نویسنده: AliBina

Passion Over Production | Summer Brendlinger

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Summer Brendlinger | Episode 1061

Summer Brendlinger’s philosophy is centered on enriching everyday life through her pottery creations, aiming to bring joy and a handmade touch of artistry into people’s homes. Summer’s journey began in 1994 with a high school ceramics class. After a career in teaching, Summer returned to her passion for pottery, creating a studio in her backyard and teaching ceramics workshops at Talent Maker City.

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What were the cues that told you change was needed?

The cues would have been a lack of satisfaction with my life as it was. Knowing there is something better for me and my family really.

Why is balance so critical for a person?

I can speak for myself; balance is incredibly critical because without it things don’t get the attention they deserve and when we ignore important things is our life like family or passion, we become lopsided and I think we quit growing and we quit appreciating life as it is. As beautiful as it can be.

It seems like we think if we stop we are going to lose the progress we made. Why is it important to not care about progress if it means we are going to lose our sanity?

Such a good question. I think all the progress that you’ve made at any point that you decide to change carries on into the next chapter. So it’s not wasted progress, it’s actually prior learning that gets you to the point you are supposed to be at in that time in your life.

That doesn’t mean that goals are irrelevant. Correct?

Goals are necessary.

It’s properly placed goals then. Would that be better said?

I think so. Properly placed goals and for me you’ve got your big goal of what you want to see your life become. And that one you are constantly reaching towards and the goals that are smaller and quicker to attain those ones you reach them or you are on your way to reaching them and you decide this doesn’t feel right to get to that over arching goal of the life that you want to live.

Why is variety important for you?

It’s way more fun for me. If I am doing the same thing I don’t get to express myself. And you know, just as the seasons change what I make changes because life is changing. And what I find beautiful in nature usually shows up in my work and it’s changing. I mean I have to have variety.

Studio life. Do you like it quiet or do you like music or podcasts in the background?

On par with me and variety it changes. I’ll do podcasts. I love audio books. I still want to call them books on tape. And then music and if it’s music it’s classic rock, Tom Petty is my number one. It changes, I recognize what my mood needs and it’s rarely ever quiet in my studio.

Book

Mastering Hand Building: Techniques, Tips, and Tricks for Slabs, Coils, and More by Sunshine Cobb

Contact

kilnedwithkindness.com

Instagram: @kilnedwithkindness

Source link

28/04/2025
A Happy Maker | Lyndsey Roberts

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Lyndsey Roberts | Episode 1062

When Lyndsey Roberts was seven, her mother gifted her a toy potter’s wheel. That one gift sparked a bone deep, lifelong love for ceramics. Lyndsey went on to get her BFA in ceramics from UNCA, and has been doing her best to make her little seven year old self as proud as possible.

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What is your favorite tool in the studio?

Well, the Air Pen is definitely at the top of that list and I am not saying that because they pay me to say it. I also think the wet boxes are one of my favorite tools just because it gives me the flexibility to make work and take the break that my body needs in between the process of throwing and trimming. I no longer lose work in the meantime, every potter knows how devastating it is to spend hours making something and to miss your window because of the temperature outside.

What is a tool you don’t use very often but you would not get rid of?

Probably my metal ribs. I don’t like metal ribs very often because I tend to cut myself on them, but they are really great for specific things. If I am making a pot that I want a little extra detail I can take my Dremel and create a shape on a metal rib that will give me a template that I can press clay into and I can get a pattern from it. So, for that reason I keep my metal ribs around but I don’t use them for any other reason.

Who is one maker who inspires you to be better?

Danny Meisinger. I hope I am saying his last name correctly. I follow him on Instagram and I am lucky enough to have some of his mugs from NCECA. He throws big and throws these really big round jars, not jars, they are vases or bottles with tiny openings. I watch him to kind of learn and be inspiration for what I can do and hopefully one day I will be able to make large, round forms.

You devote so much of your time to making, how does art improve the world?

I think it makes it a happier place. It sparks our imagination. Which I think adults need more of, we take ourselves way too seriously. And art kind of demands your attention. It’s a wonderful opportunity to take yourself out of your own life and to immerse yourself in something somebody else has made that isn’t something that you would see normally and just allow your imagination to play with it.

When people describe you what kind of words pop up?

