TABLE OF CONTENTS
LONG TERM RESIDENT ARTISTS
Sarah Alsaied; Kuwait
Jake Brodsky; Helena, MT
Austin Coudriet; Lincoln, NE
Laura Dirksen; Maria Stein, OH
Marian Draper; Rome, NY
Dante Gambardella; Bozeman, MT
Lexus Giles; Jackson, MS
Jason Lee Starin; Grand Rapids, MI
Tommy Lomeli; Lodi, CA
Carey Nathanson; Wilmington, NC
Samuel Sarmiento; Maracaibo, Venezuela
Kim Tucker; Los Angeles, CA
Eliza Weber; Great Falls, MT
SUMMER RESIDENT ARTISTS
Spencer Cheek; Boston, MA
Caleb Considine; Orlando, FL
Rachel Donner; Sante Fe, NM
Avi Farber; Arroyo Seco, NM
Vincent Frimpong; Talladega, AL
Jeanine Hill; Durham, NC
Emily B. Yang; Brooklyn, NY
Sarah Alsaied
2024 Etchart-Satre Fellow
Kuwait, based in Midwest, US
As a bicultural artist, Sarah Alsaied makes work that straddles Eastern and Western cultures, and the complex issues of identity and the collapse of social, cultural, racial, and gendered borders. Through the use of clay, fiber, and installation art, she expresses aspects of herself and challenges stereotypes of Arab women. Through the combination of malleable and permanent qualities of the materials, Sarah explores and expresses the complexities of identity.
Sarah Alsaied is an artist from Kuwait based in the Midwest, United States. Sarah earned a BA in Studio Arts with a ceramics emphasis at the University of Southern Indiana and an MFA with a sculpture emphasis at Wichita State University. In 2021, Sarah contributed to organizing, co-creating, and co-designing the Juneteenth Parade float in Wichita, KS, and reimagined the parade mascot puppet for Wichita State University. Recently, she finished a residency at the New Harmony Clay Project Center. Outside of the studio, Sarah is a wanderer who enjoys cooking, sporty activities, jewelry making, and video games.
Sarah Alsaied Empress, 2025 clay, fibers, wire, found objects
NFS
Sarah Alsaied Together, 2025 clay, glaze, luster
$225
Sarah Alsaied To the Moon and Back, 2025 clay, glaze, luster
$400
Sarah Alsaied Velvet Touch, 2025 clay, glaze, luster
$400
Jake Brodsky
2025 Lincoln Fellow Helena, Montana
Jake Brodsky is a potter living in the mountains outside of Helena, Montana with his family. He was born and raised in Helena, and much of the ideas behind his work are influenced by the landscapes of Montana and from growing up in a community that has long supported artist-potters. After pursuing opportunities around the country for the last decade, he moved back to Helena in 2023 to settle down and build a sustainable studio practice.
Jake Brodsky’s formative education in ceramics came through working at craft schools, community studios, and for other artists, and he received his MFA in Ceramic Art from the New York State College of Ceramics at Alfred University. He has completed artist residencies at Red Lodge Clay Center, Pottery Northwest, and Studio 740, and is excited to begin a long-term residency at the Archie Bray Foundation in 2025.
Jake Brodsky Oval Basin 1, 2024
woodfired stoneware
$250
6” x 12” x 9”
Jake Brodsky Oval Basin 2, 2024
woodfired stoneware
$250
6” x 12” x 9”
Jake Brodsky Seed Pot, 2024
woodfired stoneware
$350
6” x 12” x 9”
Jake Brodsky
Large Basin, 2023
woodfired stoneware
$1,500
10” x 24” x 24”
Jake Brodsky
Range Diptych, 2023
woodfired stoneware
$1,500
20” x 24” x 2”
Austin Coudriet 2024 Frazza Fellow Lincoln, Nebraska
Austin Coudriet’s studio practice is an ongoing tactile conversation between soft amorphous forms and rigid linear components. Daily visual experiences of infrastructure found within the natural environment are re-contextualized through the lens of play into nonrepresentational, interactive sculpture. Amid a collision of rudimentary shapes, inspired by Deconstructivist architecture, compositions are rendered. Lines find edges, and shapes find volume.
Austin is currently a long term artist in residence at the Archie Bray Foundation located in Helena, Montana. Here he is able to pursue his passions of teaching, and working as a studio artist. He divides his studio practice between creating large scale sculptures intended for public art installations, and design oriented objects. In 2019 Austin received a BFA from the University of Nebraska - Lincoln with dual emphasis in ceramics and sculpture. Austin completed residencies at Clay Art Center in Port Chester, New York, Arrowmont School of Arts and Crafts, and LUX Center for the Arts.
