Andrews | Bernard | Bowring | Coffin | Colson | Cowdrill | Coyle | Lehrer Danze | Dinkelmeyer | Downing | Egan | Eisenmann | Gatterdam | Greene  Griffith-Tso | Gromen | Hintze | Hubloue | Ju | Karcher | Lally | Lederman | Levin | Miller | Minemura | Nguyen | Nichols | Polisar | Ratliff | Reichard Roeckelein | Schramm | Seefeldt | Sircar | So | Sport-Stewart | Stricker | Taylor | Tripp Martens | van Zelst | Vardon | Ying

Artists

Linda Bernard

lkbernard@yahoo.com.

 

 

 

 

 

 

 

Larry Bowring

bowring.carto@gmail.com

facebook.com/BowringCeramics

 

My life experiences with the visual arts have led me to the world of ceramics, where I can fully exercise my abilities to conceptualize and carry through an artistic expression from inception to completion of a project, with the demand for both technical, intellectual, and aesthetic focus throughout every step of the process. Keats, in his “Ode on a Grecian Urn”, appropriately enough, said that “Beauty is truth, truth beauty”. Beauty is arguably subjective, but I feel strongly that my search for truth in my pottery, in symmetry and purity of form and decoration, will inspire pieces with an innate beauty.

I derive a great deal of inspiration from studying the styles and techniques of master potters, and becoming familiar with historical and geographical influences on the field, both in the U.S. and abroad. I have experimented in porcelain, many types of stoneware, and a wide variety of glazes and decorating styles in a cone 6 oxidation environment.

Although the bulk of my experience is in producing functional pottery, I am interested in developing an art pottery style, having been inspired by some of the great studios from the arts and crafts movement through the early 20th century.

Image: Vase with example of customized hand-engraving (“Pax vobis” or  “Peace be with you”)

 

Jennifer Coffin

jq.coffin@verizon.net

jennifercoffin.com

jqcoffin

I fell in love with ceramics during my college years at Old Dominion University studying fine arts. I also studied and worked at the Chrysler Museum School of Art in Norfolk, VA. It was at the Museum School that I gained my skill, knowledge, and appreciation for the ceramic arts. Since then my home studio has been my place of design and production. My work has shown and sold in the Washington, D.C. area for the past 25 years.

 

 

Lorraine Colson

LOTO3944@gmail.com

Originally I was a functional stoneware potter until discovering crystalline gazes while visiting the Smithsonian craft show.  I was seduced by the magical quality of these glazes and intrigued by the chemical and firing challenges and unpredictability of the results.  Working strictly in porcelain, I strive to create shapes and surfaces that enhance and best display crystal formation as well as develop new recipes and kiln firing techniques to expand the pallet of crystal colors and shapes.

 

 

 

 

Christine Coyle

Christine@Cellardoorpottery.com, COYL4750@gmail.com

www.cellardoorpottery.com

CellarDoorPottery

www.instagram.com/coylepots/?hl=en

 

​Chris creates wheel thrown and hand built pieces. Her artistic vision is influenced by harmonious composition of the Far East and designs of the American Southwest​, ​setting shades of raw stoneware against glossy, vibrant high-fire glazes.

​Patterns in her pieces vary, a culmination of precisely placed individual indentations with as many as 500 typically used to decorate a vase.

Image: Blue incised plate

 

Eileen Egan

potterindc@yahoo.com

www.eileen-egan.com

www.facebook.com/EileenEganPottery

EEPottery

From a drawing and printmaking background, I found clay as a studio tech and hand-builder in my undergraduate ceramics department.  After grad school, I learned wheel-throwing from Jill Hinckley in DC, where I lived for twenty years.  Now I make primarilywheel-thrown, functional pottery in my home studio in Alexandria, VA, and I help fire the Tye River Pottery wood kiln in Nelson County, VA twice a year.