Lately I have been described as intense. (laughter) Creatively intense. I have very specific ideas of what I want to make. Usually people say that I am very funny. I definitely make people laugh a lot. Probably they would say that I’m a little weird or eccentric.

Book

The Alchemist by Paulo Coelho

Catching the Big Fish by David Lynch

Contact

lilacmoonceramics.com

Instagram: @lilacmoonceramics

Source link

27/04/2025
Nerikomi Artist | Victoria Rickson

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Victoria Rickson | Episode 1063

Victoria Rickson is a Canadian ceramic artist based in San Francisco, specializing in nerikomi. With a BFA in Photography from Parsons School of Design, Victoria transitioned to pottery post graduation, mastering the technique of colored clay as a member of community studios. Victoria’s work balances precision with spontaneity, creating one-of-a-kind, color driven pieces.

SPONSORS

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I am curious about how you as an artist structure your day?

I have a full-time job so my day is that I wake up and I work all day and then I itch to go down to my basement to work on pottery and I do whatever task I have until 9 pm when it is time to go to bed.

Do you have a way of slowing down your making process so you are not dictated by your clay as your clay wants it to be done?

I think the process is pretty slow on its own. I work in phases. I’ll do the phase where I make the clay and then I will make the block and then on a long weekend or weekend I will say, This is my building weekend. And I will spend all weekend making cups, vases, and plates. So I can monitor all week in the evenings that it’s drying well. And then the next week I am sanding and preparing for the kiln. It’s sort of like I go through each phase when I have the time.

When you are working through problems in your work who do you tend to reach out to to get answers?

I ask my boyfriend a lot. It’s not like it’s a technical answer. I think most of my problems are composition and when it’s a technical answer I love a good google.

Are you interested in exhibitions, in showing your work in actual juried shows? Is that a thing you wish to do?

Yes, that’s my biggest next goal is to get into more official competitions and shows. I am working on pieces that are a little larger, a little more gallery focused at the moment, to work towards that goal.

Do you have shows that you are currently applying for?

Not right this second. There are maybe three or four in the last six months that I made work specifically for and then just chickened out and ended up not applying. I think I am close. I am doing the research and preparing myself mentally but I haven’t actually done the applying yet.

Is social media a struggle or a blessing for you?

So far, it’s a blessing. It’s helped me find a community. It helps me get feedback on my work when I am not showing or selling that often. I don’t mind making, a lot of what I do I make reels to share my knowledge and I think that really helps me build my community.

What is the biggest challenge of working in Nerikomi?

Patience. To expand upon that I think each step of the process takes so much focus and attention and could go wrong at so many points, that having patience with yourself, things are going to go wrong. Try again. That’s kind of key.

What advice would you give to someone starting out in Nerikomi?

It’s weirdly just some of what I just said. It’s patience. It’s understanding that the first thing you make is probably going to crack into a million pieces or you are going to hate it. It takes time to learn every step and you just kind of have to stick with it.

Book

Nerikomi Thomas Hoadly

Contact

swimmer.studio

Instagram: @swimmerstudio

Source link

27/04/2025
A Ceramic Painter | Amy Rae Hill

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Amy Rae Hill | Episode 1064

Amy Rae Hill is a ceramic painter who illustrates dramatic celestial scenes on pottery. After receiving her Bachelor of Fine Arts from Western Washington University, Amy worked at a pottery painting studio to develop her current craft. Amy paints with low-fire pottery glaze on earthenware to create her pieces.

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Because you are painting on a 3D object do you have a hard time finding the correct positioning for your compositions?

Yes, I feel like it has gotten easier to compose over time, but you do have to consider the shape of the piece. A tea pot is round and it and you will need to consider a distorted landscape if you are putting that on that surface. Or a cup might have a certain angle to it and that affects the way a spaceship might look on that sort of a surface. So it’s just getting to know your bisqueware shape.

Do you ever have losses for your work?

Very rarely. I usually commit to a piece and if something isn’t working I will wipe it off and then start fresh. It has been probably just a few occasions where I have gotten in deep and I realize that these colors aren’t working together or there are too many layers to go back and fix and really save the piece, so I have to scrap it and start over.

So your losses are more about the design than the pot not making it?

Right, so I probably have an easier time than all the other potters because if something is coming to me damaged then I can report that to my supplier and get a refund for those materials that I have lost and it will go towards my next order. So I have a way easier time with that.

