Andrews | Bernard | Coffin | Colson | Coyle | Lehrer Danze | Dinkelmeyer | Downing | Eisenmann | Greene
Griffith-Tso | Gromen | Hintze | Hubloue | Kaye | Lally | Lederman | Levin | Miller | Minemura | Nguyen | Nichols | Polisar
Reichard | Roeckelein | So | Stricker | Vardon | Ying



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










Jennifer Coffin


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

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,



​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


Pam Eisenmann


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







Elizabeth Greene

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


Tracie Griffith Tso painted her first bamboo brushstrokes as a child at a brush painter's studio in California. She specializes in traditional spontaneous flower-bird painting. The award-winning artist developed her style with a teacher schooled by a Hong Kong master. She learned to throw pots at age 12, a skill which, when combined with painting, produces functional clay art.

Her work reflects compositions from an artist's vision. She paints without sketching, as she was trained on unforgiving black ink on rice paper or silk, so no two pieces are alike. She specializes in the freestyle drawing of animals and enjoys reflecting personality and movement in body language. Her subjects include koi, rabbits, pandas, squirrels, siamese cats, birds, horses, frogs and many more. Her unpainted clay forms are made by hand, adding decorative texturing inspired by classic silk designs. Compositions are painted and fired in an electric kiln, in excess of 2000° F, creating a microwaveable and dishwasher-safe durable stoneware.

Griffith Tso teaches Chinese brush painting, sells her pottery and prints at the the Torpedo Factory in Alexandria, Va. in Studios 22 and 19 and can be found there on Fridays painting. Also find a selection of pottery and prints at TracieGriffithTso on Etsy. She lives with her husband and furry muse workshop rabbit, Willow, in Reston, Va.


Shirley Gromen



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 sgraffito drawing



Norma Hintze














Christine Hubloue


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.



Scott Kaye

Functional pottery has been my passion for over 40 years. The Master Potters who mentored me taught me that form follows function. That concept has continuously guided my work.

I make functional pottery for daily use. I often utilize the curves of a handle or the motion of a ribbon to capture the fluidity of the clay. I focus on the pots purpose and I have refined my work over time to ensure that aesthetics and function are merged so that the work is not only beautiful to look at, but feels great and functions as you would expect.





Marsha Lederman

Marsha Lederman


I have always loved working with clay so I was so happy to be able to add sculpture back into the mix of my work, having spent most of my professional life as an illustrator, designer and portrait artist.

I am grateful to be part of a communal studio, working alongside other artists at The Lee Arts Center in Arlington where I’ve been able to follow my own inspiration as well as learning from other artists.

I like bringing aspects of the natural world into view; to enable people to bring the outdoors into their homes. Birds especially hold a special place for me, having taken care of and fledged baby birds from the time I was growing up, and bird watching wherever I find myself.

I also love to add personality and whimsy into my work and having people relate to each unique  piece.

Experimenting with various clay bodies and techniques has been a goal of mine, as well as exploring underglazes and glazes. Lately I’ve been creating sculptural hanging pieces, and sculptures, as well as vessels.

Image: "Flora", scultural wall lhanging, cone 6 with underglaze pencil, underglazes and glaze


Klaudia Levin


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

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


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

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

I have been making homemade pots for everyday use since the early seventies. Some refer to my decorative whimsies as “barnyard art,” and for good reason. I still live on the farm where I grew up. I live with the chickens, guineas, herons, foxes and owls that appear on my pots. My functional stoneware is fired to cone 6 in a reduction kiln.

Image:  Sourdough Starter Crock, thrown stoneware, reduction fired to cone 6




Barbara Nowak

My predominate focus is making functional pieces to be enjoyed daily in the home but have also made some small sculptural work.  I enjoy the colors of nature and that influence shows up in my work.  I am also interested in texture and how glaze flows over the surface of a pot.  I have had some wonderful teachers over the years who have inspired and encouraged me in classes and workshops.  Work created by ceramic artists years and even centuries ago inspires me, as well.  I’m currently exploring the kohiki technique that was introduced to me by Akira Sataki and the beautiful forms created by Hans Coper.



Roni Polisar


 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: Skirt Vase:  thrown and altered stoneware, wood fired.


Peggy Reichard



“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

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



Catherine Satterlee


Catherine Satterlee

After being introduced to ceramics in college, I spent my working life in the contemporary art and design worlds in painting, interior design, graphic design, and museum exhibition design and installation. I worked in a clay studio only intermittently. Once I retired, however, my first thought was to get involved with ceramics again. Since 2014 it has been my full-time occupation.

For some ceramists the glaze is the most important part of the process—for me, the earthiness of the clay is most compelling, so I tend to leave a lot of my surfaces unglazed. Most of the work on my pieces is done when the clay is not yet hard, when I can carve, scrape, and build up surfaces with slips (liquid clay) and underglazes. I enjoy the slow process of hand building with slabs and coils. Each piece is one of a kind.


Dominicus So

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.







“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


11:00 a.m. - 6:00 p.m. Monday - Friday

10:00 a.m. - 6:00 p.m. Saturday - Sunday


Check the Torpedo Factory website for any changes to the building open 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.