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YELLOWSPRINGSCERAMICSNATIONALWWW.YELLOWSPRINGS.ORG2024ARTIST STATEMENTS

Joy was my first response in reviewing all the images submittedto The Yellow Springs Ceramic National. People love making thingsout of clay.Trying to select and jury a show is not easy. The mere act of trying tobe objectiveIs a subjective decision.One can think of four criteria when thinking of defining quality work“Craft, Creativity, Concept, and Composition.” Many art scholarsthink Marcel Duchamp’s “Urinal” wasone of the most significant works of art in the 20th century. Thatviewpoint would fall under the categories of concept and creativity.Early in my ceramics career I was rejected to all the MFA programs Iapplied to.The legendary Robert Turner was kind enough to tell me my potsweren’t developedenough and had no personal voice in them. He was right.Don’t let anyone ever dampen your joy in creating art. Just staycurious and the joy of learning and making will follow.Chris Staley 2024 Yellow Springs CeramicsNational Juror

Bernadette CurranArdmore PARabbit HoleCone 6 Porcelain, 3"x3"x3"$95.00 Bernadette describes her work as clay sketches; improvised and spontaneous,graced with thumb marks and glaze drips that reveal odd animals and stories.She draws to make and makes to draw thus allowing the playfulness toconspire.

Doug BlechnerSan Pedro CATwo Perforated CupsPorcelain, 4"x3 1/2"x3 1/2"(each)$500 Doug Blechner makes utilitarian pots and vessels where the practice of making beginswith his love for clay, the materials that make up clay and ceramic surfaces, and thecreative process. It is his desire to make pottery intended for the home that is invitingand comfortable to use. It is important that his pots and have strength of form, arevisually balanced and pleasing, and made with a commitment to quality craftsmanship.

Huey LeeKansas City MOWhere Doggy goesStoneware, 14"x8"x19"$1,000 My artistic practice is deeply rooted in my cultural background, religious influences,and nostalgic memories. I express these themes through drawings and sculptures,each possessing its own narrative. These narratives are conveyed through uniquecharacters that serve as a vessel for personal introspection and societal messages,often encapsulating hidden desires and concealed emotions. Utilizing whimsicalhumor, my work often includes nostalgic figures and objects that evoke sentimentalresponses in viewers.Central to my artistic process is an ongoing exploration of self. Constant self-inquiryregarding my identity allows me to delve into diverse narratives through thesecharacters. They represent the spectrum of my emotional landscape, influenced byboth internal and external factors such as trauma, anxiety, longing, and desire.My drawings and sculptures serve as a visual diary, reflecting the spectrum ofemotions I experience daily. Often, I incorporate found objects into my work, notonly to introduce a new visual language but also to underscore the originalnarratives. These found objects fuel my imagination, resulting in a fusion ofelements that create visual complexity.

Kevin SnipesPhiladelphia PACuppaPorcelain, glaze underglaze, oxide wash10"x10"x9"$1,600 My work is based in the combination of narrative imagery on hand builtceramic forms. But primarily I think of myself as a storyteller. The stories I tellare open-ended investigations of difference and otherness. They are ways inwhich I can explore the underlying emotional and psychological issues ofdiscrimination. I am interested in what happens when people who are differentcome together. One aspect of my work is that the narratives I portrayencompass different sides, so that every side of the piece is the front side, orprotagonist. This said, my approach to working with these ideas is somewhatsubversive. Both the intimate scale and the jewel-like surfaces that arehallmarks of my work are a sort of misdirection that the viewer must digthrough to get to the kernel of the work. I’ve loved working this way because Ibelieve that the viewers of my work are dynamically engaged enough tounderstand that there is a layer of social unease below the surface.

Brian HarperNew Albany INBunker Series: Bad Leeloceramic, wood, adhesive10" x 8" x 10"$850 The “Bunker Series” work is inspired by the abandoned World War II bunkersHarper visited in Iceland and Denmark. Seeing these monolithic structures beingconsumed by the land and the sea, he was struck by the simplicity of theirdestruction. Just earth, water, and time and these powerful features of war,designed to be impenetrable and battle-ready, are being overtaken.Harper appreciates the range of metaphors the bunker can encompass. On the onehand, they are objects of aggression, but on the other hand, they are objects ofprotection. When the reasons for their occupation become obsolete, their powervanishes. The socio-political metaphors in this work use the bunker to referencedeeply rooted ideas that can seem immovable. The bunkers in this work sink into alandscape of smaller fused parts, thereby continuing the reference to changingperspectives. As ideological landscapes change, so too can the foundations of thoseideas.

