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Innovations international juried ceramics exhibition

April 1 - April 29, 2017 at the

Wayne Art Center

April 1 - April 29, 2017 Juried by Chris Gustin

Founding Member of the Watershed Center for the Ceramic Arts, Newcastle, ME and Owner of Gustin Ceramics Tile Production

Davenport Gallery Wayne Art Center

Ceramic Innovations ARTISTS Crista Ann Ames (Missoula, MT) Darien A-Johnson (Atlanta, GA) Posey Bacopoulos (New York, NY) Kenneth Scott Baskin (Lake Charles, LA) Hayne Bayless (Ivoryton, CT) Jill Beech (Coatesville, PA) Lisa Belsky (Columbus, OH) Todd Burns (Louisville, KY) Ann Chahbandour (Philadelphia, PA) John Joseph Costanza (Bryn Mawr, PA) Matthew Neil Courtney (Philadelphia, PA) Peter Cunicelli (Philadelphia, PA) Samantha Diamond (Cochranville, PA) Angela Dieffenbach (Chicago, IL) Mari Emori (Hayward, CA) David Ferro & Carly Van Anglen (Glenside, PA) Holly Fischer (Raleigh, NC) Debra Fleury (Malden, MA) Vicente G. Garcia (Simsbury, CT) John Gargano (Lafayette, LA) Ryan J. Greenheck (Philadelphia, PA) Marguerita Hagan (Philadelphia, PA) Lois Harvey (Philadelphia, PA) Rebecca C. Harvey (Worthington, OH) Zak Helenske (Seattle, WA) John W. Hopkins (Grand Terrace, CA) Hiromi Iyoda (Kansas city, MO) Lucien Koonce (Haydenville, MA) Stephanie Lanter (Emporia, KS) Clay Leonard (Webster, TX) Wen-Dan Lin (Kansas City, MO) Brandon Lipe (Edinboro, PA) Wendy Liss (Devon, PA)

Hollie Lyko (Syracuse, NY) Virginia Jean Marsh (Richardson, TX) Jennifer Martin (Havertown, PA) Jennifer McCandless (Windsor, CT) Helen Otterson (Morehead, KY) Gillian Jackie Parke (Durham, NC) Mandy Parslow (Tipperary, Ireland) Jason Michael Pastorello (Cambridge, MA) Douglas A. Peck (Santa Fe, NM) Hannah Marie Pierce (Edinboro, PA) Joshua T. Primmer (Rumford, RI) Bruce Eric Riggs (Narvon, PA) Raymond Rorke (Philadelphia, PA) Judith Rosenthal (Cherry Hill, NJ) Tammie Rubin (Austin, TX) Peter Saenger (Newark, DE) Lauren Skelly Bailey (East Meadow, NY) Marina Smelik (Palo Alto, CA) Andrew J. Snyder (Rising Sun, MD) Helge Speth (Wenonah, NJ) Kourtney Stone (Baltimore, MD) Keri Straka (Framingham, MA) William Sulit (Devon, PA) Hannah Thompsett (Allentown, NY) Charles Timm-Ballard (Walla Walla, WA) Joan Ulrich (Alexandria, VA) Judit Varga (Rockville, MD) Von Venhuizen (Lubbock, TX) Claudia von Boch (Pully, Switzerland) Michael Ware (Milwaukee, WI) Stephen Wolochowicz (Ogden, UT) Matt Wren (Phoenixville, PA) Shiyuan Xu (Houston, TX)

Crista Ann Ames Missoula, MT


Allocated Juncture

Stoneware, wool, altered found object. Δ6 stoneware with underglaze and oxide wash. Hand dyed wool.

Stoneware, wool, wax. Δ6 stoneware with oxide wash and post-firing wax finish. Hand spun wool.

28” x “53” x 8.5” $1,200

53” x 30” x 15” $800

On Akin: Akin plays on kinship, portraying my sister and myself as we move through phases of closeness and detachment. The braid signifies a literal connection as well as symbolizing the DNA braid of genetics. On Allocated Juncture: Allocated Juncture is about the integrity of the female experience, femininity, and the female body through gestures of the hand. It references both the traditionally domestic task of spinning and also the metaphorical responsibility of spinning tales.

Darien A-Johnson Atlanta, GA

Constructed Fragmentation PE1 Δ6 porcelain, ceramic decals from watercolors, china paint, kanthal wire, luster. 3D digitally modeled, laser cut from cardboard, stacked and sealed. Press molded from plaster mold. 12” x 10” x 6” $2,100

Constructed Fragmentation WA1 Δ6 porcelain, ceramic decals from watercolors, china paint, kanthal wire, luster. 3D digitally modeled, laser cut from cardboard, stacked and sealed. Press molded from plaster mold. 10” x 10” x 6” $1,800

My work represents the current entanglement of human cognition and digital processing. The recent proliferation of the camera phone enables us to record spontaneously. Experience is interrupted to capture and store moments. The recordings are used for recollection; however, over time our reliance on the two-dimensional image to replace perceptual experience flattens and fragments the memory. By dissecting and altering these fragments, my work raises awareness of a continually altered state of visual consciousness. It makes reference to a shift in contemporary experience relating to the cognitive processing of sight.

Posey Bacopoulos New York, NY

Paisley Pitcher

Scroll Oval Box

Majolica on terra cotta, decal. Thrown, altered, assembled.

Majolica on terra cotta, gold decal. Thrown, altered, assembled.

