Tom Bartel was a McKnight Ceramic Artist Resident at NCC in 2015 and we have been proudly representing his smaller works wherein he, “…aims to condense what is present in larger works to a smaller bite-sized scale.” We deviate from our usual Q & A format to share the essay Janet Koplos wrote for the 2016 exhibition, Six McKnight Artists featuring work Bartel made during his residency.
Birdie Boone wants to make us “act upon the domestic spaces we occupy.” Anyone who has held one of her wares in their hands knows she achieves this goal consistently. Everything about her work is comforting and a pleasure to use.
Sunshine Cobb’s creative journey has taken her all over the country. She is constantly on the move – creating magically saturated wares and sharing her experience and techniques with other makers who are eager to learn. On Friday, September 6 she will join us at for a pre-festival workshop as part of the American Pottery Festival.
“I am guilty of romanticizing the past.”
Candice Methe’s work invokes a slower time, slower processes, and a slower way of life. Her philosophy is a vote for depth over breadth. It seems to be a guiding principle and it seems to be serving her well. We benefit from her methodology via consumption, visual or literally through acquisition, of her forms, which can be monumental odes to hand work and function.
Linda Christianson might not know it, but she is something of a mythological creature in the folklore of contemporary American ceramics. She cuts a romantic picture of a lone woman skiing through the Minnesota woods, towing lumber to build her home and studio against a gorgeous sunset sparkling on the snows of the northland. Thankfully, Christianson is as real as the rest of us; and it is with her usual measure of generosity, mirth, and commitment to her craft that she has chosen to share some deep insights to her practice and a bit about her personal story with us.
Through any one of Northern Clay Center’s programming legs, exhibitions, residencies, events, etc. there are opportunities to learn about makers and methods that fall outside of our traditional definitions of clay as a material and a process.
Karin Kraemer grew up in Minneapolis and received a BFA in glass working with a minor in biology from St. Cloud State University in 1986. After graduation came the very familiar nomadic period many artists travail in pursuit of their goals. Kraemer has been a glass blower in Colorado, Minnesota, and Wisconsin. She moved to West Virginia, where she began to work in clay – pit-firing her work in her yard. Then, she worked for a couple of years at the University of West Virginia at a clay studio in a Morgantown craft shop.
Not all makers can successfully walk between the worlds of utilitarian pottery, sculpture, and jewelry. Liz Pechacek does and she does it articulately, with depth and aplomb as she incorporates a variety of handbuilding and slip-casting techniques. The coil and pinch method she uses to make her prototypes and larger works is a slow, deliberate process that allows her to react and adjust to the profile as she goes.
Jan McKeachie Johnston has a laugh that is instantly familiar. Her vessels carry familiarity too, when our hand grasps a basket her touch has shaped, our hand already knows the form. She has been active since 1979 teaching workshops and demonstrations while maintaining her studio practice in Wisconsin. For the past 15 years she has participated in distinguished exhibitions throughout the United States.
Sarah Chenoweth Davis has been a welcome addition to past lineups of the American Pottery Festival and NCC is proud to represent her work in our sales gallery. She is part of the 112- year legacy the Oregon College of Art and Craft [OCAC] created.