Chance TaylorColumbia MOBulb Teapot, Porcelain, 8"x 5" x 5.5"$200 My pots are deliberate, highly crafted, and intended for daily use. I draw inspirationfrom the world around me and have a special affinity for things that grow. I do notseek to replicate natural forms. Rather, I look to the formal logic of plants and flowers,to the feeling and experience of growth, vitality, and beauty.I divide my pots symmetrically, using line as a means of projecting order onto myforms. This evokes the structured, recurring, and purposeful quality of nature. It is alanguage of symmetry and simplicity. I translate these qualities into somethingtangible, useful, and nourishing in the form of functional ceramics.

Heather KaplanLas Cruces NMMesquite Exit and Clematislow fire ceramic and plaster12" x 6" x 6"$800 This work is about uncanny landscapes and the play around creating and formingnew familiarly unfamiliar spaces. Through the language of toys, figurines, andcollectibles in their form, content, and size my works deal with the imaginative. Thiswork is also interested in the ontological and epistemological position ofrelationality in that it explores relationships between objects and discourse throughplay and assemblage. My work begs to be arranged, rearranged, and played with. Icreate a visual language or encyclopedia of ceramic objects that I later curate,collect, or play with. Texture and form drive my decision making as well as a desireto keep the content and narrative fluid.The work is about exploring the vernacular of parts and the relationships that theycreate together, and setting in motion an implied narrative that the viewer is verymuch empowered to consider and enter into. These objects in their juxtaposition ofeverydayness, abstraction, and figuration, resist and invite narrative while rejectingossification as a single author-driven story. Depending upon who curates (interactswith, arranges, etc.) the collection of objects different stories unfold

Ben DruckerKennett Square PAPrince AlbertPorcelain, 4.75" x 4.75"x 3.5"$300 In 2002, during a time of personal struggle, Ben, then a young teenager unknowinglyembarked on a journey that would shape his life. He discovered clay, a medium thatbecame a companion on his path. For years, clay took him to new places, but nomatter where he went, the young man couldn’t escape himself or the monster thatlived inside of him. Eventually, he parted ways with clay, drifting further from thesense of peace it once provided and closer to the chaos the within provided.Years later, now a man, Ben found himself lost again. This time, however, it wasdifferent, clay found him. It reentered his life and, in doing so, saved him. Clay hasbecome his cathartic release, a way to channel his emotions and find balance.Through his work, Ben invites others to experience the transformative power of clay,just as it has shaped and healed him.

Yeonsoo KimExeter NHRelationship goalCeramics, 11"x11"x16"$2,500 My work embodies consistency, precision, and meticulous craftsmanship, emphasizingthe interplay between intentionality and spontaneity. Delving into the dialoguebetween tradition and contemporary art, I am driven by a relentless pursuit to expandthe boundaries of ceramics as a medium of expression.Each piece I create serves as a canvas for a diverse cast of characters, engaging in silentconversations that speak volumes through their nuanced expressions. Thesecharacters, often bearing semblances to self-portraits, invite viewers into a world whereimplied images and narratives converge.Exploring the intricacies of daily existence, my work serves as a reflection of myongoing quest for artistic identity. Through the recurring motif of 'Listening,' I delveinto the depths of human emotion, transforming abstract inner experiences intotangible visual realities.Ultimately, my art serves as a bridge between the tangible and the intangible, invitingviewers to contemplate the complexities of the human experience and the ever-evolvingrelationship between self and surroundings.

Ray BrownOxford MSMugPorcelain, 4"x3"x3"$85 I make utilitarian pottery with the intent to provide the user with anentrance into a memorable and contemplative experience. Crafting works that aresoft, inviting, generous, and strong, I intend for the user to leave with a sense ofthoughtfulness and curiosity. I wish to achieve cohesive forms that capture aconfidence of line, with supporting crisp and energetic surface decoration. Both insurface and form, I strive for a captured, pressurized volume within my work, as ifthey are inhaling. Furthermore, I am interested in translating curvilinear patternsand line work into three-dimensional forms inspired by architecture and forms fromthe Streamlining Era. By exploring these iterations, I create forms that are groupedor assembled into utilitarian pottery focusing on jars, flower vases, and teapots.Overall, through playing with proportions, surface, and color I hope to create atactile and visual experience that prompts the user to slow down.