Have you done collaborations with other artists? With other potters?

Yes, I did one with The Monster Inn and there was a couple of monster mugs that we worked on together and they shipped them to me from the UK and I painted a few astronauts climbing up a rocky surface on this monster design and another one had a galaxy on it. And that was really cool to be able to see all of the skill and building of piece and the design of the creature where I got to think about how to make an interesting surface on each of those different designs. A lot more interesting sometimes than a plain cup.

Have you ever used any of the Amaco underglazes?

I haven’t but I have been really tempted to use what all the cool potters use and they all look really good. (laughter) I would have to look into if it works on Earthenware or if I would have to work on more porcelain and stoneware. It seems like a lot of their stuff is higher fired in that case. I am not sure, I would have to research it a little bit more.

Is this your full-time gig?

Yes, it is my full-time gig. I do have a side teaching job a couple of days a weeks that does support my income as well but I am very lucky to have customers that want to buy enough of my work to live on.

Book

All Systems Red by Martha Wells

Contact

amyraehill.com

Instagram: @amyraehill

Source link

27/04/2025
Does Social Media Actually Work? | Tim See

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Tim See | Episode 1065

Tim See began working in clay while an art student at Onondaga Community College and completed a Bachelor of Fine Arts in Ceramics with Honors at Syracuse University in 2004. Tim’s work has been shown at the Smithsonian Museum in Washington, D.C, the Everson Museum in Syracuse, NY, the Memorial Art Gallery in Rochester, NY, and, at Baltimore Clayworks in Maryland – as well as many other galleries and shows. The work has been recognized with awards every year since 2003. Social media has provided Tim many platforms to communicate with more than 11,000 potters nationally and internationally. Since 2007, Tim has produced 92 educational videos on pottery that have been viewed almost 2 million times and attracted more that 13,000 subscribers.

SPONSORS

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You said we have more choices now and we can be our own everything. What does that mean to be our own everything?

So as a business owner and as a maker we have to wear all sorts of hats from marketing to quality control. And as a single owner of my own business I have to wear all those hats but I also get to wear all those hats.

Does that mean one should enjoy that process or do we have to endure that process as a discipline of business?

There are endurable things like taxes and the unwanted business parts that have to happen to be successful.

You said we could pay people to do the non-art parts of our work. Do you think that is a viable approach to someone trying to get their business off the ground?

So business off the ground, probably not, but the goal, at least my goal has been that I can outsource the things I don’t enjoy doing. The hours I spend doing my taxes, I could make more money doing my thing than I would have to pay for those taxes. It’s like mowing the lawn, would it be cheaper for me to pay the lawn mower guy than doing it myself? Three hours of work versus three hours of mowing the lawn. Making my work seems like a better use of my time.

How has social media given you the control you need to run your business?

My business started doing craft shows and doing craft shows I was dependent on weather, that was the biggest determining factor of whether it was going to be successful that weekend. If the weather stunk than I made no money and if I make no money than I have no control over my business. It doesn’t happening immediately but over time I now know what I need to do on social media and I now have control over the start to finish. The making, promoting, selling, shipping, all of that is now my responsibility which is a blessing and a curse.

Are you still doing one sale a year?

It is more so the way I operate this year. Typically, I was doing a beginner’s sale so people who have never bought something could have an opportunity to buy something without fighting everybody.

Contact

timseeceramics.com

Instagram: @timseeclay

Source link

27/04/2025
Pottery In Retirement | Brenda Lee Barron

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Brenda Lee Barron | Episode 1066

Brenda Lee Barron is passionate about sharing her love of clay. Brenda loves to make functional items (wheel and handbuilding) to be used at your table whether it’s a meal for 1 or a gathering of 21. She is drawn to minimalist design because Brenda wants what you’re serving to be showcased on the white speckled plates, platters and bowls. You’ll sometimes find a touch of gold or a funky rim on her work.

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You can help support the show!

Number 1 brand in America for a reason. Skutt.com

For all your ceramic needs go to Georgies.com

The preferred printing supplier for potters everywhere! SmallDogPrints.com

Retirement doesn’t mean recluse it just means different opportunities. Would you agree with that?

Yes, one hundred percent I would agree with that. Retirement for me is doing things at my own pace, when I want to whether that is doing pottery every day or every other day.

