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- The Work of Russell Wrankle by Richard W. James
- Painter and Sculptor: the ceramic art of Ghada Amer by Anthony Stellaco
- Homo Ludens: Michael Hallam by Alma Studholme
- Isobel Egan: Inside Out by Dr Audrey Whitty
- The Anonymous Traditional African Potters by Victor M. Cassidy
- Fujikasa Satoko’s Stoneware takes Flight by Janet Koplos
- Shuitu – clay and water around the world by Paul Leathers
- The elemental sculptures of Akiyama YŌ by Janet Koplos
- Wedgwood Collection comes home to Leith Hill Place by Patricia Ferguson
- Kingsley Kofi Broni: Standing on the Shoulders of Giants by Kofi Adjei and Keaton Wynn
- Two views: Japanese Kōgei by Jan Castro and Janet Koplos
- Making a case for keeping Mum by Peter Lange
- The Primeval Comic Book (Jenny Orchard) by John Hughes
- Bats in the Belfry; a postcard from the ACT by Chuck Joseph
- Bricks and Bones: a sustainable ceramic practice by Robert Harrison
- Reflections on Edmund De Waal’s Phaidon Monograph by Paul Mathieu
- After Demarest by Jack Troy
- Digital age optimism by Adam Chau
- Claudi de José – ceramics and architecture by Caterina Roma
- Maiolica Glaze by Jeff Zamek
- Chinese Armorial Porcelain by Xue-Hui Li
- New technologies for the ceramics studio by Anna Calluori Holcombe and Thomas Storey
- Sugru-ing your ceramics by Jude Pullen
- Adopt a potter: An alternative training scheme by Penny Smith
- Circles: only for my sister by Barbara Balzer
- From Bizen to Iowa: A modern-day pilgrimage by Cate Barker
- The unifying language of clay in a complicated world by Richard W. James
- Repair and Reuse: then and now by Alan S. Brown
Cover image: Fujikasa Satoko, Rotation, 2015, stoneware with translucent matte glaze
Published July 2017
Feminist theory, therefore, is more ‘like a tapestry of may threads and hues than one woven in a single colour’. This is also an apt metaphor for Ghada Amer and her artwork.
— Advocating what she lives: the art of Ghada Amer by Anthony Stellaco
Isobel Egan is a highly significant artist in the field of ceramics, not only in Ireland, but arguably on a global level.
— Isobel Egan Inside Out by Audrey Whitty
The potters, who are almost entirely women, are apprenticed as girls to their mothers.
— The Anonymous Traditional African Pottersby Victor M. Cassidy
It might evoke a time-lapse photo of a conductor tracing patterns in the air with his baton.
— Fujikasa Satoko’s Stoneware takes Flight by Janet Koplos
His life and legacy are undeniable, as was his care for the health of Ghanaian ceramic culture and its future.
— Standing on the Shoulders of Giants: Kingsley Kofi Broni by Kofi Adjei and Keaton Wynn
While Japan certainly has its tradition of memorable ghost stories, these baroque skeletal fragments might seem more connected to Goth styles except for their whiteness.
— Two Views: Japanese Kogei by Jan Castro
In the presence of Jenny Orchard’s creatures, you can’t help but imagine stories. Fables. A strange animal – a platypus. Her squat body, short splayed legs, rubbery mouth. Not a day goes by when she doesn’t see her reflection in the water and shudder. ‘I must be the ugliest creature in the world, she thinks.
— The Primeval Comic Book by John Hughes
It’s taken years to fill the studio with collected porcelain and discarded clay pipe fragments; these are the raw materials that feed my creative engine.
— Bricks and Bones: A sustainable practiceby Robert Harrison
I find troublesome and worrisome this focus on biography as necessary knowledge to access, appreciate and above all, analyse the work of Edmund De Wall.
— Reflections on Edmund De Waal’s Phaidon Monograph by Paul Mathieu
Chris Gustin and I are looking at a lidded jar I made from Laguna paper clay. Big enough to hold the cremains of all the potters and show organisers, it seems a bargain at $400.
— For Karen Karnes, Enabler by Jack Troy
The result is that over time the duende quietly slips out the back door of the studio.
— The Work of Russell Wrankle by Richard W. James
Subsequently, in the glaze firing, organic materials burn producing a gas which moves through the glaze layer, separating the over glaze colour and revealing a smooth surfaced round white spot in the glaze.
— Maiolica Glaze by Jeff Zamek
Here we scanned a number of objects for printing using a Next Engine 3D Scanner2 to scan a pawpaw fruit with impressive results.
— New Technologies for the Ceramic Studioby Anna Callouri Holcombe and Thomas Storey
Hammond’s sense of educational duty extends way into the public domain particularly embracing the locals by providing studio open days, pottery courses, kiln opening events and organising artist’s residencies in her studio.
— Adopt a Potter: an alternative training scheme by Penny Smith
Zhenrutang physically embodies much of how I, as a first time visitor, came to see China as a whole – a mixture of reverence for the historic, and a thirst for the practicality of the new.
— The Unifying Language of Clay in a Complicated World by Richard W. James
If digital technology is to have a healthy presence within ceramic research then it is vital that the methodology is not relegated to the novelty of an emerging technique.
— Digital Age Optimism by Adam Chau
When pushed to cite what architectural project he is especially proud of, De Jose mentions Gaudi’s Sagrada Familia rehabilitation, and the new building of the Lisboa’s Oceanarium.
— Ceramics and Architecture by Caterina Roma
The colouring technique of Ping Tu was crude and failed to add any sense of three-dimensionality to the objects. This meant the images drawn on amorial porcelain retained simplicity.
— Development History and Art Characteristics of Chinese Amorial Porcelainby Xue-Hui Li
Then it occurred to me: clay can do anything. Maybe, with clay, I could mimic the geometric shapes and colours of the precious marbles and stones inlaid into the decorative floors of ancient Venetian basilica’s and churches.
— Circles: only for my sister by Barbara Balzar