Lori RollasonHillsborough NHRanunculus TeapotStoneware and Blue Slip7 1/2"x4 1/2"x6 1/2"$280 Lori is a potter. For her, the magic of creating a volume, defining boundaries using alump of clay and a potter's wheel, has never grown old. She thinks of her work withclay as an opportunity to capture a moment in her life that will endure into thefuture. Her work is inspired by pottery forms made throughout history coupled withimagery drawn from textiles and the flora present in her environment. She enjoys theslow process of making her work. She works in series, throwing 6 to 12 similar formsand then uses several surface decorating techniques to complete each piece. Her goalis to create useful, beautiful, objects reminiscent of historic works while referencingand remaining relevant to the present, that will endure into the future.

Joseph PintzColumbia MOMedium Serving Bowl8.5"x8.5"x3.5"$90I grew up in a household that placed a high value on food. Both of my parents loveto cook and bake. Growing up, we ate nearly every meal together at home aroundthe dinner table. These meals often featured fresh vegetables from the garden orthose we had canned. Through experiences like this, my parents taught me thevalues of working with your hands and being self-sufficient.Sharing food with others and making the time to eat well are ideals I try to live upto in my daily life. The stubborn physicality of my pots forces one to slow down andpay close attention to the moment. In an age of ever-increasing speed, the dinnertable is the perfect place to savor – to spend time, to share food and vessels madewith integrity and purpose. I sincerely hope that such sustenance allows us todevelop a deeper relationship to making and to each other.

Nathan WilleverPhiladelphia PATwo PitchersWild Clay, White Slip, Clear Glaze5 1/2"x5 1/2"x14.5"$350 and $325I make pottery because I love the process of its creation. I pay close attention duringeach part of the process in an effort to make pots that are thoughtfully considered.My work is designed for everyday use and is inspired by folk pottery traditionsacross the world. German, Korean, early American pots all have a wonderful energythat I try to capture in my work. I use locally sourced dark stoneware clays withlayered slips and glazes to achieve a surface that has a deep, atmospheric quality.My pots are complete when they are in service, bringing a sense of humanconnection to the user.

William McKinneyKirksville MOAnthropegmatitic Rock Clay, Slip, Underglaze, Glaze17"x 3.5"x 12.5"$3,000 William McKinney's work explores humanity's impact on nature. The mining of coaland natural gas in his home region of Appalachia has irrevocably damaged theenvironment. This destruction, driven by profit, is not unique to Appalachia but aglobal problem. McKinney's ceramic sculptures aim to express the tension betweenEarth and industry and inspire viewers to act.Through color, texture, glaze, and pattern, McKinney conveys both the destructiveforce of industry and the resilient beauty of the Earth. Drawing upon his experiencesliving in West Virginia, he combines contrasting imagery to create tension andbeauty within his forms.

Colin VentColumbus OHShino Stoneware Guinomi #1Stoneware3"x3"x4"$50 Colin Vent received a BFA in ceramics from the Ohio State University in 2005, andthen spent 18 years away from clay before diving back into the mud in 2023. He’scurrently focused on creating functional wares to explore the back-and-forth culturalexchange between Japan and the United States, specifically how Japanese pottery andglazes influenced US studio ceramics, and the concurrent rise of American Hip Hopculture in Japan. He’s developing two bodies of work, one to explore the extremes ofShino-type glazes on deeply carved stoneware guinomi, and a second that decoratesOribe-type stoneware pottery with brushwork Hip Hop iconography.

Marsiella CatanosoPhiladelphia PATrio Tulip Brick VasesCeramics - Terracotta, Slips18.5"x 2.50"x 6.25"$300 Working with clay has always been my passion. It’s a material that’s been used formany generations throughout different cultures, leaving its mark in the world thatwe live in - especially my own. The pieces I create can be either functional ordecorative, ranging from cups for coffee to flower brick centerpieces, to evolving myseries into sculptural vases with more surface patterns to push my boundaries indesign. When I am in the studio, I enjoy the process of creating forms. Once I have aform completed, I start my canvas layering system. I incorporate subtle textures anduse colored slips by applying various layers to the surface of patterns and floraldesigns. My influences come from capturing eclectic objects that I’veencountered in my travels. I’m inspired by brightly colored city murals andurban gardens from living in the city of Philadelphia, the rural landscape ofwildflowers of the Blue Ridge Mountains in southwest Virginia, and the rusticfacades of historical villas in Italy.

Zhanna MartinMedia PAGrandmaClay, 12"x7"x6"$1,200 Zhanna Martin portrays people's emotions, expressions, and human nature throughclay. Through clay busts, she evokes the human experience of smugness,carelessness, drunkenness, joy, sadness, melancholy, or sullenness. Her intention isfor the observer to find humor in my work, while recognizing the truth of theemotions expressed. To her, emotions are what makes us human, and facialexpressions are the voices of those emotions. She uses clay to express herobservations on the basic humanistic qualities that surround her and that surroundus all.

