artist, as it is of wholly mental origin.”

Towards the end of Christopher Dresser’s life, a tribute appeared in an 1899 issue of Studio magazine describing him as “perhaps the greatest of commercial designers, imposing his fantasy and invention upon the ordinary output of British industry.”

 

Christopher Dresser Earthenware-with-transfer-printed-enamel-1881risdmuseum

 

Earthenware pitcher with transfer-printed enamel – Christopher Dresser

1881

risdmuseum.org

 

Linthorpe Art Pottery vase. Design - Christopher DresserLinthorpe Art Pottery vase. Design – C.Dresser

 Wave Bowl – C. Dresser design, Linthorpe Art Pottery, Middlesbrough

glazed earthenware  jug-C.Dresser 1880 glazed earthenware  jug

'Cloisonne' tea caddy-C.DresserA ‘ Cloisonne’ tea caddy’, the design attributed to Christopher Dresser, manufactured by Minton & Co. circa 1870

( Walpoles Antiques )

 Vase. Design C.Dresser William Ault Pottery earthenware, moulded and glazed ( V & A Museum )  William Ault Pottery earthenware, moulded and glazed vase. Design C.Dresser ( V & A Museum )


Linthorpe Pottery earthenware vase with streaked, lustrous glaze. Designed by Christopher Dresser

Linthorpe Pottery earthenware vase with streaked, lustrous glaze. Designed by Christopher Dresser

C Dresser for Watcombe Pottery Co - Earthenware Jug and CupsWatcombe Pottery Co – Earthenware Jug and Cups –  C. Dresser design
William Ault Pottery Vase C.Dresser design William Ault Pottery-  glazed earthenware vase  ( V & A Museum )

This vase form, based on the sphere and right angle, does indeed appear to preclude 20th-century Modernism. But, as is well established,  Dresser’s appreciation of spare, clean shapes, derives from his interest in Japanese forms and his profound understanding of manufacturing processes.

Linthorpe plate C.Dresser V & A museumLinthorpe  Plate – C.Dresser design

Gifted to V & A Museum by Miss Amy Harrison

Asian style Vase with four figural handles, covered in oxblood majolica glaze.C.Dresser

C.Dresser Vase in  Asian style  with four figural handles, covered in oxblood majolica glaze.

 

 

 

Christopher Dresser vase  Minton-Pottery-Factory,1875

Vase – Christopher Dresser

3 pitchers by Christopher Dresser

Three pitchers – Christopher Dresser

( The Met )

Ceramic Grotesque Vase, c. 1893 by Christopher Dresser

Christopher Dresser Grotesque Vase, c. 1893

Teacup-and-Saucer,- Christopher Dresser

Cup and saucer – Christopher Dresser

Pitcher by Christopher-Dresser for Linthorpe

C. Dresser for Linthorpe

Assymetrical pitcher etched in a floral and geometric pattern and covered in amber, brown, and green flambe glaze.

( V & A Museum )

Bone china overglaze enamel vase by Christopher Dresser Christopher Dresser bone china overglaze enamel vase

LINTHORPE-BRITISH-art-pottery with Christopher Dresser design

Linthorpe pottery vessel design by Christopher Dresser

Christopher-Dresser Three glass bottles

Christopher Dresser glass bottles

CluthaChristopher-Dresser-1900

Glass bottle – Clutha – Christopher-Dresser-1900

C Dresser Minton Baluster Vase

Minton baluster vase by Christopher Dresser

Christopher-Dresser-(British,-1834–1904)-Bone-china

Bone China bowl Christopher Dresser

C Dresser tongues vase for Ault-1885

C hristopher Dresser  ‘tongues’ vase for Ault

1885

Christopher-Dresser-design pitcher

Pitcher. Designed by Christopher Dresser, c. 1880. Manufactured by Linthorpe Art Pottery, Yorkshire, England