Image: Oribe pitcher, wheel-thrown and altered stoneware, wood-fired, October 2015

 

 

 

Pam Eisenmann

eisenmannclay@earthlink.net

 

Image: “Imperial Army” Stoneware, acrylic color,found objects

 

 

 

 

 

 

Elizabeth Green

elizabethspottery@gmail.com

www.elizabethspottery.com

facebook.com/Elizabeth-Greene-250861248358304/

Pottery is a tremendously inviting art which throughout human history has welcomed so many like me.  My work concentrates on the endless possibilities of traditional ceramic vessels including vases, bowls, teapots, unique serving pieces, and other functional pottery such as plates, mugs, candlesticks and small lamps.  I focus on form and color, striving to create one-of-a-kind ceramic works of art.  As I make each piece of pottery, I reflect on the human tradition of making ceramic vessels by hand, and try to find the extraordinary in the ordinary.  The ceramic process is rich with challenges requiring concentrated effort, as well as elements of surprise.  I always delight in how working with clay brings joy and excitement to so many people.

Image: This gas-fired porcelain tea set was made using a combination of wheel thrown and hand built techniques. The glaze work on this set is a subtle blue/green underglaze brushwork with a clear high-fire glaze.

 

Tracie Griffith Tso

inksart.com

torpedofactory.org/profile/tso_t/

facebook.com/Tracie-Griffith-Tso-59068853626/?pnref=lhc

https://www.pinterest.com/griffithtso/?etslf=6342&eq=tracie%20griff

Griffith Tso began studying Chinese brushwork at age 12 and specializes in spontaneous flower-bird painting. An associate artist at the Torpedo Factory Art Center in Alexandria, Va., Griffith Tso teaches and lectures about Chinese brush painting nationwide and has expanded her traditional repertoire, transitioning classic ink-and-rice-paper brushwork onto functional stoneware forms. Her creative compositions include insects, bunnies, bamboo, horses, birds, fish, pandas and flowers. Native Californians, she her husband now reside in Reston, Va. along with her workshop rabbit, Cleo.

Image: Brush painted maple and rabbit high-fire stoneware teaset

 

Shirley Gromen

sgromen.com

shirleygromenceramics

shirleygromenceramics

Over the years, I’ve utilized various underglaze-, incising-, and china-painting techniques. My current work relies heavily on sgraffito: I build up coats of black terra sigillata (a very fine clay slip) onto the unfired surface of a thrown or hand-built vessel. I then carve away the slip to reveal the white porcelain. After a bisque firing, each piece is finished with a teal, black, or clear glaze and fired to 2,200 °F. The resulting bowl or vase or tile, is a piece of history—natural history, personal history, and the many-hours-long history of its making—that I set, like a dinner plate, before the beholder…who has just arrived, hungry for stories, at my table.

Image: 3 Flounder Platter, porcelain with sgrafitto drawing

 

 

Christine Hubloue

chubloue@ aol.com

Born and raised in Belgium, I moved to the U.S.A. in 1985 leaving family and a professional career behind me. Inspired by the Native Americans’ ability to create art and cultural heritage from clay, I became obsessed with its infinite possibilities as a way of communicating and expressing myself. Art Nouveau and Art Deco, omnipresent in my background are major influences as well as personal experiences which lead to strong emotions reflected in my work. Clay is the medium from which I draw strength and comfort and which gives me peace and contentment in life.

Image:  The Choir - (5’ wide) The white robes of an all boys Choir is represented by the use of porcelain. A repurposed and restored antique chicken feeder  was the inspiration for this work and refers to the “pews” of a church in which the Choir performed.

 

Kim H. Ju

SHJUXX@GMAIL.COM

Since starting pottery at the Art League almost 18 years ago, I’ve come to love working with different types of clay, decorating, carving, glazing and firing the pots using a variety of techniques. I was lucky enough to have lived in different countries and like to use designs inspired from those places. I am grateful to all my teachers and colleagues, and am so happy to learn new things every day. Now, I work with different underglaze techniques and am able to apply my background in painting to add beauty to functional pieces.  I enjoy working at the Art League in the Associates program.

Image: Vase. Handmade coil technique used.

 

 

 

 

 

 

 

 

Martin Karcher

 

 

 

 

 

 

 

 

 

 

 

Marsha Lederman

mar.lederman@gmail.com

www.marshalederman.com

Marsha Lederman

Marlederman

I have spent most of my professional life as an illustrator, designer and portrait artist. A few years ago I added sculpture back into the mix of my work, as clay and sculpture were early loves of mine and I am now enjoying exploring subjects and materials and techniques and following my own inspiration as well as learning from other artists as a member of Lee Arts Center.