Coudriet Spot Lamp, 2025 stoneware, underglaze, lamp component
Austin
$4,500
22” x 14” x 14”
Austin Coudriet
Composition No. 3, 2025 stoneware, underglaze
$3,750
18” x 18” x 18”
Austin Coudriet
Composition Table, 2025
stoneware, underglaze, glass
$8,500
34” x 42” x 18”
Austin Coudriet
Table Composition with Light, 2025
stoneware, underglaze, lamp component
$7,000
35” x 19” x 21”
Austin Coudriet
Composition No. 1 (in blue), 2024 stoneware, underglaze
$6,500
23” x 21” x 18”
Austin Coudriet
Construction Mug No. 1-6, 2025
stoneware, underglaze, glaze
$225 each 5” x 6” x 5”
Laura Dirksen
2024 Speyer Fellow
Maria Stein, Ohio
Laura Dirksen’s work embodies her own cognitive dissonance and becomes a vehicle to understand her conflicted and evolving value system. This value system includes, but is not limited to, societal pressures within dairy culture, coding systems incorporating domestic and livestock materials, as well as trends, age, diagnosis, and religion. Laura’s visual language is a product of how she processes materials and navigates the world, forging sculptures as a celebration of techniques blended with her personal traditions and heritage.
Laura Dirksen is from Maria Stein, Ohio. She received her BFA from Bowling Green State University specializing in ceramics and painting in 2019. Afterwards she completed a twoyear Post Baccalaureate Program at Kent State University. Laura recently received her MFA from Penn State University in Spring 2023, before joining us at the Archie Bray Foundation.
Laura Dirksen Flying Cow, 2025 ceramic and mixed media
$1,500
25” x 23” x 20”
Laura Dirksen Lame Horn, 2025 ceramic and mixed media
NFS
47” x 33” x 29”
Laura Dirksen
Composite Cup 1, 2025 ceramic
$70
3” x 3” x 3”
Laura Dirksen
Composite Cup 2, 2025 ceramic
$70
3” x 3” x 3”
Laura Dirksen
Composite Cup 3, 2025 ceramic
$70
3” x 3” x 3”
Laura Dirksen
Composite Cup 4, 2025 ceramic
$70
3” x 3” x 3”
Laura Dirksen
Handled Chalice 1, 2025 ceramic
$110
3” x 3” x 4”
Laura Dirksen
Handled Chalice 2, 2025 ceramic
$110
3” x 3” x 4”
Laura Dirksen
Handled Chalice 3, 2025 ceramic
$110
3” x 3” x 4”
Marian Draper
2025 Bray Board Fellow
Rome, New York
Marian Draper creates elegantly crafted, utilitarian vessels adorned with lush, floral motifs. Drawing inspiration from rich botanicals and historical textiles and wallpapers, Draper’s work merges a deep admiration for craft and form with a passion for colorful, ornate surfaces. Using underglaze, newsprint, and slip, Draper applies these motifs to generous, wheel-thrown forms. Carved linear lines enhance the vessels, complementing the delicate outlines of the floral designs.
Marian Draper is a ceramic artist whose work is deeply inspired by verdant botanicals and historical patterns. Born and raised in Rome, New York, Draper earned her Bachelor’s in Studio Arts, with a concentration in ceramics, from Rochester Institute of Technology (RIT) in Rochester, NY, in 2022. During her time at RIT, she focused primarily on creating largescale vessels, with an emphasis on form and process. After graduation, Draper relocated to Asheville, NC, to complete a long term residency at Odyssey ClayWorks. Draper is a recipient of the 2024 Ceramics Monthly Emerging Artist Award. Her work reflects her passion for both form and process, infused with a love for rich flora and vibrant surfaces.
Marian Draper
Large Green Trailing Vines Vase, 2025
earthenware, porcelain slip, underglaze, satin clear glaze
$1,100
21” x 14” x 14”
Marian Draper
Green Trailing Vines Vase, 2025 earthenware, porcelain slip, underglaze, satin clear glaze
$200
9.5” x 5.5” x 5.5”
Marian Draper Trailing Vines Vase, 2025 earthenware, porcelain slip, underglaze, satin clear glaze
$165
8.25” x 5” x 5”
Marian Draper
Mock Orange Canister, 2025 earthenware, porcelain slip, underglaze, satin clear glaze
$180
4.25” x 6.25” x 6.25”
Marian Draper
Large Mock Orange Jar, 2025 earthenware, porcelain slip, underglaze, satin clear glaze
$700
14” x 11” x 11”
Marian Draper
Large Trailing Vines Vase, 2025 earthenware, porcelain slip, underglaze, satin clear glaze
$900
16” x 14” x 14”
Dante Gambardella 2025 Etchart-Satre Fellow Bozeman, Montana
Dante Gambardella has long been interested in working with and teaching about the use of local materials in contemporary ceramics. Following in the path of Frances Senska and former teacher Josh DeWeese, he seeks to incorporate locally sourced clay into functional pottery. The mindful selection of materials that compose his functional pieces is tied directly to the precious resources they carry. Dante’s love of local material was further deepened by a residency in Mashiko, Japan, where clay was on every hillside, making it easy to imagine a time when local materials were used out of necessity. Dante believes that utilizing local resources is a key step to reducing one’s ecological footprint, and it has become a large part of his ceramic practice.