Simon van der VenLincolnville MELarge Box Vase w/ HomeWood-fired stoneware10.25"x10.5"x3.75"$725 I follow these threads throughout my life: making things, cooking, looking, sailing,teaching, being a father. I have never let go of the stage in which I learn from myfingertips inward.

Melissa ZookCoatesville PAVessel 21.24Stoneware7 1/2"x6"x14"$625Melissa Zook's thrown and altered porcelain and stoneware vessels juxtaposemodern minimal forms and organic mark-making. Using visual and hapticlanguages, she employs additive and subtractive processes to convey a sense ofinterruption on her surfaces, engaging the viewer and vessel in a tactile experience.Through exploration, being surprised, learning from the materials and process, andembracing the character that imperfections impart, Melissa infuses her vessels withthe suspense created by the continual evolution of thought and creation. **Hercurrent pieces explore the juxtaposition of form and the panoply of armor, beingdisjointed and hovering away from the body it is at the same instant, a part and yetseparate from the form.

Constance McBrideWest Grove PALonely Girl Room 6123Stoneware Paper Clay, Oxides, Stains, Under Glazes, Wire18"x10"x10"$1,600 I often use clay to explore the human condition, the integral element connecting usall. Living in the Southwest, where pottery traditions have lasted thousands of years,greatly influenced my approach to it. I tend to throw light on the complex issuesexperienced by women; harassment, abuse, marginalization and ageism.Simultaneously, women struggle to remain relevant, take care of their physical andmental health, and maintain financial stability. I began working on The Lonely Girlsafter my mother was diagnosed with Alzheimer's disease and moved from her ownhome to a nursing home. Seven busts were made between 2011 and 2013. During thepandemic, I felt a need to revisit the series. Thinking about how she navigated herremaining years coupled with statistics, including that women with dementiaoutnumber men two to one, nudged me into making more. Between 2021 and 2023seven more were completed. Life is difficult for women in general but becomesespecially hard once an illness prevents them from engaging in society as usual.When that illness is dementia, it’s nearly impossible. Of the 6.2 million Americanswith Alzheimer’s age 65 or older, almost two-thirds are women. I hope to raiseawareness with this series.

Taty HernandezLos Angeles CANiñx con flores de campored clay ceramicsfigure: 7.25" x 3.75" x 11"$1,100 Taty Trinidad Hernandez is a Zapotec-American artist residing in uncededTongva Territory (Los Angeles), and Santiago Matatlán, Oaxaca.Their work centers themes of queerness, indigenous futurism, memorytechnologies, and the quotidian as high-tech. Hernandez’s figurative sculpturesdocument the queer Indigenous community in Latin America and the diaspora.Upon learning oral history traditions from their elders, Hernandez realized thatboth storytelling and clay and earth-based mediums are technologies that holdancestral memories. They use these memory technologies’, as they coin it, todream up queer Indigenous futures and presents. The figures in their work areaccompanied by culturally significant markers such as maguey, wild cempazuchitlflowers, and farm animals representing a commitment to nurturing nature,gentleness, honoring queer ancestors, and rebellion. Most recently, they received a Recognition Award from the City of Los Angelesfor their artistry and cultural work with Latin American Indigenous youth. From2024 - 2025, Hernandez will be leading Indigenous Futurisms and ClayTechnologies workshops across Los Angeles as part of PST ART presented byGetty. Hernandez studied in Cuba’s Instituto Superior de Arte, Penland Schoolof Craft, and Swarthmore College. They’ve spoken about their work at HarvardUniversity, The Barnes Foundation, Mural Arts Philadelphia, and NCECA.

Christine OrmsbyHavertown PARomeo PlatterPorcelain, 13"x13"x2"$275 Christine Ormsby is a painter and potter living in Havertown, Pennsylvania with herhusband and their cat, Romeo, a frequent subject in her work. Taking inspirationfrom nature and leaning on her background in painting, she applies slip imagery tothrown porcelain forms. Christine looks to instill humor and beauty into functionalobjects to make preparing a meal or washing the dishes a more joyous experience.She is drawn to the imperfections of handmade objects and seeks to create piecesthat add warmth and whimsy to the kitchen cupboard.

