Potters Council was established in 2001 as a nonprofit subsidiary of The American Ceramic Society by a group of individuals who are passionate about pottery, who care about education, and who want to continue making pottery accessible to anyone interested.
The member only juried show is one of the top benefits members look forward to each year. Members are encouraged to submit for the yearly show. Each year the show is held in conjunction with National Council on Education for the Ceramic Arts (NCECA) Conference.
Here is our selection of favorite artist that have entered this years juried show. Images are the property of the artists and are not necessary the entries in this years show.
Hayne Bayless creates artful, functional ceramics using slab construction and extrusion. Hayne’s interest in clay started in high school, where he discovered an old potter’s wheel and kiln gathering dust in a corner of the art room.
He abandoned wheel-throwing early on, preferring the freedom of handbuilding afforded by slabwork and extrusions.
‘’I’m intrigued by what happens when clay is stretched, pressed, incised, inlayed, rolled, bent, cut and put back together.
‘’The pots are not so much about balance and harmony but more about tension. I love what spawns in the friction between what I’d like the material to do and what it would rather do’’.
Sam Scot is primarily a functional potter. He works predominately in porcelain, although not from a traditional perspective. His forms are defined by functional simplicity and the white surface of each piece is decorated with abstract designs in blues, browns, and grays.
‘’As a potter, clay directs and influences my lifestyle. Subsequently, the synthesis of clay, artist, and individual is my philosophical approach.’’
Kate Maury was making cups and bowls out of high fire porcelain. Then she got to the point where she wanted to “toss pre-conceived notions and habits to the wind. She was traveling throughout India, and she realized how strongly she was drawn to embellishment and visual celebration. She realized this kind of work makes the most sense to her.” Serendipitously, casting slip, molds, and other materials became accessible upon Maury’s return to her studio. She started making assemblages.
“It is still important to me that my work is functional. Making functional, but also highly decorative ‘celebratory’ work is a dynamic challenge. I’m really happy with where the work is taking me, the conversations it has prompted.”
Jennifer McCurdy has been working with porcelain for over thirty years. For the last few years, she has been working with structural questions. How thin can the high fire porcelain be before it collapses in the fire? How much can it be cut away and still maintain structural integrity? How can the structural form be integrated with the visual, as in nature?
‘’Emotion fills me when I see perfect forms in nature, from the cracked conch shell on the beach revealing its perfect spiral, to the milkweed pod burst in the field, its brilliant airborne seeds streaming into the sunlight’’.