During Dante’s travels to South Korea, he learned the unique skill of ceramic furniture making from artist Hun Chung Lee, allowing him to increase the scale of his work and bring paintings to the walls of his pieces. The paintings on his work directly correlate to observed compositions from his small organic farm, emphasizing the importance of clean resources and respect for land and climate. He is dedicated to making pieces that can brave the elements of Montana winters, and looks forward to seeing them happily obscured by snow.
Dante Gambardella Tree With The Magical Fruit, 2025 glaze on stoneware
$9,750
72” x 72” x 1”
Lexus Giles
2025 Simone Leigh Fellow
Jackson, Mississippi
Lexus Giles’ work reflects her identity as a Black woman raised in the South, engaging deeply with the Black Diaspora. As a multimedia artist specializing in ceramics, she explores how history manifests in our present lives. Lexus addresses themes of structure, erasure, and the systems affecting her community while celebrating Blackness. She sees herself as a record-keeper, using materials like clay, wood, and found objects in connection to the land and its people that occupy the land. Her artistic process involves hand-building and mold-pressing techniques, emphasizing the human touch and the multi-functionality of objects. Through carving and mark-making, she evokes the complexities of Black identity, the legacies of Atlantic trans/slavery, and African origins, creating a dialogue between past, present and future.
Lexus Giles received her BFA from Mississippi State University in 2019. This spring she earned her MFA in ceramics from the University of Florida. Giles’ work has been exhibited in Mississippi, Florida, Iowa, Chicago, and New York. She received the 2021-2022 University of Florida Grinter Fellowship and the Sam B. Hamilton Noxubee Refuge Fellowship in 2019.
Lexus Giles
Homeboy, 2025
acrylic on canvas
$667
36” x 24” x 1”
Lexus Giles
Madea (Big Momma) Face Jar, 2025 clay, underglaze, gold luster
$6,000
25” x 25” x 31”
Jason Lee Starin
2025 Quigley-Hiltner Fellow Grand Rapids, Michigan
Through intuitive making with his hands, Jason Lee Starin’s work strives to extend the role of functionality beyond mere utility and towards a possibility that the making act is a haptic necessity which defines and sustains our human identity. Employing ceramics, discarded objects, and construction materials to create sculptures, his art practice attempts to find connections between craft, escapism, and emotional awareness. Artworks reference geological landforms, geometric structures, and the myths of creation and survival that intertwine our imagined and physical identities.
Starin holds an MFA from Pacific Northwest College of Art and Oregon College of Art and Craft, and a BFA in ceramics from Grand Valley State University. In 2017, he received an Independence Foundation Fellowship Grant to research his interest in Geomythology during a two-month stay at the NES Artist Residency in Skagaströnd, Iceland. Starin has worked at The University of the Arts in Philadelphia, BDDW, Mudshark Studios, Michael Curry Design, The Urban Institute for Contemporary Arts, and Ferris State University.
Jason Lee Starin
DJRARR-001, 2025 stoneware, cone 5, oxidation
$1,200 10” x 10” x 12”
Jason Lee Starin
DJRARR-002, 2025 stoneware, cone 5, oxidation
$1,200
11” x 10” x 12”
Jason Lee Starin VISITOR_013, 2025 stoneware, cone 5, oxidation
$2,100
21” x 13” x 6.7”
Jason Lee Starin VISITOR_014, 2025 stoneware, cone 5, oxidation
$2,100
24” x 16” x 9”
Jason Lee Starin VISITOR_015, 2025 stoneware, cone 5, oxidation
$2,100
22” x 16” x 10”
Tommy Lomeli 2025 Bray Fellow
Lodi, California
Tommy Lomeli’s sculptural and mixed media work reimagines cultural identity through Mexican American car customization. Through the lens of lowrider aesthetics, he constructs pieces that call back to the vehicle as an extension of creative individuality within a regional movement. Lomeli’s artwork celebrates customs of storytelling through vibrant embellishment found in historic Mesoamerican artworks that are echoed in modern Chicano lowriders.
