Juz Kitson

Julie Heffernan was born in 1956. She was raised in Northern California but resides in Brooklyn, New York today. She received a BFA from the University of California, Santa Cruz and incredibly, her Masters of Fine Art in Painting from the Yale School of Art. A significant moment that contributes to her talent as an artist was in 1986 where she lived in Berlin for two years, studying and practicing constantly during her stay. Her process for creating a new

The material artists use for their artwork can influence the overall message of the piece. Jeff Koon works with a few different types of mediums which influence the image of the work. His piece Puppy, is a large sculpture of a dog in front of a building. The skeleton of this piece is made of stainless steel and is filled worth soil. The entire sculpture is covered with live flowering plants. I really liked this piece because the artist is using a living medium to create his work. This gives the dog a sense of being alive. In addition to this the medium used in this piece is very unexpected. Most sculptures are made of clay, metal, wood, etc. yet Koon used flowers which is out of the ordinary. Another sculpture by Koon is named Balloon Dog.

All artists are influenced by the culture they are from. Our experiences and the environment in which we were raised shapes us, and thus the works we produce as artists. This essay will discuss, compare and contrast two artists from different cultures, and their ceramic artworks, with a focus on how their cultural background has influenced their art. The artists that will be discussed are Janet Fieldhouse, who is influenced by her Torres Strait Islander heritage and Aboriginal artist Dr. Thancoupie Gloria Fletcher.

Bethan Gray is an award winning Welsh designer that has an unusual but impressive family origin. Her ancestors originate from an ancient Rajasthani clan that spent many hundreds of years journeying across Arabia and Persia before choosing to remain in the Celtic region of Wales. This very heritage wove its way into being some of Bethan Grays’s main influences and inspirations, which pull ideas shown within craft traditions of both the East and West. These influences are reflected in Gray’s style, showing a clear passion of detail, tactile textures, and extravagant materials such as rare stones, wood, marble and hand-tooled leather. Complex but complementary patterns of dark and light, texture and clear attention shown to the detail that defines her highly unique style. Even while using blacks and whites, Gray is also not afraid

However, the golden age of Japanese ceramics did not really begin until the sixteenth century when the tea master Sen no Rikyū popularized the tea ceremony. In his refinement of this art form, Rikyū found beauty in the earthly and natural forms of pottery and thus commissioned the production of “raku ware,” which today, is considered the pinnacle of Japanese pottery. Notable for its ruggedness and imperfections, raku ware made Rikyū into a central figure in the establishment of the wabi-sabi aesthetic. In the beginning, the textures and colors of wabi-sabi vessels were left to develop naturally. However, over time, several wabi-sabi artists began experimenting and even developed techniques to intentionally create these alterations. Obviously, the exact shape and form of an imperfection cannot be controlled but the intention can be realized in an oxymoronic “controlled natural look.”

I have chose to tell the story, and achievements of well renown artist Peter Morgan. Peter morgan is 33 years old. He grew up in Abingdon, Va with his parents Ed, and Helen Morgan. Peter graduated from Abingdon high school in 1996. Peter had never taken a ceramics class until his sophomore year in college. His college professor at Roanoke College inspired him during his time taking ceramics to go the length with it. He went on to continue his education at Roanoke College in Salem, Va. He later received his Bachelor of Arts degree from this university. He then went on to receive his Bachelor of Fine Arts degree from the California College of Arts and Crafts in San Francisco, Ca. He also received his Master of Fine Arts degree at Alfred University

Porcelain has a reputation, and gets treated as one of the most fragile and expensive materials money could buy. Anything that is made of porcelain is a real piece of art especially to whoever owns it. While reading an excerpt from the Seattle art museum online I found that the exact time and place of the creation of the first Chinese porcelain has not been firmly established. It is reported as early as 600 AD is when the creation of high fired ceramic wares was producing white ceramic material that was known as porcelain. Porcelain can take the credit for what was considered cross-cultural encounters for many centuries. They used porcelain as a vehicle for designs and ornamental motifs between Asia and Europe. Those little works of art have also influenced traditions in other countries that have been witness to the amazing artistic features of porcelain design. Having a very nice set of china myself, I now understand the reasoning behind protecting such valuable property. I would like to be able to see firsthand some of the masterpieces that may be roaming throughout the great country of China.