For my sculpture and jewelry I am inspired by nature and yoga, and the human form in general. Yoga poses and the sense of well being yoga generates is something I am enjoying experimenting with in my work currently. Plant forms and sea forms are also themes I keep coming back to over time, and birds also hold a special place for me as I have rescued and raised abandoned baby birds over the years, even as a child.

I have been experimenting with various clay bodies, underglazes and glazes, relief work and full sculpture, as well as PMC clays for jewelry and like to combine different mediums and materials.

Image: Plaque with underglazes and sgraffito on red clay body of  tree pose with dragonflies, inspired by an evening at the shore with dozens of dragonflies

 

Klaudia Levin

kmlevin@comnetcore.net

klaudia-ceramics.com

  Klaudia.Levin

kmlevin@comnetcore.net

Working on the wheel is my one true passion. As an artist, it allows me the creative freedom to simply play with the clay. I work with both porcelain and stoneware and use various firing technics. The original shape of my pieces emerges from an organic creative process, in which I help the clay to take its final form.

Hand build and wheel thrown fruit bowl, made of stoneware and reduction fired.

 

Polina Miller

polinamiller@gmail.com

Polina Miller’s first home was in St. Petersburg, Russia, and her strongest artistic influences come from the many hours that she spent in the Hermitage museum, entranced by works of art from around the world and across time.

Polina is always striving to capture and master specific artistic techniques, or styles, and then finds herself eager to learn and master something new. In addition to drawing inspiration from nature, or from other forms of art, Polina has found that inspiration also comes from engaging with the local community of artists at the Lee Art Center and the Washington Ceramic Guild.

Polina says that turning dirt into beauty– combining the potter’s elements of earth and fire, are as close to magic as one can get. She thinks that making art is less about leaving your distinctive mark than simply doing what you love.

 

Hiromi Minemura

hiromiceramics@gmail.com

hiromiceramics.com

hiromiceramics

I was born and raised in Aichi prefecture, Japan where is surrounded by famous pottery places and influenced by Japanese pottery by using ceramic ware since I was a child. Most of my pieces are thrown on the wheel, then altered the shape or add some decorations such as curving and slip trailing. I believe the functionality is very important, at the same time, the visual enjoyment in daily use brings the richness in mind.

 

 

 

 

 

 

 

 

 

 

Thien Nguyen

tnpottery@gmail.com

tnpottery.wordpress.com

I make functional and decorative pottery on the wheel.  I want to make a connection  through my pieces.   I hope people get as much enjoyment as I do in making them, that my work becomes a part of their life.

Image: Spring. Rakued with textured copper lithium glaze.

 

 

 

 

 

 

 

 

 

 

 

 

Laura Nichols

Laura@Pigpenpottery.com

Pigpenpottery.com

facebook.com/PigPenPottery

 

Image: Tapas Plate, Barred Owl

 

 

 

 

 

 

 

Roni Polisar

Roni.polisar@gmail.com

Ronipolisar.weebly.com

Polisar_Pottery

 I work both on the wheel and with slabs to produce functional pots.  I am attracted to the essential nature of vessels--giving, receiving, holding--enabling that ancient, hard-wired human need to be communal.  I am drawn to the primitive – simple forms and earth pigments.

I am excited by the narrative of material and  process, and often allow the clues of forming to remain evident in my work.  Wood firing in particular compliments these interests, especially when rewarded for the labor intensive effort with a pot whose form emerges from the kiln in perfect harmony with the marks of the flame and the blush of the ash, as if the kiln has participated in the final sculpting of the pot.

Image: Slab built vase, wood fired, spodumene glaze, 2016.

 

Yoshiko Ratliff

yoshikor@gmail.com

www.yoshikoratliff.com

facebook.com/yoshiko.ratliff

yoshiko_ratliff

As a Japanese, ceramics have been a constant in my life.   The shapes, finishes, and colors in my one-of-a-kind pieces reflect my experiences, environment, and what I find moving and beautiful.  Art is found in the linkages formed between the earth, the artist, and the user through the shape and functionality of each piece.  The shaping, glazing, and firing of each piece lead to endless possibilities, challenges, and new ways of self-expression as an artist.