Tommy Lomeli is an emerging ceramic artist born in Stockton, California. Lomeli holds a BA from CSU Sacramento and an MFA from the University of Kansas. He is the recipient of numerous awards including the International Sculpture Center’s 2024 Outstanding Student Achievement in Contemporary Sculpture award, and first place at NCECA’s 2023 National Juried Student Exhibition.
Tommy Lomeli
Vessel of Mictlan, 2025
stoneware, candy paint, metal flake, velvet
$4,200
22” x 18” x 18”
Tommy Lomeli
Limon, 2025
stoneware, candy paint, metal
flake
$1,300
16” x 8” x 8”
Tommy Lomeli
Chela, 2025
stoneware, candy paint, metal flake
$1,500
16” x 9” x 9”
Tommy Lomeli
Rosa, 2025
stoneware, candy paint, metal flake
$1,500
18” x 9” x 9”
Carey Nathanson 2025 Lilian Fellow
Wilmington, North Carolina
Carey Nathanson’s work is primarily hand-built cups, platters, bottles and other vessels made with the intention of being fired in the wood kiln. The goal is to fire 5 to 7 days to saturate the work with fly ash, encourage local reduction effects by building large ember beds and create dramatic surfaces with big color palettes. With each wood firing, the surfaces of the pieces record a snapshot in time of unique conditions and are affected by the place, materials and individual collaborators within that universe.
Carey Nathanson started working with clay during his high school years in his home town of Wilmington, North Carolina. In 2018 and 2019 he studied wood firing as a studio assistant under John Dix in Kobe, Japan and Nick Schwartz in Comptche, California. Since his time as an assistant, he has completed residencies at the American Museum of Ceramic Art, the Mendocino Art Center, STARworks, Red Lodge Clay Center, Cider Creek Collective and Sawtooth School for Visual Art.
Carey Nathanson
Jar, 2025
woodfired stoneware with natural ash glaze
NFS
18” x 11” x 5”
Carey Nathanson
Black and Yellow Bottle, 2025
woodfired stoneware with natural ash glaze
$275
10.5” x 4” x 4”
Carey Nathanson
OB Glass Cup, 2025
woodfired stoneware with natural ash glaze
$100
2.5” x 2.5” x 3”
Carey Nathanson
ML Green Bowl, 2025 stoneware with oribe glaze
$175
3.5” x 4.5” x 4.5”
Carey Nathanson
ML Light Bowl, 2025 stoneware with oribe glaze
$175
3.5” x 4.5” x 4.5”
Samuel Sarmiento 2025 Frazza Fellow Maracaibo, Venezuela
The ceramic works of Samuel Sarmiento are first of all objects. Depicting myths and literary stories from across the Caribbean and South America, they do so as sculpted surfaces that create their own boundaries. They are self-contained worlds still connected to everything around them. History is palpable, bodies emerge from bodies emerging from bodies – or do they sink back into time, towards an origin we shall never know? There are forests, seas, cities, animals, trees, goddesses and humans and meaningful scenes. Humans tell each other about the universe, how it came to be; they pass on secrets of death and procreation together with truths of conflict and suffering – and a hope of redemption. As Sarmiento’s works capture a vibrant oral tradition, they also encapsulate the act of storytelling itself.
Samuel Sarmiento (Venezuela, 1987) is a self-taught artist. He has participated in various exhibitions, individually and collectively, in Venezuela, Colombia, Aruba, Spain, the Netherlands, Portugal, France, Mexico, Panama, Argentina and China.
Samuel Sarmiento Celebration, 2025 mixed media on paper
$1,100
20” x 16”
Sarmiento Orchid Seller and Harvester, 2025 mixed media on paper
$1,100
20” x 16”
Samuel
Samuel Sarmiento
The Buffalo Woman Over the Sky (Caribbean Myth), 2025 mixed media on paper
$1,100
16” x 20”
Samuel Sarmiento
The Origin of Pottery (Caribbean Myth), 2025 mixed media on paper
$1,000
14” x 20”
Kim Tucker
2025 Bray Fellow California
Kim Tucker’s figures are outsiders caught in moments of vulnerability, and her works are influenced by Beatrice Wood, Viola Frey, cave paintings and vintage figurines. She creates portraits of humans feeling weird, happy, lost, joyful and sometimes uncomfortable. Often with a female subject at the center, she uses figuration as a gestural means of expression to dig deeper into the psyche.