Many of her exhibits have been at The Clay Studio in Philadelphia and The Northern Clay Center in her hometown of Minneapolis, MN. She has had two exhibits at the Philadelphia Airport including a solo exhibit there in 2012 titled Table Runner and has had her work on exhibit in Bejing, China in 2008. Rebecca has also received multiple awards and honors from The Evelyn Shapiro Foundation Fellowship that brought her to the area in 2010 to The R. Guy Cowan Pottery Scholarship in Rocky River, OH and Victor Schrecktingost Sholarship for Excellence in Ceramics in Cleveland, OH that she received while in school for her BFA. She was recently awarded an Independence Foundation research project grant to take a historical food course with Ivan Day on Victorian sugarwork in England. Her work with combining colors and patterns in everyday objects such as bowls, baskets, vases and jars is beautiful and

Here is a place where Joint Task Force Guantanamo Troopers can relax, unwind and explore their creative side as an outlet for the stress and anxiety from a long week at work. On this Friday night, (need actual date.. can’t say day of week) a small class of five students gathered to learn ceramic molding, many of them starting projects intended for use as one of a kind Christmas gifts or personal souvenirs.

When she grew up she decided to go to the University of Illinois in pursuit of a degree in graphic design where this eventually led her to New York City. She got her first dream job doing artwork for different television shows. This eventually led to her getting a job for a children’s show. During her time

Eugene Lee is an influential set designer for the theater world. Eugene Lee is a 75-year-old set designer who lives in Rhode Island with his wife Brooke. Lee grew up in Wisconsin and then attended Carnegie Mellon and Yale; he has also accumulated three colleague degrees. In spite of the fact that Lee works mostly in New York, Lee chose to live in Rhode Island because of the fact that he thinks it’s quirky. Lee has been a set designer for Saturday Night Live, Trinity Rep and many other theaters and shows.

Sonny Assu was raised by his grandparents in North Delta, British Columbia. He is an interdisciplinary artist known for painting, printmaking, installation art, and sculpture. It was not until he was eight years old that he found out about his Kwakawaka’waka heritage. Sonny Assustarted his education at Kwantlen College for

According to Isaacs, pottery was introduced to Hermannsburg in the late-twentieth century by Victor Jaensch. Jaensch “advised on sourcing local clay, and built a small kiln” and his Arrernte assistants, Nashasson Ungwanaka and Joseph Rontji, “began the tradition of making sculptures from clay” which were painted and sold at craft shops (Isaacs 2000:50). To many western critics and commentators of the time, the works of the original Potters did not appear as ethnographic or distinctively Aboriginal, as it was not like any of the traditional Aboriginal art forms produced at the time. However, today, Hermannsburg pottery produced by the current generation of women is flourishing. The Hermannsburg Potters webpage discusses the unique process by which these iconic sculptured terracotta pots are made. From clay, coils are rolled out and then each coil is a layered and pinched together. As the layers build, the clay is hand sculpted into a desired form. Once the moulding process is complete, the surface is further smoothed and shaped. Once dry, the pots are decorated with a ceramic based material or slips with pigment. Then lastly, the pots are

Lin Onus was born on December 4, 1948 in Melbourne, Victoria. Growing up in a household which consisted of only his Mother which was Scottish background and his Father which was of Aboriginal background [ The Yorta Yorta Language group ]. Lin developed a love for art at a early age. Lin’s father Bill Onus owned the family business of making Aboriginal boomerangs and traditional artefacts, Lin would help his father out in school holidays, weekends and when he had spare time. Also growing up surrounded by his traditional art and classical music added to Lin’s inspiration. Lin began painting in 1974 at the age of 26 after originally training as a Mechanic, Lin started regularly traveling to Arnhem Land in the Northern Territory which influences

Suh creativity involve fiddling with miniature toy figures that are in extremely crammed spaces or trying to elude danger. The figures are collaborating with each other to survive the harshness of every day situations in any society. Suh express how one person can adapt, support, rescue, connect, and have different impact on a society. For instance, Suh sculpture Cause and Effect (2007) formed with acrylic, stainless-steel, and aluminum. Cause and Effect shows one miniature man by himself with his feet planted firmly on the floor balancing hundreds of other miniature people. Also, Suh sculpture installation Floor (1997-2000) consist of PVC figures, glass plates, Phenolic, and polyurethane resin. The sculpture have small replicas of a several