9” x 7” x 3.5”

8.5” x 6.5” x 4”



On Paisley Pitcher: My goal is to integrate form, function and surface in a manner that brings a sense of excitement to my work. I am continually exploring the relationship between surface decoration and form. In the surface treatment of my work I use line, pattern and color to create the vibrant surfaces. The floral motifs on the pot are patterns rather than actual representations that serve to divide the space in an interesting way. I use the black decal as a contrast to the painterly surfaces. On Scroll Oval Box: This pot combines thrown, altered and hand-built sections. These sections are made separately and then assembled. I enjoy altering the thrown form and working in this manner because it allows me to make pots of differing forms and shapes. The various colors are applied with a brush to the majolica glazed surface to create the active patterns and decorations. After the firing the glazed surface maintains both the line quality of the patterns and the colors of the decoration. The gold decal is then added as a contrast to the painterly surface.

Kenneth Scott Baskin Lake Charles, LA

Crucible Series #57

Crucible Series #59

Wood- and mid-fired stoneware, steel pins. Thrown and slab constructed.

Wood- and mid-fired stoneware. Thrown and slab constructed.

13” x 17” x 14”

13” x 12” x 15”



The investigative properties of the Crucible Series are focused upon the idea that through alchemy we are trying to explain and define the structure, laws and functions of the universe and our place in it. Alchemy is most popularly known for the idea that through extreme heat we can change, transform, or convert one substance into another. The crucible is the object that contains the elements as they undergo transformation, making this the main tool of the alchemist and one of the main focuses of my creative research.

Hayne Bayless Ivoryton, CT

Gravity Wave Cup Array White stoneware, underglaze chalk, transparent glaze, 24k gold overglaze, basswood. Extruded, hand built. 12” x 12” x 4” $820

The unintended result, often misread as a mistake, is one of the most fertile sources of new ideas. The trick is not to fool with clay’s inherent desire to be expressive. The techniques of hand building let me take advantage of clay’s ability to capture gesture and movement, and its power to record processes. I love what spawns in the friction between what I want the material to do and what it would rather do.

Jill Beech Coatesville, PA

ocean forms

ocean forms

Stoneware, paint. Hand built, carved and perforated. Bisqued, sandblasted, gas fired to Δ8-9, painted.

Porcelain. Hand built, carved and perforated. Bisqued, sandblasted, fired to Δ9-10 in oxidation.

20” x 24” x 20”

22” x 14” x 22”



The creation and transformation of clay and other materials is alluring to, me, as it has been to humans through the ages. Myths, animals and other forms of nature influence my work. Capturing and expressing the essence or spirit, not a realistic portrayal, is my goal. I would be delighted if my functional work is enjoyed in daily use and my non-functional work provides visual pleasure or provokes contemplation.

Lisa Belsky Columbus, OH

Garter Stitch Basket

Broomstick Lace Vessel

Porcelain. Hand knit cotton, dipped in porcelain slip, fired to Δ10 in oxidation.

Porcelain. Hand knit cotton, dipped in porcelain slip, fired to Δ10 in oxidation.

7.25” x 8” x 6”

6” x 5” x 5”



Each piece begins as hand knit or crocheted fabric. The fabric is manipulated, shaped and then dipped into porcelain slip. During the firing process the original fabric burns away leaving behind a ceramic remnant or record of what was once there. The stitches, now preserved as clay, have become the structure and texture of the new object. Knitting and crocheting was passed down through generations of women in my family and has been an important part of my life since childhood. I view this process as a metaphor for preserving memories and traditions.

Richard Todd Burns Louisville, KY

Manna Stoneware, Steel. Soft slab construction, twice fired glaze, twice sandblasted surface. Wire is silver soldered, electroplated, patinated. 10” x 10” x 7” $3,000

In this new body of work, titled Ar-ti-fact, I have used the vessel to describe a variety of childhood experiences and the indelible impressions they left upon me. The work chronicles a period of five summers, from 1975 to 1980, in the rural town of Mankato, Kansas.

Ann Chahbandour Philadelphia, PA

Animal Rights Low-fire clay, paint, silver leaf. Hand built. 18” x 11” x 10” $1,500

Inspiration for the form and content of my work comes from a variety of cultures and disciplines: decorative and fine arts, literature, theatre and mythology, all of which are endowed with their own unique symbolism and history. Personal perceptions transform these visual artifacts into narratives dominated by anthropomorphic animals whose implicit behavior encourages questions of intention and consequence.

John Joseph Costanza Bryn Mawr, PA

Sentinel Vitrified ceramic, epoxy paint. Hand modeled. 32” x 18” x 12” $3,000

growth, life, something within... emerging

Matthew Neil Courtney Philadelphia, PA

Hail Mary

Ship Chain

Ceramic, rope. Press molded.

Clay. Coil built.

108” x 60” x 108”

100” x 120” x 24”



A good friend of mine once referred to my work as “Pop Art with soul”. My work is a combination of my joy in playing with materials and process, and my attempts to reconcile form and content. Some of the many things that find their way into my sculpture include references to modern art, sculptures and paintings from art history, imagery from popular culture, things from ceramic history, references to world politics and references to things I made and did during childhood. My work straddles the line between art-making and play, adult and child, serious and humorous. I often set out searching for specific meaning but almost always arrive at an alternate destination.

Peter Cunicelli Philadelphia, PA

Hidden Red Bottle Mid-fire white stoneware. Slab constructed from a template. Standard oxidation firing, Δ04 bisque, Δ6 glaze, Δ04 fire down. 15” x 10” x 10” $300

My work is an extension of my interest in contrast. Most evident is the contrast of smooth, fluid forms with the sharpness of the lines that join each side of a piece. In one position a piece is in motion. Turn it to view it from another angle and it becomes somewhat stifled and almost awkward. Nothing is ever perfect or always beautiful. While creating a piece, I often have lights fixed on one side of the piece. The shadows and negative space produced by a piece are just as important as the glaze, clay body or form.