Kim Tucker studied ceramic sculpture under the direction of Viola Frey and Arthur Gonzalez at the California College of Arts and Crafts in Oakland CA, graduating with High Distinction. She received her MFA in ceramics under the guidance of M.J. Bole at The Ohio State University in Columbus. Kim was a recent invited artist-in-residence at Cal State University Dominguez Hills, The Bray, and the American Museum of Ceramic Arts. Kim has shown her work at Gallery Futur (Switzerland), Arrowmont School of Arts and Crafts, American Museum of Ceramic Arts, Lauren Powell Projects, L2Kontemporary and AMcE Creative Arts.
Kim Tucker
Flashback Froggy, 2025 mid-range ceramic
$3,300
27” x 14” x 12”
Kim Tucker Lavender Vampire, 2025 mid-range ceramic
$2,600
25” x 12” x 12”
Kim Tucker Witch House, 2025 mid-range ceramic with enamel
$6,500
40” x 14” x 10”
Kim Tucker Big Butterfly, 2025
mid-range ceramic with enamel
$4,200
35” x 13” x 9”
Kim Tucker Flower in Vase, 2025
mid-range ceramic
$350
13” x 6” x 6”
Kim Tucker Bats (1-7), 2025
mid-range ceramic
$225 each
5” x 4” x 2”
Kim Tucker Flowers (1-9), 2025
mid-range ceramic
$125 each
8” x 3” x 2”
Eliza Weber
2025 Speyer Fellow Great Falls, Montana
Eliza Weber’s work explores interconnectedness and materiality in a variety of mediums including ceramic, paper, found objects, and textiles. Through considerations of duality and context, with explorations in emotion and play, individual pieces and installations become abstracted reflections of the world around us. Influenced by the curation of domestic places and the management of environments, interior and exterior overlap, acknowledging the ways in which objects, the self, and others occupy space.
Eliza Weber completed her MFA at Arizona State University and BFA at The University of Montana. She has completed short residencies at Medalta in Alberta, Canada and The Pottery Workshop in Jingdezhen, China. Eliza was also an Artist in Residence at Pottery Northwest in Seattle, Washington. Returning home, she was Director of Education at the Paris Gibson Square Museum of Art in Great Falls, Montana. She served on the boards of NCECA and the Ceramics Research Center, presently serving on the NCECA Green Task Force. Eliza is currently a Long-Term Resident at the Archie Bray Foundation in Helena, Montana.
Eliza Weber
Flower Wallpaper, 2025 found wallpaper, ceramic
$1,200
36” x 24” x 3”
Eliza Weber
Flower Wallpaper 4, 2025
found wallpaper, ceramic
$650
24” x 14”
Eliza Weber
Flower Frame, 2025
found wallpaper, ceramic
$175
9” x 5” x 1”
Eliza Weber
Flower Mirror, 2025
found mirror, dyed paper pulp, porcelain
$145
15” x 13” x 2.5”
Eliza Weber Prairie Rose Frame, found wallpaper scrap, $175
10” x 7” x 1”
Eliza Weber Little Window, 2025 ceramic
$75
5” x 7” x 1”
, 2025
scrap, ceramic
Eliza Weber
Pink Rose Frame, 2025
found wallpaper scrap, ceramic
$175
9” x 5” x 1”
Eliza Weber
Flower Wallpaper 2, 2025
found wallpaper, ceramic
$450
18” x 14” x 2”
Eliza Weber
Flower Wallpaper 3, 2025
found wallpaper, ceramic
$225
12” x 10” x 2”
Eliza Weber
Flocked Flower Wallpaper, 2025 found wallpaper, ceramic
$225
14” x 13.5” x 2”
Spencer Cheek
2025 Bray Board Fellow Boston, Massachusetts
Spencer Cheek has recently focused on the ceramic figurines which gather dust in antique stores, existing in a sort of pseudo archive that lives between the realms of preservation and commerce. He meditates on the personal and cultural significance of these objects, incorporating them into his practice by shifting their scale and surface from dismissible, mass-produced knick-knack to singular, authored artwork. He recognizes them as material detritus from a global system of merchandising and consumerism that continues in many ways to irreparably impact our environment and psyche.
Spencer Cheek (b. 1993) is a ceramic artist and printmaker from Boston, MA. His work explores the strange and stagnant backwaters of American iconography, drawing together themes of consumption, collection, religiosity, and droll masculinity. Spencer is the 2024-25 Visiting Artist at Kansas State University in Manhattan, KS. Cheek received his BFA from the School of the Art Institute in Chicago, IL (2016) and his MFA in Ceramic Art from Alfred University (2024).