What does a day as a potter in retirement look like?

So a perfect day look like getting up in the morning, making my espresso, journalling for a little bit. Then I have to play Wordle and then I go for at least a half an hour walk. I can walk along the river here which is absolutely beautiful and then I come back and go downstairs and do some making. I take lunch whenever I need to and head back down. Maybe sit outside for a bit depending on the weather and time of year and then wrapping up the day with relaxing and spending a lot of time scrolling on Instagram getting some inspiration as well.

If that is a perfect day, how often does that take place in a week or a month?

I would say in a week three or four days. Because I also have throw in the days when I leave the house to go to the pottery guild to do my teaching as well. So that is part of a perfect day as well. That is one or two days a week that I am doing that.

So you are not not working, you are just working exactly the way you want to work.

Correct. And there will be days where I will do nothing. Maybe clean my kitchen instead of pottery. That’s no fun.

How do you know what to say yes to and what to say no to in order to keep life the way you want it?

So right now the volume of what’s coming at me is manageable and the two opportunities that have recently presented themselves are two area, two paths that I would like to follow. So I said yes. I also, when I say yes, I have to feel it in my body. That may sound woo woo but the yes, I have to feel the yes inside of me. Sometimes I will think on it for a little bit and sometimes the yes will come right away. So I I do a little soul searching to make sure it aligns with myself.

You mentioned teaching classes, as you are at this stage of life do you find it more pressing to be a mentor?

Yes, I do. It feels good to give back and the guild where I work wheel throwing is the most popular thing. Everyone want to throw on the wheel. And my mission is to make hand building just as popular as the wheel throwing. So it feels good. And I like to see the creativity that people have that they don’t think they have.

Books

The Power of Now Eckert Tolle

Big Magic Elizabeth Gilbert

Contact

pottery-by-brendalee.myshopify.com

Instagram: @pottery_by_brendalee

Source link

27/04/2025
Prepping For A Show | Peggy Quinn

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Peggy Quinn | Episode 1068

Peggy Quinn specializes in the creation of exquisite, one-of-a-kind, and limited quantity production craft pottery. Peggy’s unique pieces blend functionality with elegance, enhancing both living spaces, and everyday living. Each creation is meticulously handcrafted, showcasing Peggy’s expertise as a skilled potter and her unwavering passion for the art of pottery making.

SPONSORS

You can help support the show!

Number 1 brand in America for a reason. Skutt.com

For all your ceramic needs go to Georgies.com

The preferred printing supplier for potters everywhere! SmallDogPrints.com

There’s a saying, Know your audience. Do you know the audience that is going to be at this upcoming show?

Yes, I do for the most part. It’s going to be college educated women and that is my market.

How does that inform your actual making then?

You know, it really doesn’t inform my making, per se because I make what I want to make. I have accepted some commission things but they are only for really good friends, because it’s not what I want to do. So what I make is what I want to make and what I found is that’s my market.

Does photography come into play for doing sales in person? For advertising and getting the word out? Is it important for you to take photos?

I take a picture of my booth. Some shows want a booth shot. But all my photography is done in my studio. I just have a cheapy little background fade with dark on the top and light on the bottom. I use a little device that when I am photographing I take it out and when I am not photographing I put it away and it is my work table.

Do you plan your booth so it has good presentation?

I have four folding shelving and they look good and professional. And then I put up a table and a little stand on the table but mostly I use the edge of the table for my workspace because I need a place for my bags and I need a place for my cash box and to wrap stuff in bubble wrap. I have to have it be practical and presentable.

How do you spread the word for the show?

A good show like this is going to send you out a package , a media package. And they will give you logos and things to fill in your information and send that out to your people. I will put it on Facebook and on Instagram and I am starting to work on an email list.

Do you take time after a show to evaluate how it went? What went well and didn’t go well?

Well I try to add up what did best in sales. And I may make some notes but I wish I was better about that. (laughter) I kind of have it in my mind what works. It really would be best to write it down.

Book

Beloved by toni Morrison

John Britt Midrange glazes.