Samantha Diamond Cochranville, PA

Putrefaction Porcelain, latex. Thrown porcelain cups with burnout material. 18� x 48� x 68� $3,500

I address the human form as a vessel that we are restrained to. We have limited time that we are in possession of it. After we no longer occupy the vessel there is a void or missing part of the body. I am capturing a moment in time and preserving a feeling or act, in a rigid material. These snippets of our timeline are focused on the traumas we face through life on a daily basis and the afflictions we gather through life. We are temporary, we all have an uncontrollable demise, and our bodies are not ever-lasting.

Angela Dieffenbach Chicago, IL

Deadly Kind Earthenware, stoneware, glaze, underglaze, slip, metal tube. Multiple electric firings. 10” x 16.5” x 8” $700

Prometheus #7 Ceramic, mixed media. Electric fired to Δ06. 7” x 3” x 2.5” $550

Inspired by strange experiments and medical innovations, my work explores biology with an emphasis on medicine. Complex and compelling issues continue to arise with modern medical practices pushing boundaries between human and animal identity, especially in terms of transplants, animal-derivative drugs, and in biologic constructions.

Mari Emori Hayward, CA

Journey of Life Clay. Hand built stoneware, engobe, sgraffito, fired to Δ6 reduction. 18” x 18” x 3” $850

I was inspired by the labyrinth motif found on silverwork, pottery, and handwoven baskets produced by the native people of the southwestern U.S. The labyrinth design depicts experiences and choices we make on our journey through life. The single path toward the center represents our journey toward finding deeper meaning. The twists and turns refer to struggles and lessons learned along the way. I attempted to recreate the texture of a handwoven basket by using the sgraffito technique.

David Ferro and Carly Van Anglen Glenside, PA

Black and White Spiral Bowl Majolica glazed terra cotta. Wheel thrown and majolica glazed terra cotta, fired to Δ03. 3.5” x 13” x 13” $300

Carly Van Anglen and David Ferro work collaboratively on hand built and wheel thrown pottery and sculpture in their Glenside, Pennsylvania studio. Their interest in form and painting on the ceramic surface evolved through a shared admiration of Iznik pottery, Italian majolica and Mexican talavera. Their current work explores movements in stylized form and color from nature and quotes from the rich history of their tin-glazed influences.

Holly Fischer Raleigh, NC



White earthenware. Coil constructed, bisque fired to Δ04, glaze fired to Δ05.

White earthenware. Slab constructed, bisque fired to Δ04, glaze fired to Δ05.

13” x 13” x 13”

16” x 9” x 4”



I am intrigued by the dangerous and alluring beauty of carnivorous plants and poisonous underwater creatures. These seductive and deadly forms reinforce an inherent mistrust of beauty and readily become metaphors for female sexuality. The morphing of figurative and organic attributes cultivates playful personifications, at once familiar and strange, mischievous and beguiling. Sensual, undulating forms bursting open to expose visceral texture and color create a push and pull between seduction and repulsion, fear and desire. I hope this subtle tension between viewer and object will encourage observers to contemplate assumptions regarding beauty and characterizations of femininity.

Debra Fleury Malden, MA



Dark stoneware, porcelain, underglaze, glass. Hand built, fired to Δ6.

Porcelain. Hand built, wood fired.

24” x 28” x 4” $2,500

3.5” x 5.5” x 7” $750

On Hydrophilic: Found organic objects of unknown origin inspire curiosity and contemplation about their origins. Touch and sight feed the story. What is it? Where did it come from? Did something live inside? Is it still there? On Burst: Spring can feel volcanic to me. One moment buds strain against the pressure. The next moment they are erupting with color and life.


John Gargano Lafayette, LA

Ashetu Mind Stoneware, rubber gaskets, fasteners. Hand built, oxidation fired. 22.5” x 22” x 9” $1,700

The ideas behind my artwork stem from a fascination with mechanisms and forms of the human body, military armament and objects from the industrial world. These elements are intuitively mixed to generate universal forms that have familiarity and feel new, yet retain a link to a past existence or function. That mystery captures my interest and creates a platform for dialogue.

Ryan Greenheck Philadelphia, PA

Sprig Jar

Sprig Platter

Porcelain. High fire oxidation.

Porcelain. High fire oxidation.

15” x 10” x 10”

2” x 15.5” x 15.5”



A structured composition is vital within the framework of my vessels. The rim and feet of my pots are strongly defined areas, while the space in between lends itself to be broken down in parts. I incorporate a repeated pattern over the surface to assist in accentuating the volume within the forms. The surface of my vessels is constantly explored. Sensitivity in the glazing process must be attained in order to preserve the essence of the piece.

Marguerita Hagan Philadelphia, PA

Diatom Odontella Shield Ceramic. Hand built, low fired, airbrushed with underglaze and clear glaze, fired multiple times. 9” x 12” x 4” $3,000

Single Cell Swirl: Radiolaria Androcyclas G. & Dinoflagellate Ranipes Ceramic, metal, bell jar. Hand built, low fired, airbrushed with underglaze and clear glaze, fired multiple times. 13” x 13” x 13” $3,300

My La Mer series explores life of the ocean from the bioluminescent creatures of the abyss to the exquisite and mighty microscopic beauties in the sunlit zone. Marine single cells photosynthesize over half of earth’s oxygen sustaining all life as the base of our food chain and ecosystem. They form fantastic colonies empowering their nutrient prowess and reciprocal support. The intricate ceramic shines light on the wonder and delicate, diverse and little known life of the sea with which our lives are intrinsically linked. People protect what they love. – Jacques Yves Cousteau Fall in love.