Noah MillerAmericus GAYellow Springs VesselCeramics, 17"x12"x13.5"$250 Noah Miller engages the Good, True, and Beautiful by exploring the intimaterelationships of the ceramic vessel through bodily proportions, function, andmaterial process. He loves the personal relationship one fosters with a vessel oneused to feed oneself and the innate, warm qualities of the clay that brighten theeveryday.

Susan ThomasCoral Gables FlFish and FlamingosClay, white stoneware7"x7"x 8 1/4"$170 I love clay, flowers, plants, critters and color. It is a joy to combine these into objectsfor everyday use. I love thinking about pots, using pots, looking at other people’spots, but mostly making pots that make the user smile!

Sharon BartmannArdmore PAAbandoned America #1Clay with mixed media cold finish15"x 3"x 5"$525 My work begins with a clay structure. Coming from a family of architects andpreservationists, I am drawn to the history of buildings and what they once were.My imagery is from original photos of the areas where these structures once thrived.My narrative with my mixed media is to tell their stories. Through photos, printmaking, silk screening and other techniques I create a story. The piece is thenbrought together using encaustic wax medium. My cold finishes allow me to bringmy ceramic pieces to life.

Ken McCollumNew Concord OHSenior Ceramic DevelopmentEarthenware23 1/2" x10"x7" $400 The submitted art work titled Senior Ceramic Development is one of a series Ivebeen working on for the past four years. I left my teaching post at MuskingumUniversity after 20 years and began to develop forms that are medallion wallpieces. I built slab type molds and used red grog for my clay. I had made multiplewall clocks but in the past 18 months I ve switched to medallion wall forms andvertical organic forms as is seen in the submitted art work for jury.My design work developed using incised line, underglaze black with variousunderglaze colors applied with a slip trailing bottles. I am following a theme ofdesign that challenges the viewer to see multiple images in patterns.www.kenmccollumceramicart.com

Luke OttPottsville PARainbow Trout MugStoneware, Underglaze, Glaze, Cone 64"x5"x4"$125 My journey as an artist is rooted in the wisdom passed down from my fatherand a strong connection to nature. Through the medium of handmade, slab-built ceramics, I translate these influences into tangible illustrations in, aswell as on, clay.My passion in ceramics falls within the anagama where my functional workoften teeters on the edge of sculptural. I meticulously craft each piece tocatch melting wood ash and the brush strokes of flame, creating results thatcannot be replicated through any other process. Currently, however, myexploration of illustrating on clay has led me to new territories of paintingwith underglaze. My submissions exemplify this range within my work.With every piece I craft, I strive to capture my father’s enduring lessons andmy embrace of nature. As my hands mold clay and fire breathes life intoform, I invite those who encounter my work to join me in the celebration ofthe beauty that surrounds us.

Anne MoserChicago ILDark Wash Denim Triple TraysBlack Porcelain, 14"x11"x .5"$80 As a formally trained industrial designer of 32 years, I’ve spent most of my lifedesigning consumer products amid manufacturing constraints, tight margins,delivering solutions appropriate for high yield production. There's an inherent guiltassociated with my profession...eventually my "work" ends up in a landfill. Thatheavy reality led me to pottery.There is emotional and personal connection naturally occurring in handmade goodsthat attracts me. My relationship with pottery allows me to explore creative ideasfocusing on elegant 3D forms, ergonomics and modern decoration without thelimitations of mass production design. Pottery gives me a sense of authenticexpression, constant challenge, accomplishment and freedom.I love designing everyday, essential pots - tactile, balanced mugs, multi-use bowlsthat become go-to favorites in the home. I focus my work on function first, with thecomfort and delight of the user always in mind. I hope my work conveys my passionand delivers on the personal joy of having something unique and one of a kind.

Bob DeaneMedia PACarved GourdStoneware, 12"x13"$600 The challenge and success of creating a piece of ceramics is to make someone wantto pick it up and use it. It is a confirmation of ergonomics, function, and beauty.

Liz HoweSaratoga Springs NYBlue NomadCeramic, polymer8"x5"x10"$700 My work explores the Anthropocene, the current era where human impact hasdrastically altered Earth's ecosystems. Artistically grounded in Surrealism andMinimalism these sculptures explore themes of environmental instability and humanisolation.A recent artist residency in rural Japan profoundly influenced my approach to thesethemes. I became particularly inspired by Yorishiro objects believed to attract divinespirits in Shinto beliefs. The idea that natural elements, such as trees or rocks, couldbecome vessels of spiritual energy offered a new perspective on theinterconnectedness of humans and nature. In this context, I began to view mysculptures not merely as objects, but as contemporary Yorishiro’s sites for reflectionand transformation amidst the current ecological crisis.