Contact

peggyquinnclaystudio.com

Instagram: @peggyquinnclaystudio

Source link

26/04/2025
Design In Making | Brenton Duhan

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Brenton Duhan | Episode 1069

Brenton Duhan grew up between North Carolina and Kandern, Germany–home to two distinct and rich pottery traditions. Brenton studied at Brown University and RISD in Providence, practiced museum exhibit design in DC, and gave tours and made ceramics in New Orleans before moving to New Haven, Connecticut. Brenton is currently maintaining a ceramic practice while studying architecture at Yale University.

SPONSORS

You can help support the show!

Number 1 brand in America for a reason. Skutt.com

For all your ceramic needs go to Georgies.com

The preferred printing supplier for potters everywhere! SmallDogPrints.com

How important is predesigning in making a successful piece?

I would say almost everything I make has been sketched out beforehand. In some way that is the architect in me. So I always start with a sketchbook and that moves into either a paper mock up or an actually clay mock up. And then the final piece eventually.

How would you define a successful piece?

I think a successful piece is a piece that someone wants to live with, wants to have in their lives, and maybe also wants to pass down to someone else in their life after they are gone.

Are there elements to design that are critical to a good piece?

I would say obviously the most important thing is that it functions well, but that function can be determined by you. Maybe it’s a silly function or for me I love making lamps and all you have to do is make sure it lights up. Or with a candle holder, make sure it holds a candle.

Do you welcome critiques on your work?

Yeah, I honestly wish I had a forum or a place where I could get more constructive feedback, I would say. In a style, like an architectural pin up like I get in school because Instagram is not the same, you know. People are very friendly and nice the majority of the time but also they are not able to give you the dedicated time to talk about your piece for thirty minutes. And I think that is really important when you are trying to improve what you are working on.

How has your architectural studies influenced your making?

I think right now my time is spent in architecture so much of the time that when I actually get to the studio I have to be productive. So it’s made me way more productive and I made a lot more designs because of it. So I think it’s a matter of the design process that I learned through architecture and I am excited to make something quickly because buildings take a long time to design and ultimately construct.

Your handles fit your work so well. Do you pull your handles or form your handles?

I love this question. I do both. I start by forming them from a lug of clay that I pinch mostly to get the taper that I like and then It’s a quick dunk in water and a few pulls just to make sure I smooth it out so it feels nice in the hand. And that gets attached to the body of the mug and once it’s attached I further shape it, I dip my finger in the water and shape it with my finger.

Book

Braiding Sweetgrass by Robin Wall Kimmerer

Poems by Mary Oliver

Contact

studiobdu.com

Instagram: @studiobdu

Source link

26/04/2025
A Blind Potter With Vision | Don Katz

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Don Katz | Episode 1070

Don Katz is a blind potter based in Los Angeles, California. Don became blind due to bacterial meningitis in 2001. After waking up from a month-long coma he had to relearn to walk and feed himself and adjust to his sightless reality. What began as an introductory pottery course at The Braille Institute of Los Angeles, has now become Katz’s obsession. Don’s ceramics teacher once told him as he struggled on the wheel that “you are stronger than dirt,” words he lives by today. Don appreciates feeling the clay take shape on the potter’s wheel and how the touch informs the form. He enjoys creating unique handmade functional and decorative ceramic objects.

SPONSORS

You can help support the show!

Number 1 brand in America for a reason. Skutt.com

For all your ceramic needs go to Georgies.com

The preferred printing supplier for potters everywhere! SmallDogPrints.com

What does a day in the studio look like for you?

A day in the studio depends on what I am working towards but like anybody else we have to get the clay ready. Typically I am working at getting better on the pottery wheel and working on building my craft, is my direction at the moment.

Do you have a making schedule?

I do not have a making schedule. I am more at the mercy of what I feel like making. I don’t want to have a making schedule because then I am going to loose the joy of what I do pottery for which is to be creative and use whatever ideas I have in my mind. If I am told to do one thing or make something specific that kind of takes the joy our of it and it feels like a job and I am trying not to make it feel like a job. otherwise it will become less interesting and stressful and not enjoyable.

The clay is so wet and fragile on the wheel, how do you know that the shape is the shape you want when you can’t see the shape that you are throwing?

This is the biggest challenge of all of it. Is exactly like you say, you don’t know when to stop so either I check a lot, which I am really bad at stopping to check or I overspin it and it collapses. There’s that balance of finding when to stop. That’s my biggest challenge. Sometimes I will set a timer to stop. Because otherwise you can just go crazy and keep going for hours. And sometimes we like the form and we ‘ve made and sometimes we don’t so we just scrap it . But right now my big goal is working on tall cylinder because I hate asking to fill a glass of water so I am working on getting height on my cylinders.