Lois Harvey Philadelphia, PA

Sentinel Stoneware. Hand built. 25” x 16” x 16” $800

This series of ceramic sculptures explores the idea of structures, in material and concept. Structures that illustrate how we measure our experiences. I make drawings with clay as my vocabulary to describe psychological structures we build to contain, store and recall the memories and experiences that make life meaningful. I seek connections between life experiences and the visual characteristics that structure our perception of the world around us. Sentinel is a depiction of an imaginary protector. The structure explores what the desire to hold dear and never let go the most precious, ephemeral, quick moments could look like.

Rebecca C. Harvey Worthington, OH

yellow Ceramic, underglaze. Hand built, scraped. 13” x 17” x 16” $3,000

My forms play with the line between recognition and understanding. Rounded and abstracted, they exist in an arena between the idea of an object and the object itself. I take the clay body and add aggregates, making the smooth body chunky and open using sand, and mica and bits of already fired clay. I will make a smooth form and the scrape the top surface open, exposing the pits and dimples left behind. I often walk when I make the initial forms, the motion of my body through space allowing me to concentrate on the tactile rather than the visual.

Zak Helenske Seattle, WA

Water Basin

Water Basin

Terra cotta, porcelain, glaze. Wheel thrown, electric fired to Δ3, sandblasted.

Terra cotta, porcelain, glaze. Wheel thrown, electric fired to Δ3, sandblasted.

8.5” x 15” x 15”

6” x 14.5” x 14.5”



I am a potter who is interested in the development of form and the exploration of pattern. These two priorities drive one another: pattern responds to form and form hones to the strength of the pattern. Balance, proportion, depth, and space decide the success of the object, and by highlighting the drawn pattern with porcelain brushwork, the dimensionality of the materials completes the link between form and pattern. I look to industrial and architectural situations for formal references and social observations for conceptual connections. I use geometry as a language to communicate ideas of space, proximity, occupation, and structure.

John W. Hopkins Grand Terrace, CA

Industrial Graffiti #1

Passing Through

Earthenware, underglaze, overglaze, china paint, lusters. Glazed, painted. Fired multiple times. Sandblasted pre- and post-firing.

Earthenware, underglaze, overglaze, china paint, lusters. Glazed, painted. Fired multiple times. Sandblasted pre- and post-firing.

23” x 23” x 5”

23” x 23” x 5”



My designs evolve around a single image. It is important to me that this image is three dimensionally complete. Complete in the sense that I see it as a sculptural form floating or sailing in open space. I use sand blasting techniques before and after firing to achieve my textures. I use under glazes for base color and lusters to achieve the pastel glass like quality. I complete the work with over glazes and additional sand blasting. The entire process takes five to six firings between Δ04 and Δ019.

Hiromi Iyoda Kansas City, MO

Angry Professor Clay, slip, underglaze. Hand built. 16” x 23” x 12” $1,200

This piece is dedicated to my former professor who pushed me in the right direction. He was never angry; rather, his expression is coming from my imagination because I didn’t want to disappoint him.

Lucien Koonce Haydenville, MA

Triangular Bud Vase

Bud Vase with Blue

Wood-fired stoneware. Hand carved, glazed with natural ash. Anagama wood-fired for five days to Δ12.

Wood-fired stoneware. Hand carved, glazed with natural ash. Anagama wood-fired for five days to Δ12.

6.5” x 4.25” x 4”

5.5” x 3.5” x 3”



I approach the composition of my work with spontaneity and immediacy, discovering the form during the process of making it. My alteration and manipulation of solid clay emphasizes the plasticity and gestural qualities of that material while achieving asymmetry. While I may have preconceived notions of the form, it is through spontaneous manipulation that the exterior of an object is derived. Wood-firing adds another dimension to the composition, ultimately helping to define ones interpretation of the whole. The inherent nature of continuous flame, intense heat, and ash upon the clay, whether glazed or unglazed, adds color and textural effects that are congruent to each piece. The unpredictability of the firing, juxtaposed to the implementation of as many controlled variables as one can, creates random visual beauty, or landscape, which harmonizes with the physical form. Subsequently, the form has become like a diary, recording the thoughts and process of the maker and the kiln’s fire.

Stephanie Lanter Emporia, KS

distractions Δ6 porcelain, underglaze, glaze, stain, enamel, thread, glass, wire. Slip trailed by hand, crocheted. 10.5” x 12” x 5” $1,000

Enriching and life-saving, communication can also miss the mark. Tangled cords, dangling phrases, dropped calls, knotted nets. Through ever-webbing systems however, we keep reaching out, casting lines, seeking intersection. Sometimes we overlap. Sometimes it’s a mess. We treasure that tingling dopamine ‘ting!’ of a message: love is near; an answer awaits. Like woven rows or sentences, lines of liquid clay are layered by hand to build my text vessels, to trace the evolution of virtual thought into visceral object. The homogenized, stifled physicality of typing compels me to handwrite. Through “analog 3d printing,” I explore the ambiguities of connectivity.

Clay Leonard Webster, TX

Triune Server Porcelain. Slab built, fired to Δ6. 5” x 14” x 6” $250

Triune Tray Porcelain, gold luster. Slip cast, fired to Δ6 2” x 17” x 6” $175

Some of my favorite childhood memories were formed around the dinner table with family and friends, eating and engaging in conversation. These experiences have informed my interest in and research of utilitarian objects. I am drawn to the communal aspects of serving vessels and the rich cultural history and0 traditions of these objects, while continuing to investigate their contemporary social significance. Through my work, I highlight the important ritual of sharing a meal, utilizing my ceramic serving forms as a catalyst for interaction and communication.