Susan BankertParkesburg PAWide Mouth vase wood/salt, 3"x9"$140 I strive to make pots that possess an inviting, tactile and sensualsurface, which attracts both the eyes and the hands of the user. I loveseeing my pots filled with food and gracing a beautiful table,experiencing friends and visitors interacting with these pieces, oftenover a meal. It is this daily, tangible interaction with art made by thehands for the hands that I find so delightful.

Kate SutterMeadville PAHot Sculpted GooCeramic Foam6"x15"x4"$600 I use chemical properties as sculptural tools. As a former biochemist turned ceramicbubble enthusiast, I developed an expanding ceramic material I dubbed Goo. Heat-activated growth forges the Goo’s structure, while glaze chemistry stabilizes thematerial as it expands. This pyroplastic glass mass traps bubbles within a viscousflow. Layers fold and ooze in response to the firing environment, leaving evidence inthe material’s formation. High surface tension stabilizes the chemically dissolvedoxygen as it decomposes into the glass matrix. By adding foaming agents and bubblenucleation sites, I increase the expansion potential of this ceramic-glass hybrid.I meticulously track the material’s evolution, constantly pursuing the ultimateceramic bubble. Grounded in material science, glaze chemistry, and bubble physics,I explore the delicate balance required during the firing process. I push for maximumfoam expansion without exceeding the material’s chemical limits pushing too farturns it into a molten puddle of glass. Each firing informs the next, driving myongoing experimentation.

Maya WasileskiPhiladelphia PAMannered Temperance Stoneware, colored slips,underglaze, clear glaze,9"x9"x15" $850 Maya Wasileski is a Philadelphia-based potter and studio technician originally fromoutside Harrisburg, PA. She earned her BFA in Studio Arts from West ChesterUniversity in 2021 and worked as a kiln technician at the university’s ceramicsprogram. Maya is passionate about teaching and has led the Community Clayprogram, clay summer camps, and adult classes at The Clay Studio.Specializing in functional ceramics, Maya focuses on highlighting the unique effectsof gas and soda firings. Her larger works feature intricate surface designs createdwith sgraffito and mishima techniques, blending her background as an oil painterwith pottery. Her pieces often explore dream-like, moody interiors, using warpedperspectives to explore the space between sleep and wake.

Doug HerrenPhiladelphia PAGreen Vase FormCeramic, 22"x20"x14"$4,000 For over thirty years, I’ve evolved from a functional potter to a sculptor of large-scale vessels and fabricator of tables and stands. After earning my MFA in 1992,I’ve completed two long residencies and taught ceramics at the university level forover fifteen years. My current work blends my potter’s roots with sculptural forms,using bold colors to reference abandoned industrial tools.Primarily working in ceramics and wood, I aim to combine the intimacy offunctional pottery with the boldness of industrial forms. My recent shift to enameland casein paints allows for greater control over color and texture, while the wheelnow serves as a tool for parts rather than a focus on traditional pottery.In parallel, I create stands and tables that match the industrial aesthetic of myvessels, tying both elements together. While physically challenging, my process isinfused with energy, and I hope the final works convey a sense of playfulness andexuberance.

Lyla KaplanDowningtown PACloud SeedingWoodfired stoneware, porcelain, and glass10.75"x8.25"x9" $250 Pottery can be a conduit that helps us connect to our geological and historical past,food, each other, the moment, the earth, and the universe. Perceived through thesenses, a pot can provoke a feeling that can be difficult to describe, perhaps becausean empty pot holds an invisible potential. Clouds and rain are metaphors for the joyfound inside of tears. Lyla throws on an old treadle wheel, often adding slips, andaltering the form, and then plays with glazes and the kiln atmosphere to highlightthe transformation that emerges from the interaction between time, temperature,and elements such as iron and oxygen. It is an endless cycle of searching for themagical, liminal space between internal/external, emptiness/fullness, inhale/exhale,oxidation/reduction, joy/sorrow, and function/experience.

Tyree DworakOttsville PASharing A PicnicCeramic and Found Object15"x24"x10"$1,200 Tyree has drawn inspiration for her work from the world around her throughout hercareer as a visual artist. From painting bucolic farm scenes and animals to sculptingwoodland creatures, she has made a large variety of things for a large variety ofpeople over the years. However, in the last two years, she has found a home withceramic sculpture. Tyree creates figures in clay and has cultivated her own style ofslip application to create texture while using her painting background for a varietyof surface treatments. Tyree deftly combines skills and materials across mediums tocreate stories with her whimsical sculptures. Inspiration might spark from a foundobject or some personal tale. Regardless, the feelings Tyree portrays are universal:humor, joy, curiosity, loneliness, love. Tyree’s work invokes a feeling of kinship inher viewers: they are part of her world and she is a part of theirs.

