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Bilge Nur Saltik's ceramic dinnerware is made on a tilt to indicate the direction the piece is shared in a dining situation. In the right light and colored table, a rosy glow seems to emit from beneath the pieces.

Young Mi Kim

Ceramic vessels.

Young Mi Kim creates hand-built ceramic vessels, most of which are bowl or vase shaped. The techniques, size, and finish are similar, although the variation comes in the manner in which the piece is altered, giving the form its own unique personality.

Chris Scamehorn is a ceramic artist who received his MFA at SIUC. The piece shown is part of his thesis exhibit which dealt with nature inspired vessels shown in the habitat that inspired them. In their setting, they appear seamless to their surroundings.

Thoughts & clay.

The person who doesn’t scatter the morning dew will not comb gray hairs." - Hunter S. Thompson

“An intellectual says a simple thing in a hard way. An artist says a hard thing in a simple way.” - Charles Bukowski

Two quotes here that haven’t left me since I first read them. I find they trail through my mind from time to time when working with clay. Or anytime, really.

northern song dynasty celadon bowl.

Stanley Donwood: my favorite artist outside of clay. I can't say his work inspires or influences my work in clay. His work, to me, is often a narrative of deterioration, distopia, and the absence of optimism. All of which strike a chord in me.

Hella Jongerius.

Hella's work focuses on grouping and placement. Her finishes on individual pieces may seem unfounded and playful, but their placement in the larger composition of multiples or complementing pieces make them appear seamless and intentional.

Sue Paraskeva.

She makes beautifully thrown pottery which she then subjects to some abuse, allowing the subsequent flaws to become the piece's character.

Alleghany Meadows

Flora: Pearl Cups, 2011 Porcelain and stoneware 5 x 16 inches

Meadows treats multiples and their placement as compositions. The use of glaze finish is low key which complements the 'simple' forms.

http://www.studiomake.com/unlimited_edition_vessels_001.html

Following the link will best explain the context of the shown work.

I can relate to the process because I've recently tried to identify recurring proportions, points of interchangeability, altering, & assembling slip cast vessels and parts to create new forms and vessels. This endeavor increasingly reveals that the mould is a versatile tool for the ceramic artist.

Three surfaces that interest me: glossy white, shinos, celadon.

I feel these glazes complement 'minimal' forms.

Inspirations of a ceramic artist:

the Unknown or Unexplained. I've found that admitting what I do not know, what I cannot know, to be liberating. For me, overcoming the delusion of certainty has lead to clearer perspectives and an honesty to discern. Because of this, I'm able to be less presumptive in how I approach my work and act more innately. This may lend itself to my attraction to lidded jars.

Compassion, love & kindness --altruism. I'm a 'bowl guy'. I can, could, and have thrown bowls all day long. For me, a bowl is what chopsticks were for Chinese Buddhists: a peaceful utensil, a symbol of compassion towards all sentient beings. And I believe most share this association with the bowl. When we think of a charitable deed such as feeding the homeless and hungry, we imagine giving a bowl of warm soup. The bowl is a powerful symbol.

Self-Actualization. When I'm making work, more often than not, I'm figuring 'it' out. Not just the work, but 'it'...what it's all about. Making presents a wonderful opportunity to think, to reflect. I'm just now to a point where I am beginning to figure out why I make and what it means.