Spencer Cheek
Figures of Plenty: Poppin’ Fresh, 2025
porcelain, decal, epoxy
$400
11” x 11.5” x 1.25”
Spencer Cheek
Figures of Plenty: Big Boy, 2025 porcelain, decal, epoxy
$400
11” x 10.5” x 1.25”
Spencer Cheek
Figures of Plenty: Tony, 2025 porcelain, decal, epoxy
$400
11” x 10.5” x 1.25”
Spencer Cheek
Bindle Child, 2025 glazed stoneware
$1,750
22” x 9.75” x 8”
Spencer Cheek Had He Gone Much Further, 2025 stoneware, porcelain, commercial figurine
$600 12” x 12” x 5”
Spencer Cheek
Deer Child, 2025
glazed stoneware
$1,500
24” x 18” x 8”
Caleb Considine 2025 Rosenfield Fellow Orlando, Florida
Caleb Considine’s work focuses on creating functional ceramics that seamlessly integrate into daily life, combining beauty and practicality. Inspired by early Japanese pottery and the natural world, he uses atmospheric firing techniques to achieve organic textures and colors reflecting the changing seasons. At the core of his practice is a desire to create timeless, personal art that connects with its users and becomes a lasting part of their everyday routines.
Caleb Considine is a ceramic artist currently pursuing his BFA in Ceramics at the University of North Florida, expected in fall 2026. His work has been featured in notable exhibitions, including the NCECA 2025 Juried Student Exhibition, Intercollegiate Ceramic Exhibition, and Earth & Fire in West Virginia. Caleb has received the NCECA 2025 Regina Brown Undergraduate Student Fellowship and the Undergraduate Research Scholarship and Creative Activities (U-RSCA) Grant. Inspired by the natural world, his work reflects the cycles of nature with weathered earth tones and fiery oranges, achieved through atmospheric firing techniques that evoke the changing seasons.
Caleb Considine
Ashblossom Sunflower Vase, 2025
cone 10 stoneware
$125
13” x 5” x 13”
Caleb Considine
Iron Moss Teapot, 2025 cone 10 stoneware
$185
6.5” x 6” x 4”
Caleb Considine
Flamewake Teapot, 2025 cone 10 stoneware
NFS
6” x 6” x 4”
Caleb Considine
Rough Footed Jar, 2025 cone 10 stoneware
$72 7” x 4” x 6”
Caleb Considine
Rusted Flask, 2025 cone 10 stoneware
$72
3.5” x 13” x 3”
Caleb Considine
Fruit Offering Basket, 2025
cone 10 stoneware
NFS
10” x 9” x 4”
Caleb Considine
Desert Dry Cup 1, 2025
cone 10 stoneware
$30
4” x 3.5” x 4”
Caleb Considine
Ironroot Basket, 2025
cone 10 stoneware
$102
9” x 9” x 4”
Caleb Considine
Desert Dry Cup 2, 2025
cone 10 stoneware
$30
4” x 3.5” x 4”
Rachel A Donner 2025 Sage Fellow
Santa Fe, New Mexico
Rachel Donner’s work is an investigation of balance. Within her practice is a dichotomy: utilitarian vessels where the clay reacts to her, and ceramic paintings where she reacts to the clay. Donnor utilizes ceramic materials to freeze moments in time, like the folds of fabric, the splitting of a gash, the flowing of hot glaze. Surface decoration is the common language spoken by her pottery and paintings.
Rachel Donner grew up in Taos, New Mexico. She earned her Bachelor’s degree in ceramics and painting from the University of Northern Colorado in 2013. Donner has since been awarded multiple artist residencies including at Red Lodge Clay Center, Watershed Center for the Ceramic Arts, and University of California Long Beach. She currently lives in Santa Fe, New Mexico where she makes full time in her home studio.
Rachel Donner
Circling, 2025 porcelain
$1,000
24” x 24” x 1.5”
Rachel Donner
Splitting, 2025
porcelain
$400
7.5” x 11” x 1.75”
Avi Farber
2025 Hicks Fellow
Arroyo Seco, New Mexico
Avi Farber’s work emerges with fire—both in the flame as it flows over clay in the wood kiln and in the spirit of a wildfire as its memory is recorded on his land-based art panels. Years of watching fires move through mountains while working as a wildland firefighter have shaped his approach to ceramics, where landscapes, clay, and fire become active collaborators. This is a ceramic practice that takes place in and with the landscape.
Farber received his Master of Interdisciplinary Design (MDes) from Emily Carr University of Art and Design and a BA in Philosophy from Bates College. His love for mud began in his mom’s studio, where, as a child, he would press clay against his face, using his own head as a slump mold to make colorful masks. He now holds clay as a storyteller—a vessel that carries collective meanings, records reflections, and offers a space to reimagine our own beliefs. His work is represented by Form & Concept and G2 Gallery and has been supported by residencies at the University of California Santa Barbara, the Clay Studio of Missoula, and the Material Matters Lab.