Hongmi Kim HoogWatchung NJuNtItLeD_XVWhite clay, Stoneware, Several Pigments w. Porcelain, 22%real gold luster overglaze. 15"x15"x12"$4,200 In her artistic journey, she finds immense joy in layering and blending various clays,porcelain, stoneware, and earthenware. This technique allows her to showcase eachclay’s unique colors and properties, resulting in visually captivating pieces. Byincorporating color pigments, she adds depth and complexity to the layered clay.Her preference for round shapes invites a tactile experience, evoking a sense ofmotherhood, while the jagged, unfinished edges create visual intrigue and a sense ofrawness.To enhance elegance and sophistication, she employs overglazes that introduceadditional layers and colors. The interplay of crystal glazes and pattern-layered claysresults in vibrant works with intense luster overglaze. This fusion of materialscaptivates viewers and symbolizes the beauty and durability that arise from diversityin art. Each piece she creates serves as an exploration of texture and color, reflectingher journey and inviting others to engage with the depth of her craft. Through thisprocess, she aims to connect with her audience, celebrating the intricate relationshipbetween nature, art, and the human experience.

Pam LauLincoln University PASingle Stem VaseWhite Stoneware3.5"x3.5"x4"$50 eachPam Lau works at her studio in Lincoln University PA. She is interested in gardeningand cooking, which has greatly influenced her clay practice. Pam considers how herwork can impact daily living. During making she imagines food on plates and flowersin vases.A fairly recent design is her single stem tendril vase. Originally imagined, the singlestem vase was meant to showcase one small violet blooming in early March. Pam hassince made hundreds of these vases and still becomes amazed at the interaction offlower and vase when used. Without the flower, the vase is often questioned: what isthis? A vase containing a flower enables the flower to fully reveal all its parts,including the often overlooked stem and leaves.Pam is very thankful for her life in clay. She makes work to enrich daily rituals. Shehopes that everyday tasks of eating, drinking, cooking, and living are just a little moremeaningful with handmade domestic clay objects.

Timothy CarrNewark DEFête de l'EscaladeStoneware, underglaze, clear glaze18"x10"x 24"$1,400 As a Swiss-Canadian immigrant living in Philadelphia, I strive to describe theintersections that exist in my identity through an expressive, introspective outlookon ceramic as an art form.

Diane PonticelloWest Chester PAOn and On and OnCeramics, 5"x11"$750 Diane is a Community Arts Center trained potter, and the recent pandemic helpedher settle into a new stage of alternative firing techniques, and seeing the nearlyinstant final results has been so gratifying. The addition of custom beadwork to herartwork elevates the pots to a colorful and unique statement. Although not a NativeAmerican, growing up on an Indian reservation in the Midwest has definitelyinfluenced her color choices and designs.

David OrserParsonsfield METall Footed Bowl depictingNorthern SkyPorcelain, 10"x10"x5"$600 David Orser has been making pottery and sculpture for more than forty years.After an early interest in photography and painting, he turned to clay while astudent at The School of The Museum of Fine Arts, Boston. He received hisMaster of Fine Arts degree at Cranbrook Art Academy.He returned to Boston and taught at the Museum School for fifteen years.He has had workshops and residencies at The Tuscarora Pottery School, MudflatClay Studio, Penland, and The Chester Springs Studio. His work has beenexhibited nationally and is in museum and significant private collections. He enjoysregularly returning to a variety of bodies of work, including wall tile pieces,sculpture, porcelain, and anagama wood fired wares.

Bradley KlemDenver COTeapotporcelain, China paint, luster9.5"x8"x7"$450My work draws on the historical and cultural significance of ceramic vessels toaddress one of the most pressing issues of our time: humanity’s impact on theenvironment. Ceramic objects, varied in form and origin, have long symbolizedsustenance and permanence. Today, however, they stand in stark contrast to thefleeting, mass-produced products of the petroleum industry, which lack the deephistory ceramics embody. These familiar and storied vessels act as Trojan horses indomestic spaces, quietly carrying conversations about our planetary fate.The work is graphic and vibrant, luring the viewer in, only to confront them with thejuxtaposition of ceramic beauty and petroleum-derived waste. This clash prompts acritical reflection: why find beauty in pollution? I urge viewers to rethink theirinteractions with petro-objects, pushing for a recognition of how our currentpractices may be enshrined in history. The question is stark: will we let plasticsdefine our era, or can we rally for change, preserving the natural beauty oncecelebrated in our art? These are the pots of the Anthropocene.