Image: Aqua/pewter Crystalline Bottle. Porcelain. Wheel thrown

 

 

 

 

 

 

Peggy Reichard

preichard1@verizon.net

www.peggyreichard.com

peggyhoffmann.reichard

peggyreichard

“My work reflects my life:  boating, traveling, and living inthe middle of five acres of an old growth oak forest. My environment is full of creatures and I enjoy working with their images on clay.  In particular, I am fond of the pileated woodpecker, song birds, fish, foxes, jellyfish and an image of a street dog from India.

I also find the boat form, a lovely elongated oval,compelling and return to it again and again. Another focus is altering simple wheel thrownforms to create more sculptural vessels.  My goal is to create functional pieces that warrant a second look.”

Image: “Fish with Seaweed.”  8 inch bowl.  Porcelaneous stoneware with slip transfer and laser jet decal.

 

Trinka Roeckelein

info@trinkadesigns.com

www.trinkadesigns.com

Trinka Roeckelein

I am a sculptor working in clay to create both indoor and outdoor pieces, most of which

contain an interpretation of a human or animal. My work focuses on the whimsy aroused by the increasingly complex coexistence of urbanity and nature or people and animals. Some of the pieces are totems or groups of unlikely combinations of living creatures into harmonious compositions – a peaceable kingdom of sorts. As city footprints continue to broaden across the globe, the natural balance of space, energy and resources must adjust. The need for individuals, whether human or animal, to coexist tranquilly with one another becomes more pressing and important.

As a native of Washington DC, I’ve noticed the presence of wildlife increase within the city.

This, coupled with multiple visits to a game preserve in Botswana, fuels my motivation. The African environment contrasts largely with my daily existence in DC. I am captivated by the wild animals … their shapes, sizes, movements, sounds … and the variety and vastness of the African bush. My sculptures reflect elements from both locations.

I work in clay because of the way it feels, its tireless unpredictability and technical challenges, and the endless variety of surface treatments. I fire each piece repeatedly to build layers, every time adding more oxide, glaze or underglaze, until I am pleased with the results. Each pieces is unique, which underlines clay’s basic connection to the earth and compliments nature’s intrinsic one-of-akindness.

Image: Mod Donkey, clay, glaze

 

 

 

KANIKA SIRCAR

kanikas@starpower.net

www.kanikasircar.wordpress.com

My stoneware and porcelain forms are layered with imagery based on texts, maps and graffiti. Their surfaces are stained with slips and marked with carving tools, pencils and iron oxide prints. Inscriptions and lettering are often faded or fragmentary, expressing messages that may be variously interpreted or misunderstood, palimpsests of color, shape and meaning attacked by time.

Image: Partition, stoneware, 10x6x2 inches

 

 

 

 

 

 

 

 

 

Dominicus So

dominicusso@gmail.com

Dominicus began throwing pots on the wheel in Hong Kong in 1984.  Now, he throws pots and creates sculptures in the Metropolitan Washington DC area in the U.S. Decorated with slip, layers of glazes, or surface texture, his stoneware and porcelain works are fired mostly in cone 6 electric kilns, and occasionally, in Raku and wood kilns.  His elegant forms are influenced by Chinese and other classically shaped vessels.  His glaze combinations are inspired by the four seasons and nature.  He uses clay to highlight the beauty, complexity, and serenity of our natural environment, as well as the spirit present in all things.  Realizing people are busy, he seeks to use ceramic arts to promote users' deeper sense of spirituality in relationships among people and with the natural environment.  His functional pieces also help people gather together to be nurtured by the food and other's company.

 

 

 

 

 

SUAN YING

  suanyt@cox.net

“I am interested in making pots for everyday use, not only to be handled and lived with, but also to provide visual enjoyment.  My forms are primarily thrown on the wheel and I use both stoneware and porcelain clay bodies to make individual pieces.  Surface decorations are important to my work and I feel that decorative brushwork, slip trailing and glazing techniques can greatly enhance the form of the piece.  Recently I have turned to soda firing to produce dramatic effects on the surface of my pots.  The unpredictability of the path of the flame and soda vapor across the piece will render each pot unique and distinctive.”

 

BEV ANDREWS

bev.andrews@b1global.com

The possibilities afforded by clay are endless.  I enjoy experimenting with different forms whether thrown on the wheel, hand built, or a combination of both. My goal is to create unique pieces that have character, simplicity and grace.  I like my vessels to reflect both the antique and contemporary and I find raku firing a great fit to achieve this goal.   The Zen concept of "shibui," which refers to "simple unaffected beauty in harmony with nature that has a tranquil effect upon the viewer" guides much of my work.  In addition to raku firing, I do wood and salt firings for my functional vessels.

