Peter Jadoonath - Host Potter
My focus is making pottery for twenty-five years has been about wandering within the material. I’m better at asking questions than I am at providing answers. If there is a defining goal for me over this time, it’s been to make drawings that are pots and pots that are drawings. It’s never been my intention to have a style, there were times I pursued “style”, but most of the time it was aspect or technique that I lifted from elsewhere and then I proceeded to beat it into the ground.
It’s taken me a long time to express myself within the material. Part of that was developing a toolbox of skills, but another part of that was me just getting tired of not being honest with who I am or what I am interested in. People often say to me “you change your work so much”. I’m not sure what to say. I’ve never seen it as much of a change, its just evolution for myself. If I couldn’t do that then I would find something else to do.
I stumbled in to making pots at Bemidji State University in 1996. The material and the rich tradition of craft in Minnesota was alluring. Over the course of time, I worked in a Lowertown St. Paul, eventually a basement St. Paul home studio, and now to studio in Shafer. We’ve been putting on the Backyard Sale in since 2010. Fun is always the goal.
30208 Tern Ave, Shafer, MN 55074
Showroom open by appointment
Kurt Anderson, Spruce Pine, NC
Invent a universe. Give it its own rules, it’s own logic. Break the rules, bend the logic. Fill it with beauty and terror. Laughter and joy and misery sorrow. Don’t leave anything out. The breadth and width of human emotions. It’s all valid. Doodle it. Doodle hard. Doodle your way to victory. Don’t forget who you are. Don’t forget where you came from. Once you were a kid watching the Jetsons all alone on Saturday. You were the dog left at the shelter, the free kitten at the grocery store. The awkward teenager with the gay dad, terrified people would find out. Now you’re a stone gargoyle perched atop the cathedral, wondering WTF is going on down there. You’ve seen so much. Packed it all away. Remembered all of it. Use all of it, feel all of it. They invited you in so tell them all about it.
kurtcharlesanderson@yahoo.com
www.instagram.com/kurtandersonpottery
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Sarah Dudgeon, Amery, WI
Sarah creates functional, wood fired stoneware. She grew up on a farm in SW Wisconsin, the second oldest of 10 kids. An upbringing that prepared her well for her life as a wood firing, studio potter. She earned her BA in ceramics in 1997 from the University of Wisconsin-LaCrosse. In 2001 she purchased an old general store near Amery, Wisconsin and converted it into her studio and home. Her work is thrown and hand built, then glazed, using a wax resist process. She enjoys the magic of wood firing, as each piece is a surprise as the kiln is unloaded.
Christina Erives, Arleta, CA
I think what has stood out to me most since entering the field of ceramics is the community of people it seems to always attract. Clay has the power to connect people from all over the world and as a material offers us so much malleability giving us the opportunity to share our individual stories in such a beautiful way as it takes on an endless possibility of color shape and form. Ceramics as material has permanence, it is one of the ways we were able to learn about ancient cultures. There is so much beauty in these traditions and my aim has been to make a mark of my time that will be preserved in the history of ceramic objects.
christina.erives@gmail.com
www.christinamargaritaerives.com
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Hiroe Hanazono, Philadelphia, PA
Originally from Japan, I am a Philadelphia-based ceramic artist who produces uniquely designed porcelain and stoneware tableware in my home studio.
My upbringing in a Japanese household and my life-long passion for food drive me to design and create dishes that enrich the presentation of food while enhancing the dining experience. I create work that consists of simple line forms with muted surface colors. The minimal design of my forms create an ideal setting for the display of food. My process includes wheel throwing, hand-building to slip casting.
Ryan Myers, Stoughton, WI
I was raised on cartoons and comic books, superheroes and villains. I grew up around Native American artifacts and American antiques. I learned to appreciate the intimate qualities of aged objects: the textures of rusty iron and crawling paint on old furniture, and even the musty smell of ripened books and magazines. Things that come with embedded narrative and a worn history have always surrounded me, and therefore, influence me. I am attracted to nostalgia and drawn to the curious—to something unusual but familiar—to something that creates a linkage across time. Toys, Latin American ceramics, architecture, our human relationship with the environment, and the American folk face jug tradition started by early American potters, influence my work. From the very beginnings of mankind, civilizations have produced figurative works in clay. The work tells us about those peoples’ everyday lives, hopes, fears, struggles, triumphs, and cherished deities. The figure in art has limitless possibilities and is a subject matter that everyone can relate to. Many of the objects I create join the realms of sculpture and utility. I am not always concerned with “pretty”, though I do believe that form, color, and shape are important. The notion of function in my work is important as well, but is not the primary focus. My vessels are created using a combination of thrown and hand-building processes. Many pieces are fired multiple times to achieve my desired effect. Each object carries its own story and history that is created as the viewer relates to that vessel, and uses it in their daily life.
Lisa Orr, Northborough, MA
My artworks for the table refer to traditional porcelain or restaurant whitewares, but with softer forms inspired by the playful and abundant qualities of Mexican earthenware. After forming pieces in molds, on the wheel, or both, I finish with gestural animals, stamps, slips, sprigs and multihued glazes. To some, my jeweltone glaze colors evoke a healthy garden in bloom or an underwater seascape. My colors, textures and strength of my forms set my work apart; my forms are muscular and strong but also fluid. I engage both ends of the spectrum, from the dynamic and substantive to the detailed and dreamy—I celebrate tiny surprises in my work. My colorful, shapely earthenware looks best holding a freshly prepared meal on the table.
Lindsay Oesterritter, Manassas, VA
My work is inspired by the inseparable relationship between time and place, and form and surface.
River stones, worn leather, and antique industrial objects are all uniquely changed by the environment in which they exist. When I work with clay I convey a similar narration of time and place. I work in an intentionally straightforward manner, choosing the clay and combination of processes for the marks that will be left behind. The processes of making are recorded on the surface of the object and begin to reveal the qualities of the material and tell a visual story.
I utilize the wood firing process and reduction cool techniques to continue to highlight form and surface variations, and reference the slow and continuous passage of time. Through wood firing, the form and surface become unique to the singular object.
Joe Singewald, Cold Spring, MN
I am a functional potter working in central Minnesota. My forms are influenced and inspired by the history of pots and potters who gathered clay, formed, and fired kilns.
I love how clay and glaze promote all possibilities of gestural moments that are forever recorded: soft finger marks left in the wall of a yunomi, hard-edged tool marks on a cut soup bowl foot, or thick, flowing glaze poured over a dinner plate.
Without limits, I am consistently exploring methods of achieving surface depth by layering clay and texture, slip and glaze. Unloading finished pieces from a glaze kiln only promotes my desire to experiment, with hopes to discover a new subtle element of excitement.
joesingewaldpottery@gmail.com
joesingewaldpottery.com
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