Brenda Lichman

I love the design and detail that ceramicist Brenda Lichman puts into her work. She is fascinated by the process of ceramics and loves leaving her individual touch and personality on each piece she creates. I was drawn to them because I am currently creating pieces that have some wavy edges, and I love how she handles this detail in her work. She says in her statement on artaxis.org that she adds thick slips to the outer surface of her pieces, which give them soft fluid contours. After seeing the effect that this has on the finished piece, I think I would like to try this technique in my own work and see if I like it. I also love the coloring on her vessels, which is something I am still thinking about for the set I am making right now in class. I have the overall design of the pieces in my mind, but I am unsettled on a color scheme or specific glaze... but I love the one directly above this paragraph... such lovely reds and browns. 

Brenda is currently working as a studio potter and teaching in Wichita, Kansas Check out more of her work on http://www.artaxis.org/ceramics/lichman_brenda/brenda_lichman.html. (All images from artaxis.org).

Simon Levin

These pieces by Simon Levin are from a series he did in 2007-2008, found on accessceramics.org. My attraction to them, other than their fantastic glazing and use of color, was their surface textures. I especially love the vase just above on the left that has the angular grid type of pattern with the soft tan and salmon colored glazing, interrupted by what almost looks like a soaring asteroid (or falling orange slice... either one). I am also a huge fan of the tumbler at the very top of these images, which almost has the appearance of lightning crackling to the ground on a rainy afternoon. 

I would love to know how Levin achieved these visual relationships and contrasts, but it seems like they would be impossible to imitate since he has created not only his own pieces, but also his own clay, his own kiln, has determined the length and qualities of each firing, and then responded to the individual results. Thus, these pieces are completely unique to Levin, and I love that. He states in his "Philosophy" on his website that he works in this way, is in control of all these steps in the process, in order to really connect himself with the pottery. And he loves the intimate relationship that one can have with the piece after it is finished: the time they spend holding the cup, cradling it in their hands, touching it to their lips...interacting with that object. 

I love this as well. These personal touches on objects we use daily make them so much more precious and enjoyable. When I reach into my cabinet to pull out a bowl in the morning, I always gravitate toward the two I have from ceramicists in Nevada, and each time I use them I admire their individual qualities, knowing they were made and designed by people I knew. Levin quoted his friend on the home page of his website, who said this, "I find that when we are setting the table or doing dishes that we linger over our pottery a little longer. I think it is to take a moment to touch the hands of the person who made it and remember the good times and good friends and good travel that brought that piece to us." This is how I feel when I use those individual pieces of pottery I have. It is more than just a bowl, it is an artwork. I love bringing art into our everyday lives through pottery.

Images from:

 http://accessceramics.org/results/artist/130/

Information from: 

http://simonlevin.com/home and http://simonlevin.com/philosophy

Yoko-Sekino-Bové

"Same old" teapot, 2011

Unsolved mystery sauceboat, 2009

Hanafuda Sake drinking game set (detail), 2011

Hanafuda Sake drinking game set, 2011

"Wedding gift (chamber pot"), 2010

 

 

 

Josh Deweese, American Ceramicist

© Josh DeWeese, Wood Soda Fired Porcelain Liquor Set
10 x 16 x 12 inches, 1999

Basket, Woodfired salt/soda glaze, 2010

Josh Deweese, Woodfired Stoneware Jar, 2007

Oil & Vinegar Set, Stoneware, Salt Glaze, 2007

Pair of mugs, Stoneware, Salt Glaze, 2007

Serving Dish, Wood Fired Stoneware, 1999

 Josh Deweese's interest is in bringing art into the everyday life through the ceramic pieces he makes, "enhancing our experience with food, adorning our homes, and providing a necessary ritual to nourish our soul and mind as well as our bodies," (deweeseart.com/Josh/index.html). This is one of the things that I love so much about ceramics - the mixing of ordinary objects that we use on a daily basis with artworks. I think his pieces do represent this blending very nicely, making his work something that I both respect and admire. I am glad to have found his work so close to the start of our next assignment in class, which is to make our own thrown ceramic set of at least 6 pieces. His "liquor sets" gave me inspiration to make a set of a teapot or jug with two cups and an accompanying tray. I don't know if I can get my glazing to look quite as magnificent as his, but I can do my best. I encourage you to check out Josh's website and other works at deweeseart.com. I also found some of his work posted on accessceramics.org. These two sites are the source of the photos shown here.

Liquor Set, Wood Soda Fired Porcelain, 1999

Chris Keenan - British Ceramicist

Introducing Chris Keenan - British actor turned ceramicist.

In the 90's, Keenan apprenticed with potter Edmund de Waal, and began his new career as a ceramicist. He works mainly with thrown Limoges porcelain, using a glossy, black/brown tenmoku glaze with a vivid, pale blue celadon glaze, and implementing a reduction firing in his gas kiln at about 2300 degrees Fahrenheit.

I love his work for both its functionality, yet its simplistic beauty, and thought he would be a good artist to focus on in light of us just beginning our work of throwing on the wheel in class. He is a great inspiration for making simple forms with minimal glazes in such a way that is still interesting and aesthetically pleasing to the viewer.  He states in his artist profile, "I like clean lines and simple forms, and although I use a limited palette of glazes, I am still finding new ways of working with them to produce fresh decorative effects that complement the forms." (studiopottery.co.uk/profile/Chris/Keenan. More of his work can be seen on his website: chriskeenan.co.uk.

Marilyn Levine

Boots With Steel Toes, 1971

H.A.B. Suitcase, 1972

Hayes Cowboy Boots, 1973

Button Cup, 1974

Faye's Black Satchel, 1974

Trent's Jacket, 1976

Early Cups, 1978-79

Sandi's Mailbag, 1980

Spot's Suitcase, 1981

Peggy's Jacket, 1991

Zipup, 1994

Recent Cups, 1994-95

 "In their native material, these satchels and shoulder bags would be too ordinary to merit special interest. Rendered in clay, they become objects of fascination, meticulous and loving portraits of the everyday." This was said by the reviewer Leah Ollman at a Marilyn Levine survey show in 2004 at the Frank Lloyd Gallery in Santa Monica; quoted from this article in the LA Times:

http://articles.latimes.com/2005/apr/11/local/me-levine11.

This is what I love about Levine's work. An ordinary leather jacket is nothing but an ordinary leather jacket. But the appearance of a leather jacket that is actually fashioned entirely out of clay is remarkable. Levine is a master of hyper-realistic rendering of leather with clay, working in the tromp-l'oeil tradition, and I appreciate her work very much. To me it represents humanity and the work and wear of life that shows up on the faithful items that aid us on our journeys, and that gives me an odd sense of comfort and familiarity.

Levine started out as a chemist in Canada, however, she took up the hobby of pottery and ended up getting her Masters of Fine Arts from UC Berkeley in 1971. It was when she was a grad student in CA that she developed this style of sculpting, and she faithfully stuck to it the remainder of her career. Another reviewer (for the Record of Kitchener-Waterloo, Ontario - also found in the latimes.com article) said that even though one may think this might show a lack of development in an artist, in Levine's case it rather "confirms the unwavering power of her vision." Levine's work is represented in private and public collections throughout the world - including LACMA and SF MoMA. I would love to see some of her work in person.


Image Source: www.marilynlevine.com

Info Sources: http://www.ceramicstoday.com/potw/levine.htm;

http://www.franklloyd.com/dynamic/artist_bio.asp?ArtistID=38;

http://articles.latimes.com/2005/apr/11/local/me-levine11; 

http://www.marilynlevine.com/bioframeset.html