 

 

 

Linda Bernard

lkbernard@yahoo.com

 

 

 

 

 

 

 

Larry Bowring

bowring.carto@gmail.com

facebook.com/BowringCeramics

 

My life experiences with the visual arts have led me to the world of ceramics, where I can fully exercise my abilities to conceptualize and carry through an artistic expression from inception to completion of a project, with the demand for both technical, intellectual, and aesthetic focus throughout every step of the process. Keats, in his “Ode on a Grecian Urn”, appropriately enough, said that “Beauty is truth, truth beauty”. Beauty is arguably subjective, but I feel strongly that my search for truth in my pottery, in symmetry and purity of form and decoration, will inspire pieces with an innate beauty.

I derive a great deal of inspiration from studying the styles and techniques of master potters, and becoming familiar with historical and geographical influences on the field, both in the U.S. and abroad. I have experimented in porcelain, many types of stoneware, and a wide variety of glazes and decorating styles in a cone 6 oxidation environment.

Although the bulk of my experience is in producing functional pottery, I am interested in developing an art pottery style, having been inspired by some of the great studios from the arts and crafts movement through the early 20th century.

Image: Vase with example of customized hand-engraving (“Pax vobis” or  “Peace be with you”)

 

Jennifer Coffin

jq.coffin@verizon.net

jennifercoffin.com

jqcoffin

I fell in love with ceramics during my college years at Old Dominion University studying fine arts. I also studied and worked at the Chrysler Museum School of Art in Norfolk, VA. It was at the Museum School that I gained my skill, knowledge, and appreciation for the ceramic arts. Since then my home studio has been my place of design and production. My work has shown and sold in the Washington, D.C. area for the past 25 years.

 

 

Lorraine Colson

LOTO3944@gmail.com

Originally I was a functional stoneware potter until discovering crystalline gazes while visiting the Smithsonian craft show.  I was seduced by the magical quality of these glazes and intrigued by the chemical and firing challenges and unpredictability of the results.  Working strictly in porcelain, I strive to create shapes and surfaces that enhance and best display crystal formation as well as develop new recipes and kiln firing techniques to expand the pallet of crystal colors and shapes.

 

 

 

 

Christine Coyle

Christine@Cellardoorpottery.com, COYL4750@gmail.com

www.cellardoorpottery.com

CellarDoorPottery

www.instagram.com/coylepots/?hl=en

 

​Chris creates wheel thrown and hand built pieces. Her artistic vision is influenced by harmonious composition of the Far East and designs of the American Southwest​, ​setting shades of raw stoneware against glossy, vibrant high-fire glazes.

​Patterns in her pieces vary, a culmination of precisely placed individual indentations with as many as 500 typically used to decorate a vase.

Image: Blue incised plate

 

Eileen Egan

potterindc@yahoo.com

www.eileen-egan.com

www.facebook.com/EileenEganPottery

EEPottery

From a drawing and printmaking background, I found clay as a studio tech and hand-builder in my undergraduate ceramics department.  After grad school, I learned wheel-throwing from Jill Hinckley in DC, where I lived for twenty years.  Now I make primarilywheel-thrown, functional pottery in my home studio in Alexandria, VA, and I help fire the Tye River Pottery wood kiln in Nelson County, VA twice a year.

Image: Oribe pitcher, wheel-thrown and altered stoneware, wood-fired, October 2015

 

 

 

Pam Eisenmann

eisenmannclay@earthlink.net

 

Image: “Imperial Army” Stoneware, acrylic color,found objects

 

 

 

 

 

 

Elizabeth Green

elizabethspottery@gmail.com

www.elizabethspottery.com

facebook.com/Elizabeth-Greene-250861248358304/

Pottery is a tremendously inviting art which throughout human history has welcomed so many like me.  My work concentrates on the endless possibilities of traditional ceramic vessels including vases, bowls, teapots, unique serving pieces, and other functional pottery such as plates, mugs, candlesticks and small lamps.  I focus on form and color, striving to create one-of-a-kind ceramic works of art.  As I make each piece of pottery, I reflect on the human tradition of making ceramic vessels by hand, and try to find the extraordinary in the ordinary.  The ceramic process is rich with challenges requiring concentrated effort, as well as elements of surprise.  I always delight in how working with clay brings joy and excitement to so many people.