Skeffington ThomasMonroeville NJBottle form "Embrace"Stoneware, 28"x7"$2,200 The bottle form has long been valued for its function, but it also offers a canvas forartistic expression. As a ceramic artist, Skeff explores the relationship between formand surface, using the elements of earth, air, fire, and water. The bottle allows forfluid, dynamic shapes that, once fired, become rigid and durable like stone or glass.While simple in appearance, the bottle's creation is complex, turning a familiar forminto a sculptural object. Inspired by ancient amphorae, Skeff’s bottles are functionalyet serve as contemporary expressions of classic design. Each vessel is designed tohold space—literally and metaphorically—emphasizing that, as Lao Tzu said, "It isthe space within that makes it useful."Crafted on the potter’s wheel, these bottles capture the negative space inside, whilethe exterior becomes a canvas for contrasting colors, textures, and patterns.Through this combination of form and decoration, Skeff transforms functionalobjects into dynamic works of art.

Wendy LissDevon PATranquilPit-Fired Ceramic, 9"x3'x9"$800 I create hand-built ceramic sculptures and sculptural vessels that convey a senseof gestural movement, as in dance or a crashing wave. Along with focusing on theenergetic flow of each piece, I combine contrasting elements such as smooth andtextured, gloss and matte, organic and geometric, to give the work its physicalpresence. The play of light and shadow offers an additional dimension to thefinished object.By working three dimensionally, I can flip or turn a piece which allows anotherworld to open up to me. This shift in perspective influences my perception anddictates how I proceed. Responding to these shifts becomes my meditation onhow perception is shaped by perspective. I approach each sculpture, as I do in mylife, prompting a balance between conscious intention and intuitive response inthe moment.

Meg BeaudoinStone Ridge NYMother Tree Bottle Stoneware, natural ash glaze4"x4.50"x24"$1,800 Meg Beaudoin’s work is a conversation- between the hand and the material, theform and the fire, the work and the viewer/user. She chooses to wood fire herwork so that there is never a point in the process where the conversation stops.Being in a conversation from start to finish also means never being in completecontrol. The work is always more than a reflection of the maker and that issomething that is valued. Meg does not consider her work to be an act of selfexpression as much as an attempt at world expression. It is a way of connecting tothe natural world, of making the natural world real in the moment, both inrelation to herself, and for the viewer/user in relation to themselves. Meg’s workis inspired by the natural world and aims to reflect the color, depth and perfectimperfection of natural forms. As with natural forms, imperfection is not ashortcoming, but a source of beauty- the irregularity of the bark of the tree or ofits trunk as it adapts in its growth around boulders. It is such beauty that herwork strives to make manifest.

Kelly DevittCreston IAContainedCeramic, 15"x 15"x25" $500 The human body is a container. It holds precious elements that give life, but it alsoencloses inner thoughts and emotions that are created by the individual. Skin is theultimate protector of the body. It shields the inside from harmful diseases andprotects from the abrasive elements that are looking to cause harm. Skin is awindow, allowing those that live beyond to simply gaze inside and experience theinformation that is meant to be private. In moments of embarrassment, anger, andhappiness, the skin displays this information for all to see, often betraying thepermission of the individual wearing it.I create ceramic sculpture that portrays daily rituals in preserving skin as well as themoments when emotion is being translated using one’s skin. Skin is often on thereceiving end of harmful actions that are triggered by anxiety and internal thoughts.The application of creams, serums and ointments are done in a ritualistic as well as acompulsive manner to ease pain and involuntary itching.

It’s important to show and share work.As an institution with the mission to share, preserve, and celebrate theunique, living village of Yellow Springs—while focusing on history,arts, education, and the environment—we enjoy welcoming newvoices to these spaces and learning from what they have to say.Through interactions with new artists, their work, and their ideas, wehope to inspire the community and advance conversations about thepotential of clay. Each day, our studios are filled with students andteachers working to hone their craft as makers. Exhibitions providenew connections that spark inspiration and fuel the next round ofcreativity.We extend our thanks to the participating artists, the staff andvolunteers who made it all possible, and, of course, to Chris for hiscuriosity and guidance through the challenging jury process.It truly takes a village to keep curiosity thriving, and we are confidentthis year’s exhibit will do exactly that.We look forward to seeing you around the village again soon.Tim Compton Executive DirectorHistoric Yellow Springs*some text in this booklet has been modified from its original version to fit

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