Farber
$4,200
23” x 13” x 3”
Avi
Abiquiú Chunk, 2025 black stoneware dug in new mexico, woodfired
Avi Farber
Encoded Stone MT2, 2025
3D printed and woodfired porcelain
$350
5” x 5” x 1.5”
Avi Farber
Encoded Stone MT1, 2025
3D printed and woodfired porcelain
$350
5” x 5” x 1.5”
Avi Farber
Kachoufugetsu Bottle - Sea, 2025
woodfired porcelain
$675
10.5” x 3.25” x 3.25”
Avi Farber
Kachoufugetsu Bottle - Snow, 2025
woodfired porcelain
$675
10.5” x 3.25” x 3.25”
Avi Farber
Kachoufugetsu Bottle - Sky, 2025
woodfired porcelain
$675
10.5” x 3.5” x 3.5”
Avi Farber
Wildfire Project Panel - XX1, 2025
sourced Montana clay
$750
15” x 13” x 1”
Avi Farber
Wildfire Project Panel - 012, 2025
sourced Montana clay
$650
12.5” x 12.5” x 1”
Vincent Frimpong 2025 AMACO Fellow
Talladega,
Alabama
Vincent Frimpong is a ceramic-based, multidisciplinary artist and educator. He uses mixed media to comment on and challenge contemporary methods while drawing inspiration from his Ghanaian heritage and culture. Frimpong uses unique materials that nod to the current systems he is experiencing as an African man in different spaces, while he continues to explore and make assemblages and installation works. Many pieces create dialogue about identity, systemic awareness, environmental concern, and is accompanied by workshops to elevate his community through art-making within each project.
Vincent Frimpong is a contemporary ceramic artist born in Accra, Ghana, West Africa. He holds an M.F.A from the University of Arkansas and a B.A. in Industrial Arts (Ceramics option) from Kwame Nkrumah University of Science and Technology (KNUST), Ghana. His works are shown in multiple group exhibitions, and recently had two solo exhibitions; Logged In at the COOP gallery in Nashville, TN and Beyond the Single at the Shricliff Gallery of Art in Vincennes, IN.
Vincent Frimpong
Masa Abedi #1, 2025 stoneware and gold luster
$1,000
17” x 8” x 8”
Vincent Frimpong
Masa Abedi #3, 2025 stoneware, found objects, patina
$500
20” x 13” x 9”
Vincent Frimpong
Masa Abedi #2, 2025 stoneware and gold luster
$1,000
12” x 8” x 8”
Jeanine Hill 2025 Senska Fellow Durham, North Carolina
Within her most current body of work, Jeanine Hill is making three-dimensional maps of my experiences of our current social, political and environmental landscapes through my own personal perspective as a person of color, a female, and a mother. The identities that Hill claims both narrate and shape how she views the world and her role within it. Hill no longer wishes to be a passive observer but to become actively engaged in the conversation around her through the work that she creates. Hill’s intention is to speak about these contemporary issues.
Jeanine Hill is a bi-racial, multi-ethnic artist whose work seeks to synthesize the influences of race, identity, trauma, ancestry, and gender roles. Her forms embody notions of fragility, strength and courage through subtly postured sculptures. Hand-built ceramic works make up the core of Hill’s work, yet a myriad of materials and methods are employed to speak as vessels of meaning and voice. Jeanine comes from a long line of storytellers. Through her work she communes with ancestral and contemporary influences alike and melds them into tributes for the lineage of hand told histories.