Image: This gas-fired porcelain tea set was made using a combination of wheel thrown and hand built techniques. The glaze work on this set is a subtle blue/green underglaze brushwork with a clear high-fire glaze.

 

Tracie Griffith Tso

inksart.com

torpedofactory.org/profile/tso_t/

facebook.com/Tracie-Griffith-Tso-59068853626/?pnref=lhc

https://www.pinterest.com/griffithtso/?etslf=6342&eq=tracie%20griff

Griffith Tso began studying Chinese brushwork at age 12 and specializes in spontaneous flower-bird painting. An associate artist at the Torpedo Factory Art Center in Alexandria, Va., Griffith Tso teaches and lectures about Chinese brush painting nationwide and has expanded her traditional repertoire, transitioning classic ink-and-rice-paper brushwork onto functional stoneware forms. Her creative compositions include insects, bunnies, bamboo, horses, birds, fish, pandas and flowers. Native Californians, she her husband now reside in Reston, Va. along with her workshop rabbit, Cleo.

Image: Brush painted maple and rabbit high-fire stoneware teaset

 

Shirley Gromen

sgromen.com

shirleygromenceramics

shirleygromenceramics

Over the years, I’ve utilized various underglaze-, incising-, and china-painting techniques. My current work relies heavily on sgraffito: I build up coats of black terra sigillata (a very fine clay slip) onto the unfired surface of a thrown or hand-built vessel. I then carve away the slip to reveal the white porcelain. After a bisque firing, each piece is finished with a teal, black, or clear glaze and fired to 2,200 °F. The resulting bowl or vase or tile, is a piece of history—natural history, personal history, and the many-hours-long history of its making—that I set, like a dinner plate, before the beholder…who has just arrived, hungry for stories, at my table.

Image: 3 Flounder Platter, porcelain with sgrafitto drawing

 

 

Norma Hintze

 

 

 

 

 

 

 

 

 

 

 

 

 

Christine Hubloue

chubloue@ aol.com

Born and raised in Belgium, I moved to the U.S.A. in 1985 leaving family and a professional career behind me. Inspired by the Native Americans’ ability to create art and cultural heritage from clay, I became obsessed with its infinite possibilities as a way of communicating and expressing myself. Art Nouveau and Art Deco, omnipresent in my background are major influences as well as personal experiences which lead to strong emotions reflected in my work. Clay is the medium from which I draw strength and comfort and which gives me peace and contentment in life.

Image:  The Choir - (5’ wide) The white robes of an all boys Choir is represented by the use of porcelain. A repurposed and restored antique chicken feeder  was the inspiration for this work and refers to the “pews” of a church in which the Choir performed.

 

Kim H. Ju

SHJUXX@GMAIL.COM

Since starting pottery at the Art League almost 18 years ago, I’ve come to love working with different types of clay, decorating, carving, glazing and firing the pots using a variety of techniques. I was lucky enough to have lived in different countries and like to use designs inspired from those places. I am grateful to all my teachers and colleagues, and am so happy to learn new things every day. Now, I work with different underglaze techniques and am able to apply my background in painting to add beauty to functional pieces.  I enjoy working at the Art League in the Associates program.

Image: Vase. Handmade coil technique used.

 

 

 

 

 

 

 

 

Martin Karcher

 

 

 

 

 

 

 

 

 

 

 

Marsha Lederman

mar.lederman@gmail.com

www.marshalederman.com

Marsha Lederman

Marlederman

I have spent most of my professional life as an illustrator, designer and portrait artist. A few years ago I added sculpture back into the mix of my work, as clay and sculpture were early loves of mine and I am now enjoying exploring subjects and materials and techniques and following my own inspiration as well as learning from other artists as a member of Lee Arts Center.

For my sculpture and jewelry I am inspired by nature and yoga, and the human form in general. Yoga poses and the sense of well being yoga generates is something I am enjoying experimenting with in my work currently. Plant forms and sea forms are also themes I keep coming back to over time, and birds also hold a special place for me as I have rescued and raised abandoned baby birds over the years, even as a child.