Wen-Dan Lin Kansas City, MO

Untitled Porcelain, stoneware. Extruded, slab built. 4” x 19” x 6” $1,200

My inspiration is a combination of landscape and anatomy, executed in the form of architecture.

Brandon Lipe Edinboro, PA

Untitled Wood-fired stoneware. Wheel thrown, wood fired, high fired. 14” x 9” x 9” $200

The unpredictably and softness of clay is what I try and bring out in every piece of art I make. Most of my work has to do with the utilitarian aspect of pottery while still pushing the boundaries with texture, color and form. I draw my inspiration from nature and its unpredictability in the way it is created. I pay a strong attention to craftsmanship, while through the use of texture and glazes I invoke the feeling of unpredictability in the finished product.

Wendy Liss Devon, PA

Breakthrough Tinted clay. Hand built. 10” x 15” x 8” $1,400

Controlled surfaces such as smooth planes and hard edges contrast the freedom expressed through raw edges of torn clay. Exploring the tension between opposites produces a Breakthrough. Tinted clay permits an exposed surface that conceals nothing.

Hollie Lyko Syracuse, NY

Driving Myself Mad in a Whirlwind of a Tuesday Porcelain, underglaze crayons, glaze, luster. Coil built. 11” x 5” x 5” $700

I am interested in affect phenomenology—how everyday moments can change our attitudes, our perceptions, and our lives. The history of faces on vessels is a long standing tradition. I strive to contribute a humorous, contemporary viewpoint to this lineage.

Virginia Jean Marsh Richardson, TX

Basket Vase Coarse stoneware, stain, engobe, glaze. Hand built with coils, pulled handle. Scraped. Gas fired in reduction to Δ10. 18” x 8” x 6” $450

I enjoy being challenged to make a strong vase form which both restricts and supports the flower arrangement, creating tension and harmony.

Jennifer Martin Havertown, PA

Untitled Black Vase Porcelain, acrylic, wax. Thrown, altered, combined, hand built. 27” x 12” x 8” $1,225

On one’s physical body, scars and imperfections mark moments in our lives, working as visual reminders of our own history. I am interested in celebrating human experience through my work, while embracing both the positive and negative memories it may reveal. My work often acts as a metaphor for the physical body and I consider function secondary to fluidity and gesture in the form. The marks on the surface of the pots and repetitive lines record a history of growth, symbolize an individual’s experience, and create a vocabulary able to describe gender, personal journey or simply one’s personality.

Jennifer McCandless Windsor, CT

Fretful Mickey Stoneware, terra sigillata, epoxy, porcelain slip. Hand built, carved, cast. 18” x 16” x 10” $1,500

Cartoons blur with reality at a sad Disneyland that is hot and crowded, with kids crying, only giant turkey legs to eat.

Helen Otterson Morehead, KY

Blühende Birne

Puparia Bloom

Stoneware, bronze, glass. Hand built, wood fired, bronze cast, glass kiln cast.

Stoneware, bronze, glass. Hand built, bronze cast, glass kiln cast.

38” x 36” x 24” $3,600

36” x 30” x 20” $3,600

Both in art and nature, a single element repeats itself many times. Many plants follow simple recursive formulas in generating their branching shapes and leaf patterns. One form may find itself nestled inside the same form, but in diminishing size, resulting in striking shapes. Capitalizing on nature’s fractal patterns, I create organic forms that repeat, yet change and are similar, yet distinctive from nature. Inspired by the mysteries of nature, my ambiguous hybrids of cellular and organic forms celebrate life. Creating forms with fluid movement, I combine materials such as clay, glass or bronze to capture the beauty of nature’s organic form. These materials are ideal mediums to showcase the rich surfaces and curvilinear components found in nature. The bright color palette draws on aspects in natural world and reflects the celebration of the pursuit of its life and beauty.

Gillian Jackie Parke Durham, NC

Blue, Pink and Peacocks Porcelain, porcelain with molochite and feldspar inclusions, underglaze, open-stock decals, overglaze lusters. Wheel thrown, altered, fired in reduction to Δ10, electric fired multiple times to Δ017. 14” x 9” x 4” $650

My work explores the fusion of rough and fine textures and surfaces into complete pieces of ceramics. The roughness is embodied in the Japanese aesthetic of wabi-sabi, which finds beauty in the natural imperfections that arise when throwing and firing stoneware; the fineness emanates from traditional western manufactured porcelain ceramics. Feldspar inclusions are added to porcelain and the resulting surfaces are achieved through a combination of an unpredictable atmospheric gas firing and reliable electric firing. The conflict is further explored by incorporating open-stock decals and metallic lusters, which have often been overlooked by modern studio potters as feminine hobby materials.

Mandy Parslow Tipperary, Ireland

Golden Elliptical Vessel

Green Elliptical Vessel

Stoneware. Wheel thrown and altered, salt glazed. Wood fired.

Stoneware. Wheel thrown and altered, salt glazed. Wood fired.

8.5” x 15” x 6.5”

8.5” x 13.5” x 6.5”



Exploring a sense-of-place through landscape and objects, forms evolve from items of rural life now preserved in museums. No longer utilitarian, they resonate for different reasons. Rims act like horizons; the liminal space between land and sky, internal and external. The rootedness, physicality and close attention required when firing the wood kiln echoes a farmer’s knowledge and bond to the land and provides a link with my rural heritage. Each piece is caressed and assaulted by the flame, ash and salt vapor moving through the kiln in the intense heat of the firing. Their surfaces are a record of this journey.