Do you trim your work?

I should. (laughter) I mean I used to when I first started and I was going to membership studios and I was much better about trimming my work. Now I don’t because I have become lazy about trimming and I think it would probably look better if I trimmed and made more conscious effort depending on what I am trying to do.

What is a challenge in the studio that you are loving chasing down?

Oh, I love the challenge of throwing. I still think it is a challenge and I have not become proficient expertise at it and I don’t think I will for a number of years. So I love that challenge and that part of the pottery process.

When you are not in the studio what do you do for fun?

The studio is fun for me but my favorite thing in the world is to have a nice meal out in the world. I am a Foodie with a capital F. So yes, I do like good food. So I took my love of food and my past experience and my enjoyment of ceramics and we are going to try and combine the two and at some point my dream is to create all the plateware that I use and to have a dinner party and I’ve made all the recipes for it as well an have a dinner party with that is my ultimate goal at some point. And I am constantly working on my Blishware. Blind friendly dishware that helps keep the food on the plates. Stand by for a few years.

Book

The Adventures of Kavalier Clay by Michael Chabon

Contact

theblindpotter.com

Instagram: @blindpotter

Source link

26/04/2025
An Artist From Russia Living in LA | Maria Loram

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Maria Loram | Episode 1071

Maria Loram is a ceramic artist, born in Russia, and is now based in California. Art has been Maria’s lifelong companion, and despite a detour into linguistics at Moscow State University and a subsequent move to LA, she has now built a career in private tutoring. Maria’s core fascination with art’s power to explore and understand the world remained dormant yet undiminished. The turning point came with a divorce, which serendipitously guided Maria back to art, Eastern philosophies, and meditation practice. In 2022, a pottery wheel from Facebook marked the rebirth of her artistic journey through the medium of ceramics. Diving into classes and workshops led by renowned ceramicists like Tortus and Moondobang, Maria has embraced the endless possibilities of shape, texture, and color.

SPONSORS

You can help support the show!

Number 1 brand in America for a reason. Skutt.com

For all your ceramic needs go to Georgies.com

The preferred printing supplier for potters everywhere! SmallDogPrints.com

Do you see yourself as an artist?

Yes.

As you see yourself as an artist and you are working with ceramics what is it that allows a piece to be elevated to art?

I think it is a wonderful question that I don’t quite know that answer to but I would like to. I think first of all, if it’s sculptural or nonfunctional I think it’s a lot easier to call it art, while I would love the functional ceramic pieces to be called art and I think if there is a deep concept in it or some kind of unique way of executing the idea and the functionality of the piece then that is considered to be art.

So it’s the why behind the work that makes it elevated?

I think the difficulty of this question lies not in what the object is but what art is and what craft is. The definition of the word art and craft and I think it kind of reveals the very deep subjectivity of the term art. Because abstract art doesn’t even have to have the why behind it, but it’s the lack of why that makes it art.

Why do moon jars capture your heart?

I think subconsciously it’s the aestheticists and the perfection of the spherical shape. But I do put a lot of meaning to it and I connect it to the cosmos and the non-duality. I like space and all the objects there are round and spherical and made by the gravitational force. And at the same time the non-duality and the idea that all the vessels are vessels, they are carrying something, but they are empty to begin with and there’s the surface that different, but the vessels are still similar. If that makes sense.

How important was the summer residency that you just did?

I think it was very important. It gave me a lot of actual skills in working with wild clay and forage materials as well as wood firing. I think it just connects to my philosophy and to my approach to ceramics and to the materiality of it really deeply. So I am going to continue all of it.

Where do you the journey of ceramics going for you?

I think about it a lot. I think ceramics for me right now is not only the object. It’s the whole field with which I can express myself in various ways. It could be an online course. It could be a local business like the actual community studio. I could be a book about glazes. It could be so many different things, but I hope that I will work through my objects in different directions. One is interior design based and decorative and the other one is what could be called art. So something very innovative and unique. It’s far but it’s getting there.

Book

ceramicmaterialsworkshop.com

Contact

loramceramics.com

Instagram: @loram.ceramics

Source link

26/04/2025