Jeanine Hill
Quadroon, 2025 stoneware, cone 6 glazes
$150
6” x 3.5” x 3.75”
Jeanine Hill
Castizo, 2025 stoneware, cone 6 glazes
$150
5.75” x 3.5” x 4”
Jeanine Hill
Ladino, 2025 stoneware, cone 6 glazes
$150
5.5” x 3.75” x 4”
Jeanine Hill
Mutt, 2025 stoneware, cone 6 glazes
$150
5.75” x 3.5” x 4”
Jeanine Hill
Mulatto, 2025 stoneware, cone 6 glazes
$150
6” x 3.5” x 3.75”
Jeanine Hill
Cambuja, 2025 stoneware, cone 6 glazes
$150
5.5” x 3.75” x 4”
Jeanine Hill
Mora, 2025 stoneware, cone 6 glazes
$150
6.1” x 3.75” x 3.75”
Jeanine Hill
Half Caste, 2025 stoneware, cone 6 glazes
$150
6” x 3.5” x 3.75”
Jeanine Hill
Mestizo, 2025 stoneware, cone 6 glazes
$150
5.75” x 3.5” x 4”
Jeanine Hill
Zambo, 2025 stoneware, cone 6 glazes
$150
6” x 3.5” x 3.75”
Jeanine Hill
Octaroon, 2025 stoneware, cone 6 glazes
$150
5.5” x 3.75” x 4”
Jeanine Hill
High Yellow, 2025 stoneware, cone 6 glazes
$150
6” x 3.5” x 3.75”
Emily B. Yang 2025 Bray Board Fellow
Brooklyn, New York
Emily B. Yang is a block print and ceramic artist. Her work explores the intersections of these two distinct craft processes, seeking to bridge the gap between large-scale printmaking and ceramic surface decoration. By referencing traditional symbols and methods of making, she aims to create new narratives that address diasporic storytelling and feminist cultural speculation.
Emily B. Yang is a Taiwanese-Malaysian block print and ceramic artist based in Brooklyn. She merges block printing and ceramic traditions to explore new visual languages around diasporic storytelling and feminist cultural speculation. Yang is a faculty member at Parsons School of Design in New York and has previously taught in the First Year Arts Program at Harvard University. She has completed residencies at the Penland School of Craft in North Carolina, Anderson Ranch in Colorado, and in Jingdezhen, China, and Jaipur, India. Her work has been exhibited at the Yale School of Architecture and the Royal Academy of Art in London and is part of the New York Public Library’s permanent collection.
Emily B. Yang
Woman Vessel Print (Unframed), 2025
block print on Thai Kozo paper
$88
9” x 12”
Emily B. Yang
Woman Vessel Print (Framed), 2025
block print on Thai Kozo paper
$288
16” x 20” x 0.5”
Emily B. Yang
Lucky Girl Cloud Vase, 2025 porcelain with underglaze and clear glaze
$588
10” x 10” x 11”
Emily B. Yang
Wedding Bell, 2025
block printed and carved ceramic bell, gas-fired with silver luster, red ribbon
$588
8” x 7” x 7”
Emily B. Yang
Woman Vessel, 2025
block printed and carved ceramic vessel, wood-fired with gold luster, red ribbon
NFS
14” x 10” x 8”
Emily B. Yang
Child Bell, 2025
block printed and carved ceramic bell with gold luster, red ribbon
$588
9” x 7” x 7”
A residency at The Bray offers time, space, and resources for artists to take creative risks and deepen their practice within a supportive, communal environment. Residents work in state-of-the-art studios alongside peers from across the country and around the world, exchanging ideas, techniques, and experiences that often shape their work for years to come. This spirit of curiosity, generosity, and sh ared exploration defines The Bray today and has for more than seven decades.
Fellowship awards provide $7,500 to long-term residents and $1,500 to summer residents. Additional support from the Windgate Foundation covers The Bray’s studio costs for each artist.
Fellowship support is made possible by: AMACO
Anonymous Donors
The Bray Board
The Estate of Christian Frazza
Paulette Etchart and Jon Satre
Wanda and John Hicks
The Joan Lincoln Endowment
Susan J. and Henry K. Ricklefs
Louise and David Rosenfield
Evelyn Sage
Speyer Family Foundation
Quigley-Hiltner Family
BOARD OF DIRECTORS
Joan Anderson
Wayne Boeck
Laurie Ekanger
Kim Feig
Sam Harvey
Giselle Hicks
Garth Jacobson
Chere Jiusto
Randi O’Brien
Brooks Oliver
Louise Rosenfield
Sanjit Sethi
Lisa Simon
Kirsten Smith
Sue Tirrell
Jared Tso
Ferren Warner
Scott Wessel
The Archie Bray Foundation recognizes and honors the Indigenous peoples of this region on whose ancestral lands the Foundation now stands. Indigenous people have inhabited the valley in which Helena is situated for more than 12,000 years; the valley acting as a crossover for Salish, Crow, Bannock, and Blackfeet tribes among others.
We respectfully acknowledge and honor all Indigenous communities whose land we reside on in what is now known as Montana— past, present, future—and are grateful for their ongoing and vibrant presence. We believe that acknowledging and reflecting upon the contemporary lived experience and history of the Indigenous peoples here in Montana and around the world are essential steps toward creating a more equitable world. Learn more through the #HonorNativeLand initiative of the U.S. Department of Arts and Culture, and consider contributing to Indigenousled organizations doing important work to further the health and wellness, sovereignty and selfdetermination of the first peoples of this land.