Jason Michael Pastorello Cambridge, MA

Untitled Porcelain. Wheel thrown, altered. 6” x 10.5” x 6” $375

This piece is a meditation on life. It is difficult to go through it without experiencing pain. Whether it is physical, emotional, self inflicted or done by a third party, it still sets in, altering our paths and possibly ending our lives. The change can be subtle or distinct, but on either level it is something that we all have in common. Some of these forms have been pierced just once, leaving a small, clean wound, while others were riddled by a violent force leaving them unrecognizable. They were forms once intended for nourishment, but with the ease of pulling a trigger, or lighting a fuse these works have lost their initial function. At a glance they have become disfigured and empty. It is my hope that with another look you will begin to see that they take on new function and purpose. May they be a reflection of the fragility and preciousness of life. May they allow you to see the beauty of each others wounds and respect each others’ struggles.

Douglas A. Peck Santa Fe, NM

Triple Mickey Stoneware. Anagama wood fired to Δ11. 9.5” x 8” x 8” $1,200

Firing in a wood kiln gives my work an archaeological antique feel. I like to think the finished work has a hidden history that is enhanced from the flame and ash marks of the kiln. The images I choose are somewhat iconic and or whimsical. The firing alters a preconceived notion of the image, giving it a new sense of history that is open to suggestion.

Hannah Marie Pierce Edinboro, PA

Lost My Train Of... Earthenware. Hand built, underglazed, fired in oxidation to Δ1.

Climb Up to My Mountaintop

26” x 16” x 14”

Earthenware. Hand built, underglazed, fired in oxidation to Δ1.


45” x 35” x 15” $1,200

I find myself devoted to fabricating surreal, poetically expressed depictions of narratives, street scenes, and cityscapes. By juxtaposing various metaphors and visual dialogs, I express fears of industrialization and societal dispositions. When rendering architecture, I bend and twist perspectives in order to represent every individual’s warped perceptions of reality. The seemingly thin, fragile cutouts and facades of painted figures heavily contrast with the fully sculpted, durable urban structures. The fragility of the painted figures is meant to convey the feeling of temporariness, causing the viewer to question their own impermanence, as well as their dependence and impact on their surroundings.

Joshua T. Primmer Rumford, RI

Font Δ10 stoneware, concrete, steel, construction glue, polystyrene. Thrown, reduction fired ceramic. Cast concrete. 6” x 14” x 14” $1,200

Concerned by the socioeconomic evolution drastically altering our culture I pay subtle homage to the driving forces of our society’s recent history. I illustrate the monolithic beauty of the once prolific infrastructure left behind. First I photograph the subjects that motivate my work; the industrial decay common throughout our country and the Brutalist architecture prevalent in public buildings from the ‘50s, to the ‘70s. My work is informed by these images and the memories left by physically existing in these spaces. My goal is to create quiet objects of reprieve which hum a juxtaposing monumentality that echoes these buildings and industrial structures.

Bruce Eric Riggs Narvon, PA

Untitled White stoneware. Fired in hand built anagama wood kiln for 14 days with natural wood ash glazes. 29” x 18” x 18” $3,800

I try to build classic forms, abstracting them with strong gestures incorporating aesthetics and the atmosphere into the work at the time of its creation.

Raymond Rorke Philadelphia, PA

Handhelds Stoneware Hand modeled, coated with metallic oxides and crushed clay, reduction fired. 5” x 30” x 40” $4,000

Whenever I find a strange object — man-made, half buried in dirt — I get a sudden thrill: Here, in my hands, is human intelligence. I want to understand this powerful, instinctive bond we have with objects, especially at a time when digital devices so actively privilege our hands’ sensory attention. With hand-worked clay, I’m exploring the human, primordial connections between thinking and making, objects and meaning, artworks and artifacts. Humans first began making pottery some 10,000 years ago, and cave paintings 30,000 years before that, but we began making stone tools 3.2 million years ago. Today, art-making is a living need, a poetic tool.

Judith Rosenthal Cherry Hill, NJ

Lament Stoneware, porcelain paper clay. Hand built. 6” x 18” x 11” $2,000

My work is inspired by the beauty in nature. I try to bring natural beauty to my work by using forms that are reminiscent of the sea, the earth, plants, trees, and wind.

Tammie Rubin Austin, TX

Always & Forever (forever ever ever) No. 1 Porcelain, underglaze, pigmented clay. Drawn, detailed, layered using pigmented casting slip and underglaze. 12” x 47” x 16” $8,000

Always & Forever is a sculptural investigation of family narratives encompassing The Great Migration. Between 1910 and 1970 more than six million African-Americans moved from the rural south to urban Midwest, Western, and Eastern locations. My recent move from the Midwest to Austin, TX spurred an interest to utilize my own family’s narratives of moving from Mississippi and Tennessee, to Chicago, IL and Milwaukee, WI, to parallel their journeys with historical markers that include many African-American migration stories. My ceramic sculptures investigate the tensions between the readymade and the handcrafted object.

Peter Saenger Newark, DE

Sphere 0546

Carbon Trap

Porcelain. Slip trailed and assembled sphere. Cast and altered base.

Colored porcelain. Slip trailed and assembled sphere. Cast and altered base.

11” x 11” x 11”

11” x 11” x 11”



Innovation inspires me. I am pursuing new ways to work with deflocculated slips and plaster molds. I slip trail as a forming technique, laying the clay into an unassembled mold one strand at a time. I am turning the linear into the voluminous.

