Contemporary ceramics, innovative pottery and ceramics, céramique nouveau, avant garde and cutting edge ceramic design and techniques are featured in this post. Add in modernist, postmodern, abstract, la cerámica contemporánea and zeitgenössische keramik and that will cover most of the spectrum of styles on display. Its always refreshing to see artists take risks and successfully create new innovations or invent new interpretations of particular styles. A cornucopia of contemporary ceramics on display.
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‘Cognition 0’ – Jonathan Middlemiss 2011
” Between the moment of seeing something and the sense we then make of it lies a place of questioning. For me it is the most alive place in our consciousness, bringing the unconscious to life through processes of emotional recognition and rationalizing our references. My work takes the energy of polarities, formal contradictions, impacts and merging as the beginning of a journey to this place.” – Jonathan Middlemiss
Minoan pottery vessel – 1800 – 1700 BC
A jug with a contemporary, modernist appearance and in its time would probably have been regarded as contemporary. Sea life imagery was popular with the Minoan’s for pottery decoration which most likely explains the flowing, fluid style.
Egyptian New-Kingdom (Dynasty-18) glassware
The abstract decorative styles of the Epyptian glass were a departure from the more symmetrical panels and geometric patterns that were favoured for the pottery. For the decoration, one or more thin colored rods were wound spirally over the glass while it was still soft. Before these rods hardened they were moved up and down with metal pins to produce waves, garlands, arches and leaf or feather patterns.
Read more: http://www.touregypt.net/historicalessays/lifeinEgypt12.htm#ixzz2UY4uQgJK
Amanda Simmons – Noth Lands Decoded – large free-form slumped platter with glass powders, engraved and sandblasted.
(Image by Shannon Tofts)
Memoire Yves Dana – Switzerland
Jonathan Middlemiss
Tania Rollond
‘Impasse’ – Kay Lynn Sattler – Hawaii USA
Keramiek- Agatha van Dijk
Lorna Meaden – whisky flask – USA
Blue Quintessence – Owen Lostetter
( fired clay and urethane – 16 x 13 x 7 inches )
Owen is a native of New Mexico, born in 1983 to artist parents, on a small and rural farm in Abiquiu.
Cristina Popescu Russu – Ceramics Artist – Bucharest
Sibylle Meier
( Switzerland )
3 pieces – Sophie Elizabeth Thompson
Sophie-Elizabeth Thompson is a British sculptor living and working in Barcelona.
Rising Circles – Judith Roberts
Tomoko Sakumoto – Lives and works in Okayama, Japan
Bottle with Moonlight Glaze Ginny Marsh
Ursula Morley Price
Naked Raku Sculpture – Wally Asselberghs
Contemporary ceramic vase –Yves Mohy French, 1929-2004
Abstract art work – Path of Life by Chidi Okoye
Andrew Ludick
‘Through the Centre’ – Benjamin Storch
brendamaygallery.com
Ceramic bowl with flowing glaze – BeatriceWood 1962
Christine Jones ceramic sculpture
Connie Norman
“All my life I have struggled with writing, now my work is completely covered in text. This paradigm shift has allowed me to experiment in different art forms, and face fears through the medium of art. An interesting adventure in self-discovery! The text in my pieces acts on several levels. For instance, it has texture, pattern, mystery and a path to look inward to decipher a glimpse into my private thoughts.
I am fascinated by the rhythmic qualities created by color, texture, and patterns. Decoration and the act of decorating are essential because it celebrates and enhances form and speaks purely of aesthetics. I use pottery as a vehicle to explore decoration and other formal questions. It allows me to investigate form, space and image. My greatest satisfaction comes from thoroughly filling surfaces with color and finely detailed decoration in a spirit that I feel is playful and whimsical. My attempt is to make the environment an expressive participant and to address the importance of aesthetics in our daily lives.” Connie Norman
Shozo Michikawa Shino Square Pot, 2012
( Erskine Hall & Coe )
Swan Gourd, 2007 – Elizabeth Shriver
“I work with clay to create an array of graceful, sensuous, organic forms. These pieces are made through a variety of hand-building methods such as slab-building, coiling, pinching, and forming with molds. Rarely relying on glaze, I use textures, stains, and colored clay to add visual and tactile interest. I am drawn toward neutral earth tones that complement rather than distract from my intricate sculptural vessels. The curving lines and interplay of light and shadow in my work generate an illusion of movement, giving each piece an almost lifelike quality. A successful piece is one that begs to be touched as well as explored visually.” – Elizabeth Shriver
Frederick Garcia
Ilona Romule tea pot
Eric Knoche Wood fired indigenous stoneware vessel with slip 2011
( Photo by Tim Barnwell )
” Honestly the first thing that really attracted me to wood kilns was the sound. Depending on the burner design, gas kilns can sometimes sound like a jet engine. Once while firing a very loud gas kiln in college I walked over to where some others were firing the wood kiln. The only sound was a soft but powerful drawing sound from the entry and exit flues, though their kiln was just as hot as mine. Since then I have come to find the effects from certain styles of wood kilns to be uniquely appropriate for my current work. The process is also interesting and rewarding. ” – Eric Knoche
Song Of The Wandering Aegnus – Jitka Palmer
Bodil Manz
Porcelain vessels with translucent marks and tall feet. – Cornelia Trösch
Capriccio Oval Vase – Elke Sada 
Anna Van Hoey – Mechelen, Belgium
Vessel, 14 in. (36 cm) in length, slab-built and press-molded red earthenware, fired in an electric kiln to 2012°F (1100°C), 2012. Photo: Dries Van den Brande.
( CeramicArtsDaily )
Cristina Popescu Russu – Bucharest, Romania
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