I have been experimenting with various clay bodies, underglazes and glazes, relief work and full sculpture, as well as PMC clays for jewelry and like to combine different mediums and materials.

Image: Plaque with underglazes and sgraffito on red clay body of  tree pose with dragonflies, inspired by an evening at the shore with dozens of dragonflies

 

Klaudia Levin

kmlevin@comnetcore.net

klaudia-ceramics.com

  Klaudia.Levin

kmlevin@comnetcore.net

Working on the wheel is my one true passion. As an artist, it allows me the creative freedom to simply play with the clay. I work with both porcelain and stoneware and use various firing technics. The original shape of my pieces emerges from an organic creative process, in which I help the clay to take its final form.

Hand build and wheel thrown fruit bowl, made of stoneware and reduction fired.

 

Polina Miller

polinamiller@gmail.com

Polina Miller’s first home was in St. Petersburg, Russia, and her strongest artistic influences come from the many hours that she spent in the Hermitage museum, entranced by works of art from around the world and across time.

Polina is always striving to capture and master specific artistic techniques, or styles, and then finds herself eager to learn and master something new. In addition to drawing inspiration from nature, or from other forms of art, Polina has found that inspiration also comes from engaging with the local community of artists at the Lee Art Center and the Washington Ceramic Guild.

Polina says that turning dirt into beauty– combining the potter’s elements of earth and fire, are as close to magic as one can get. She thinks that making art is less about leaving your distinctive mark than simply doing what you love.

 

Hiromi Minemura

hiromiceramics@gmail.com

hiromiceramics.com

hiromiceramics

I was born and raised in Aichi prefecture, Japan where is surrounded by famous pottery places and influenced by Japanese pottery by using ceramic ware since I was a child. Most of my pieces are thrown on the wheel, then altered the shape or add some decorations such as curving and slip trailing. I believe the functionality is very important, at the same time, the visual enjoyment in daily use brings the richness in mind.

 

 

 

 

 

 

 

 

 

 

Thien Nguyen

tnpottery@gmail.com

tnpottery.wordpress.com

I make functional and decorative pottery on the wheel.  I want to make a connection  through my pieces.   I hope people get as much enjoyment as I do in making them, that my work becomes a part of their life.

Image: Spring. Rakued with textured copper lithium glaze.

 

 

 

 

 

 

 

 

 

 

 

 

Laura Nichols

Laura@Pigpenpottery.com

Pigpenpottery.com

facebook.com/PigPenPottery

 

Image: Tapas Plate, Barred Owl

 

 

 

 

 

 

 

Roni Polisar

Roni.polisar@gmail.com

Ronipolisar.weebly.com

Polisar_Pottery

 I work both on the wheel and with slabs to produce functional pots.  I am attracted to the essential nature of vessels--giving, receiving, holding--enabling that ancient, hard-wired human need to be communal.  I am drawn to the primitive – simple forms and earth pigments.

I am excited by the narrative of material and  process, and often allow the clues of forming to remain evident in my work.  Wood firing in particular compliments these interests, especially when rewarded for the labor intensive effort with a pot whose form emerges from the kiln in perfect harmony with the marks of the flame and the blush of the ash, as if the kiln has participated in the final sculpting of the pot.

Image: Slab built vase, wood fired, spodumene glaze, 2016.

 

Yoshiko Ratliff

yoshikor@gmail.com

www.yoshikoratliff.com

facebook.com/yoshikoratliffceramics

yoshikoratliff_ceramics

As a Japanese, ceramics have been a constant in my life.   The shapes, finishes, and colors in my one-of-a-kind pieces reflect my experiences, environment, and what I find moving and beautiful.  Art is found in the linkages formed between the earth, the artist, and the user through the shape and functionality of each piece.  The shaping, glazing, and firing of each piece lead to endless possibilities, challenges, and new ways of self-expression as an artist.

Image: Aqua/pewter Crystalline Bottle. Porcelain. Wheel thrown

 

 

 

 

 

 

Peggy Reichard

preichard1@verizon.net

www.peggyreichard.com

peggyhoffmann.reichard

peggyreichard

“My work reflects my life:  boating, traveling, and living inthe middle of five acres of an old growth oak forest. My environment is full of creatures and I enjoy working with their images on clay.  In particular, I am fond of the pileated woodpecker, song birds, fish, foxes, jellyfish and an image of a street dog from India.