Lauren Skelly Bailey East Meadow, NY

Coral Stack Porcelain, stoneware, slip, glaze, paint, epoxy, flock. Wheel thrown, hand built, painted and flocked post-firing. 17” x 13” x 8” $4,400

Constructing Awkward Beauty Porcelain, slip, glaze, luster. Porcelain whipped on a bat, hand built from ribbons. Dyed with mason stain or hand painted with slip. Hand built base with wheel thrown or coiled elements. Installation-specific dimensions. $6,500

I am drawn to the chase; the need to explore surfaces across mediums and emulate found textures in clay. I consider myself an explorer, seeking new ways of layering, swirling, forcing, bending, breaking and reusing surfaces. A conversation between elements of nature emerges from my practice: flora, fauna, rocks, and the tooled objects made by man are called to mind. In combining them, I forge a new perspective of these elements. My initial experiments are full of uncontrolled finds, small sparks created by chance,that lead into more controlled understandings in future sculptures. From the knowledge I attain, I make intentional decisions regarding textural surfaces, glazes, slips and clay applications, truly changing the context of the piece from a study to a solution. I respond to changes and observe balance in my work, seeking to push an uneasy tension between materials and form.

Marina Smelik Palo Alto, CA

Skillet with Fried Egg Stoneware. Hand built. 1.5” x 15” x 8.5” $250

My recent interest lies in portraying real objects that surround us in everyday life. The inspiration for my work were the memories from childhood, when the food cooked by Mom on an old cast iron skillet was uniquely delicious. While working on this project I tried to portray it the most realistic way so that no one guesses that it is simply fired clay.

Andrew J. Snyder Rising Sun, MD

Ride Oinochoe Earthenware. Coiled, pinched. 19” x 11” x 8” $600

How can we use clay in a way that comments on contemporary issues? As time goes on, tradition must continue to find ways of integrating with contemporary ideas as to not be left by the wayside. Inherently, there is an indefinable quality born from objects that human hands have touched while being created. My goal is to investigate new methods while using traditional materials and creatively think about the process which I love.

Helge Speth Wenonah, NJ


Fruits of the Earth

Clay, rusted iron. Hand built and pinched. Raku fired.

Clay, metal rod, Lucite. Hand built and pinched. Raku fired.

11.5” x 15” x 12”

38” x 11” x 10”



Nature’s forms intrigue me in their boundless, creative resourcefulness. With a sense of awe, I try to capture these earth-related images, attempting to shape inspirations into spontaneous, free-form gestures with expressions of their own. Pinching offers me the most immediate and flexible intimacy with clay. The raku method, with its unpredictable shimmering magic created by fire and smoke, enhances my pieces, both physically and spiritually. Adding found rusty iron objects further ties together environmental and organic elements. It is a primeval aesthetic that I strive to achieve, a sense of raw and unadulterated beauty, without frills.

Kourtney Stone Baltimore, MD

Not My Circus Earthenware, slip, underglaze, glaze, wax. Hand built. 8” x 22” x 6” $850

In thinking about how people see themselves and the factors that shape their perceptions of themselves, I began to observe the ways those perceptions then affect how we project ourselves into the world around us. People carefully construct their external identities based on internal beliefs and processes. Both what a person chooses to reveal and what they choose to conceal exposes information about that person. These figures have layered surfaces, “skin” worn away to reveal the material beneath. The layers suggest a previous life before they came into the viewer’s presence, which allows viewers entrance into the work and hopefully an experience of their own narratives.

Keri Straka Framingham, MA

Grafting Porcelain, enamel. Hand built, painted. 7” x 16” x 8” $2,000

I am looking for the push and pull relationship found within a seductively sensual, yet provocatively menacing, combination of biological forms. The relationships in various parts of the forms are suggestive of grafting and percolating. There is a sense of both physical and emotional grafting seen in the red forms that conceptually stem from the architecture of the cardiovascular system. These forms also navigate through the territory of intimacy by asserting the connection between biological processes and the emotional anatomy of the body. I am drawn to the poetic resonance of linking human tissue within the space of responsive percolation, and the need we have as humans to graft ourselves to others.

William Sulit Devon, PA

Industrial Vase Set Stoneware. Wheel thrown, unglazed. 8.25” x 5.5” x 5.5” $600

As an El Salvador-born artist and architect, I’ve always been inspired by rugged landscapes and ancient artifacts. Not only by the beauty of eroded surfaces, textured by time and nature, but also by the fact that the original layers of function and meaning have long been stripped away to reveal their innermost secrets. I like to think of the pieces I make in a similar way—as things that are found rather than made. I imagine them having their own logic and history as objects from a different time and place that I can’t fully understand or, much less, explain. However, I would like these objects not to stand still, but to have the flexibility to live in a different context than what was imagined for them, arranged in different ways to tell a different kind of story, perhaps to be a part of a more complex conversation. I work with clay. I am attracted to its humble origins, to its history, to its response to the hand, to its ability to hold the imprints left behind by the process of making.

Hannah Thompsett Allentown, NY

Allusions of Reality: Stacked Light Study

Allusions of Reality: Crumpled Light Study

Ceramic, fiberglass. Colored slip transfer onto thin cast porcelain panel. Oxidation fired to Δ10.

Ceramic, fiberglass. Colored slip transfer onto thin cast porcelain panel. Oxidation fired to Δ10.

32” x 33” x 4”

32” x 21” x .125



Knowledge accumulates through experience, which is mediated through belief and expectation. We learn to trust our perceptions as truth and allow the process of translating phenomena, which constantly informs and reassures our perceived reality, to fade from consciousness. When this truth is challenged, our trust falters. We become cognizant of the malleability and subjectivity of our realities. I examine constructed reality through material, allusion, and representation. During apprehension, a piece will either support or challenge personal archives of knowledge. As our perception slows down, we are presented with a moment to consider the delicacy and individuality of our assumed truths.