C Dresser Linthorpe 1890 vase

Christopher  Dresser Linthorpe 1890 vase

'Moon-Flask'-Vase, designed by Christopher Dresser,-Minton, c.-1880

Christopher Dresser, ‘Moon-Flask’-Vase, designed for Minton

1880

Rare_Aesthetic_Movement_Watcombe_Vase_By_Christopher_Dresser_C188084

 Aesthetic movement Watcombe redware vase by Christopher Dresser

1880

xupes.com/Antiques-Fine-Art

Christopher Dresser Earthenware Vase-by-Old-Hallron-red-ground-with-gold-and-silver-foliate-scrolls,-figural-handles-of-jesters,-height-14-14-in

Earthenware Vase gold and silver foliate scrolls, figural handles of jesters

Christopher Dresser

Christopher Dresser Christopher Dresser

 

 

 


 

UK Ceramic Artists

 

This article centers around the ceramic creations of  UK pottery artists mostly based in the North of England who are members of the Northern Potters Association, an organization of over 400 members dedicated to providing support and encouragement in all facets of  pottery.

 

   Juliet Blackman

Black Raku Vase Juliet Blackman

 

 

Juliet Blackman Raku Vase

 

 

 Central to all my work is an enjoyment of coiling, an almost meditative process where the form gradually evolves, together with raku, which provides the essential dark, earthy quality, capturing the mystery and unexpected iridescence of ancient archaeological finds. The contrast between a highly controlled, considered building process and the relatively unpredictable nature of raku firing is very exciting. Inspiration derives from the natural world and landscape, together with the effects of time such as weathering and erosion; also a fascination with the artefacts of very early people. My work now falls into two groups which reflect these interests.

 

Sue Dunne

Mugs with botanical decoration - Sue Dunne

 

Sue-Dunne Ceramic Tumblers

My work directly reflects my year-round fascination with natural history, particularly plant-life when it’s wild. The methods I use, including colouration, ensure that each piece is a separate and individual work of art rather than using ‘mass-produced’ identical moulds. Everything is twice-fired, the colour being applied before the glaze firing at just under 1100°C.  I studied ceramics at Bath Academy, have had many exhibitions in the North of England and in Scotland, and exhibit at Potfest annually.

 

Ian Baldwinson

Ian Baldwinson Vase StonewareI’ve been building and throwing clay for around 3 years, in evening classes and at home. I love the whole process, from sketching ideas, to them cluttering up our shelves. I try to keep the forms simple and the colours and textures subtle. I often incorporate mosaic – broken pottery, usually found in gardens I look after.

 

June Ridgway

 

June Ridgway Raku Vessel

 

 

June Ridgway ceramic cupMy introduction to ceramics began at the Harrogate School of Art. After which I gained a 2 1 in Ceramics/ 3D Design at Wolverhampton Polytechnic followed by PGCE at Birmingham Polytechnic. The work is coil built, burnished and saggar fired. Inspiration is from a number of sources: erosion or weathering, just as the patina of age takes its course over any surface subjected to the elements, so the smoke and the added ingredients placed in the saggar, such as salt, wire, oxides, make their unique marks directly on the satin, burnished surface of the piece.

 

Carol Metcalfe

Carol Metcalfe Wall Plate Carol uses  home-grown ash glazes together with plants and other locally-found materials, collected on the farm where she lives, near Richmond, North Yorkshire.  Carol’s pieces have a particular emphasis on texture, inspired by natural forms and nature’s effects on man-made objects – erosion, corrosion and colonisation.

 

Kat Dale

Kat Dale Ceramic Sculpture

 

 

Kat Dale Sculpture

 

 

Stephen Breu

Stephen Breu Red JugI make usable pots that are good to look at and to handle; this way the container can add an extra dimension to the pleasure gained from the contents. I make traditional shapes in stoneware, with shiny or satin glazes in strong colours with interesting textures. For decoration I let the glazes and their interactions in their molten state provide the surface beauty. Being a chemist, I love experimenting with glazes, while gaining an understanding of the processes involved.

 

Elisabeth Bailey

Elisabeth Bailey lidded ridged vessel

Elisabeth lives and works in Kirbymoorside.

 

Polllie and Gary Uttley

Pollie and Gary Uttley abstract dish

 

 

P & G Uttley square dishWe travel frequently in India and our work is inspired by the richly patterned tribal textiles we source there. We make a range of wall panels, platters and bowls using a wide variety of decorative techniques. These include impressing & applying of clay, printing, painting slip trailing, glazing & colour staining, decals, raku & lustres. These are often combined to capture the vitality of the textiles& to blur the distinction between the softness of the textile and the hard ceramics.