I also find the boat form, a lovely elongated oval,compelling and return to it again and again. Another focus is altering simple wheel thrownforms to create more sculptural vessels.  My goal is to create functional pieces that warrant a second look.”

Image: “Fish with Seaweed.”  8 inch bowl.  Porcelaneous stoneware with slip transfer and laser jet decal.

 

Trinka Roeckelein

info@trinkadesigns.com

www.trinkadesigns.com

Trinka Roeckelein

I am a sculptor working in clay to create both indoor and outdoor pieces, most of which

contain an interpretation of a human or animal. My work focuses on the whimsy aroused by the increasingly complex coexistence of urbanity and nature or people and animals. Some of the pieces are totems or groups of unlikely combinations of living creatures into harmonious compositions – a peaceable kingdom of sorts. As city footprints continue to broaden across the globe, the natural balance of space, energy and resources must adjust. The need for individuals, whether human or animal, to coexist tranquilly with one another becomes more pressing and important.

As a native of Washington DC, I’ve noticed the presence of wildlife increase within the city.

This, coupled with multiple visits to a game preserve in Botswana, fuels my motivation. The African environment contrasts largely with my daily existence in DC. I am captivated by the wild animals … their shapes, sizes, movements, sounds … and the variety and vastness of the African bush. My sculptures reflect elements from both locations.

I work in clay because of the way it feels, its tireless unpredictability and technical challenges, and the endless variety of surface treatments. I fire each piece repeatedly to build layers, every time adding more oxide, glaze or underglaze, until I am pleased with the results. Each pieces is unique, which underlines clay’s basic connection to the earth and compliments nature’s intrinsic one-of-akindness.

Image: Mod Donkey, clay, glaze

 

 

 

KANIKA SIRCAR

kanikas@starpower.net

www.kanikasircar.wordpress.com

My stoneware and porcelain forms are layered with imagery based on texts, maps and graffiti. Their surfaces are stained with slips and marked with carving tools, pencils and iron oxide prints. Inscriptions and lettering are often faded or fragmentary, expressing messages that may be variously interpreted or misunderstood, palimpsests of color, shape and meaning attacked by time.

Image: Partition, stoneware, 10x6x2 inches

 

 

 

 

 

 

 

 

 

Dominicus So

dominicusso@gmail.com

Dominicus began throwing pots on the wheel in Hong Kong in 1984.  Now, he throws pots and creates sculptures in the Metropolitan Washington DC area in the U.S. Decorated with slip, layers of glazes, or surface texture, his stoneware and porcelain works are fired mostly in cone 6 electric kilns, and occasionally, in Raku and wood kilns.  His elegant forms are influenced by Chinese and other classically shaped vessels.  His glaze combinations are inspired by the four seasons and nature.  He uses clay to highlight the beauty, complexity, and serenity of our natural environment, as well as the spirit present in all things.  Realizing people are busy, he seeks to use ceramic arts to promote users' deeper sense of spirituality in relationships among people and with the natural environment.  His functional pieces also help people gather together to be nurtured by the food and other's company.

 

 

 

 

 

SUAN YING

  suanyt@cox.net

“I am interested in making pots for everyday use, not only to be handled and lived with, but also to provide visual enjoyment.  My forms are primarily thrown on the wheel and I use both stoneware and porcelain clay bodies to make individual pieces.  Surface decorations are important to my work and I feel that decorative brushwork, slip trailing and glazing techniques can greatly enhance the form of the piece.  Recently I have turned to soda firing to produce dramatic effects on the surface of my pots.  The unpredictability of the path of the flame and soda vapor across the piece will render each pot unique and distinctive.”

 

Scope Gallery

Torpedo Factory Art Center

105 N. Union St.

Ground Floor, Studio 19

Alexandria, Va 22314.

Phone: 703-548-6288

Hours:

10 a.m. - 6 p.m. daily

Thursday: 10 a.m. - 9 p.m.

 

Check the Torpedo Factory website for early closings for private events at www.torpedofactory.org/todays-hours/

Scope Gallery is a cooperative gallery shared by two of the oldest ceramic organizations in the Washington, D.C. area. The Kiln Club and the Ceramic Guild alternate months in this shared space. See calendar page for 2017 gallery schedule.

@ScopeGallery