Charles Timm-Ballard Walla Walla, WA

False Dichotomy Stoneware, porcelain. Cast and hand built, fired to Δ8 in oxidation. 18” x 22” x 6” $2,400

My current work involves a collision of fragments. It is an effort to piece together the puzzle of how individual and collective inheritance of cultural fragments might be put into some kind of relationship or order that implies an understanding of how and why our disparate, contradictory, and conflicting human relationships coexist. It reflects our involvement with issues concerning our global environments.

Joan Ulrich Alexandria, VA

Stacked Teapot Stoneware, glaze. Thrown, altered and hand built. Fired to Δ10 in salt atmosphere. 6” x 7.5” x 5.5” $425

Objects for our hands carry certain expectations of experience. I’m concerned with assuring the expectation is more that satisfying; that the encounter invites investigation and elicits a bit of quiet surprise. I seek dynamic tension, a subtle balance of precision and chance, and the play of creating forms that at once engender two ideas: the sense of both having been composed and having been revealed.

Judit Varga Rockville, MD



Stoneware. Color and pattern added to wet slabs, built from colored clay ribbons. Fired to Δ6 in oxidation.

Stoneware. Hand built from colored and decorated clay ribbons. Fired to Δ6 in oxidation.

12” x 12” x 20” $3,200

10” x 10” x 14” $3,000

Finding the perfect balance between shape, color, surface and structure is always a challenge, an emotional struggle. The mere existence of this powerful energy makes it so appealing to me to work with clay. My work has a strong connection with nature and the organic structures it is built upon. My inspiration comes from small artifacts I collect on walks or trips with my family. These fragile imprints of nature provide me with a rich visual vocabulary, endless shapes and colors. On Chained: Chained represents the void, the emptiness one leaves behind when immigrate to a new world, like a seedless pod is only a remain. On Wounded: This work was inspired by the daily images we see of war torn villages, white dust covered dark hollow ruins, with only a speckle of color, a tiny hope in despair.

Von Venhuizen Lubbock, TX


Ball Buster

Stoneware, steel. Wood fired stoneware. Steel fired to red heat.

Stoneware, found wooden handle. Wood fired.

12” x 21” x 7” $4,000

11” x 24” x 10” $4,000

I have an immense interest in industry, always having a fascination for trying to understand how and why things are made the way they are, and what is their purpose or function. My work references some of the industrial items that I find inspiring, such as water towers, refineries, and large architectural iron structures. I try to use the mysterious to question what may be familiar to the viewer. Many of my pieces do not have a specific function or purpose, but they ask the viewer to question what the pieces may be.

Claudia von Boch Pully, Switzerland

Origins Black stoneware, engobes, clay, glaze, gold leaf. Clay layered and recuperated. Engobes, glazes mold stamped. Oxidation fired to 1200°C. Gold leaf applied and antiqued. 8” x 8” x 8” $250 each

As in the origins of rocks and mountains, I reproduce the geological strata involved in their formation. Similarly my pieces will suffer from erosion, pressure and heat resulting in stress, melting, coloring, crazing and cracking. This stratification of materials is like a skin that conserves and contains the stages of life and time. Layer upon layer it is a fragile and indissociable construction that puts into evidence the relationship between Man and his earthly origins, the world of Gaïa.

Michael Ware Milwaukee, WI

Molasses Cheetah Ceramic, glaze. Kiln built, fired to Δ6 in oxidation. 9” x 10.5” x 8” $600

My current work is inspired by the transformations that occur in the natural world. Focusing on the geological changes within the land, I see many parallels between those actions that alter the landscape and the ceramic process. Capitalizing on these similarities I discovered a way of creating sculptural forms utilizing the firing process in a way that loosely emulates natural geologic formations.

Stephen Wolochowicz Ogden, UT

“Parts” Red Bulb

“Parts” Orange Bulb

Ceramic. Coil and slab built with Δ04 slip and glaze.

Ceramic. Coil and slab built with Δ04 slip and glaze.

23” x 9” x 8”

23” x 9” x 7”



My current work utilizes abstract industrial shapes with organic features. Through the use of vivid color and texture, I add a playful aesthetic to my underlying concepts. They deal with the human invention, environment and progress through networks of industrial themes.

Matt Wren Phoenixville, PA

Face Jar Stoneware. Wheel thrown and coil built. 19.5” x 15.5” x 15.5” $800

When I work in clay I try to act intuitively. Each form and drawing is a reaction, a record of space and time, or a page torn out of my sketchbook. I rely on gestural lines and symbols to generate the overall sentiment.

Shiyuan Xu Houston, TX

Through the Lens #4

Fission #4

Porcelain paper clay. Slab built, oxidation fired.

Porcelain paper clay, glaze. Slab built, oxidation fired multiple times.

11” x 17” x 16”

10.5” x 11” x 9.5”



Nature has created an inexhaustible wealth of wondrous forms, particularly at the microscopic level. Viewing through the lens fascinates me. These microorganisms are too small to be seen by the naked eye, but they have their distinctive existence and beauty. I am attempting to reinterpret the scientific facts into art forms; this body of work reveals the spectacular hidden world. The more closely we look at the world around us, the more we can understand our own place in the complex web of life, and the more we appreciate the nature and life.

The Wayne Art Center is a non-profit organization dedicated to enriching our community through the arts... 413 maplewood avenue • wayne pa 19087 610-688-3553 •

Ceramic Innovations Statement Book  

Statements from the artists of Ceramic Innovations, an international exhibition of ceramics juried by Chris Gustin. On view at the Wayne Art...

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