 

Joan Hardie

Joan Hardie ceramic leaf bowl

 

 

Leaf Inspired Vase Joan Hardie

 

My aims are to produce ceramics that are interesting, accessible and affordable and encourage people to look afresh at the natural world. My inspiration comes from the natural colours, textures and forms found in the Cumbrian countryside. All my work is hand-built, mostly in stoneware and sometimes in porcelain or earthenware. I make pieces based on leaves, bark, shells, fungus and lichen, including wall collages, hanging pieces for inside or outside, sculptural pieces, and a variety of dishes, bowls and vases. All my pieces are individual. My studio and shop, Bitter Beck Pottery, is in Cockermouth’s historic Market Place.

 

John Cook

John Cook Ceramic Sculpture

 

 

raku-sculpture-john-cook

 

I have always been interested in painting and sculpture, and in particular the work of Garbo, Duchamp, Kandinsky, and Kemeny. I am intrigued with the exploration of ideas, creativity, and uses of colour, texture, and materials, and the very act of making shapes and forms. My current ceramic work is inspired by my childhood memories of industrial architecture, power, movement and colour. These memories have then been refined to now ones of decay, demolition, and neglect, but with still a hint of optimism. All my current work is fumed paper stoneware, with appliqués that are crystal glazed.

 

Kirsti Buhler Fattorinini

Kirsti Buehi Ceramic Plate

Educated in Switzerland, I studied paintings and ceramics in Rome and cramics at Manchester Collage of Art. Married and in England, I changed from earthenware to stoneware. I am making plates, bowls to use. Every item is different. I use stoneware colour glazes often mixing them for special effects. My designs are drawn from nature – animals, birds, fish and flowers. I feel that pots are not just for decorations, but should be used (dishwasher, oven)!

 

Anne Decker

Ann Decker Vase

 

The organic geometry found in marine and plant life provides endless creative inspiration. In my sculptural ceramic work I want to capture the delicacy and strength of natural architecture like that found in sea corals and tree branches. Light and shade also play a part in the fragility of the work as the pierced openings cast patterned shadows. I hand build with stoneware clay: coiling and shaping, piercing and carving. After the initial firing, engobes – white or coloured slips – are sprayed onto each piece before the final firing, resulting in a matt finish.

 

Keiko Harada

Keiko Harada Leaf Bowl

Originally from Japan, I obtained the degree of BA, Art and Design at Leeds Metropolitan University in 1999. Oriental influences are strong in my clay work, which springs from my long involvement with Japanese calligraphy and Textiles. I express my feeling for nature and the human spirit in an abstract way, using calligraphy brushes to emphasize the spontaneous movement of line.

Gillian McMillan

Gillian McMillan Vase

 

 

Dragonfly Vaese Gillian McMillan UK

 Gillian,s ceramics are hand crafted in porcelain, stoneware or terracotta. Pots are thrown on the wheel or hand built, and decorated with oxides, glazes and lustre. Stoneware and porcelain are fired to 1260°C; the lustre on porcelain is fired again to 700°C.  Her inspiration is from natural forms including the sea and rocks.

 

Anne Harworth

Anne Harworth Ceramic Candle Holders

 

 

Anne Haworth Ceramic Vases

My work is inspired by the natural world and I find there are endless sources of inspiration in plant forms, leaves, thistles, seed pods, vegetables, fungus etc. I use traditional methods of making – coiling, pinching and slab-building – and for surface decoration use slips, stains, oxides and some glazes. I like to tweak the forms in a playful way so that I can try to echo the endless possibilities of nature with my own finishing touches

 

Alan Birchall

Alan-Birchall Incised Vase

 

 

Alan-Birchall-bowl

I make mainly individual thrown functional pieces but, influenced by Japanese potters, I have recently broadened the range of my work to include hand carved pieces. My inspiration comes from oriental ceramics and the natural world – geological formations and the colour and form of primitive plants, especially lichens and mosses. I work only in stoneware and fire in either a gas or wood fired kiln. Glazes are based on traditional oriental recipes and often incorporate local wood ashes. I love the wonderful effects natural ash and the raw flame can produce, each firing allowing me to discover and explore new effects.

Sheila Spencer

Sheila-Spencer-bowl

 

 

Sheila Spencer plate

I make high fired colourful earthenware, mainly bowls, plates and tiles. Leaves, flowers, fruit and frogs feature in my decoration reflecting my interest in gardening. I use red clay, nothing special, just the cheapest I can find and a commercial transparent glaze. I use sponges, stencils, brushing and sgraffito to get the images onto my pots. I like to write on my pieces, maybe I am a repressed graffiti artist at heart. I fire in an electric top loader. I am still amazed by the alchemy that changes messy clay into bright, shiny objects.

 

Karen Hollinson

Karen Hollinson Pottery

 

Lizi Botham

Lizi Botham ceramicist

 

Syl Macro

ceramic-vase-Syl Marco

 

Caroline Lee

Caroline Lee. ceramic vase

Sophie Hamilton

Dish, bowls, creamer, jug - Sophie-Hamilton

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To obtain more information on any of the above potters or see other pottery works from this collective, go to Northern Potters Association 

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Pottery markets

 Local women selling pottery in a  a colorful rural, open pottery market in Lalibela area, Northern Ethiopia. ( Tam’s Blog )

Despite the proliferation of many options for potters to market their wares online such as etsy,ebay,blogs and affiliate sites, a  lot of potters still choose to use street markets and the like for selling their products.I would venture to say that one of the original domestic products that was ever sold at markets would be pottery due to their necessity for the transport of water. Throughout the ages potters have served their communities by transforming clay into beautiful and functional wares. Potters, working in their home studios, would bring their pots to town on market day. These days the green movement has also encouraged some people to seek out homewares of a more durable, organic quality.From the travelling kitchen wallas of India, the Baazzars of Morrocco, the weekend farmers markets and antique street stalls the world over, you will still find pottery being well represented. Below is a collection of some of those markets.

Water Buffalo Pottery CartMobile pottery market, Cambodia-Phnom Penh-Battambang

Leanne Pizio PotteryLeanne Blake Pizio is a local potter who sells her wares at the  Pottery Festival at the Greensboro Farmers’ Curb Market at 501 Yanceyville Street.

From -Greensboro Daily Photo

Freewheeling! Studio Potters’ Market ( Studio Karva )
 Man selling pottery at  Niamey on the Niger river

Bill Lee PotteryKnoxville artist Bill Lee and some of his pottery. At the Market Square Farm Market ( Image-the Blue Streak )

Raja Ampat PapuaThat’s what you call a pottery sales pitch !

Raja Ampat Papua Indonesia ( Image AFP )

 1908: pottery for sale at Chamberlain Bridge, Bridgetown, barbados. 1908: pottery for sale at Chamberlain Bridge, Bridgetown, Barbados

Manolo Rodriguez CeraimcsPotter Manolo Rodriguez is famous for his effigies and Escher-like painting style.  He says “I never have an idea when I start painting a piece.  It just comes as I paint or may have come to me in a dream.”

( Ron’s Log )

Indian Art festival

Kala Ghoda Arts Festival, Mumbai India . Image from ceramic(some)times 

Bob and Nancy Bumgardner selling pottery on the roadside.

McCoy Pottery Collectors Society

Annual Fall Pottery Show, London

 Panjshir Valley Afghanistan

 Buddha Statue Market ( Cepolina Photo )

Ceramic stall, Texcoco Mexico

Djerba Pottery

Pottery vendors at the limani of Chania, Crete ( Karahaz Flikr )

Cario pottery market

Cario Pottery market  

Dongtai Lu Antique Market Shanghai

Dongtai Lu Antique Market, Shanghai ( with lifesize Mao porcelain statue )

Image-The Macomb Daily. Teapots destined for the Annual Potters Market , Madison Heights

Charlie Teffts Pottery

Charlie Tefft,Yanceyville Farmers’ Market

Greensboro Daily Photo

Algerian Pottery Market

Shrosha Georgia

Nizwa Artisanat, Oman