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Adam Addley
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Amber Marshal
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Barry Bernstein
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Barbara Bouman-jay
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Caitie Sellers
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Espacia Fotui
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Jera Lodge
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Joseph Graci
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Juli Jerman-Melka
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Kenyon Hansen
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Kris Marubayashi
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Lynda Ladwig
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Patrick Dragon
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Adam Addley
Creating clean simple pieces where function and form are equally attended to is the aim of his craft.
His work is informed by his experience traveling abroad and studying ceramics and woodwork in Japan.
His work has been exhibited nationally as well as in Japan.
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Amber Marshall
My work is primarily sculptural glass that explores the material’s inherent fluid-like properties when hot. I focus on creating organic forms rich with texture and undulating curves.
These pieces are achieved with both careful intention and a healthy dose of play.
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Barry Bernstein
I’ve been making vessels and firing in the Raku process for over 35 years. I use the vessel form as my canvas and the firing process as my paintbrush. Slight adjustments in the firing and cooling create a wide range of colors and textures. I try to create visually strong forms and strong surface treatment. Pieces must have both to be considered successful. I make simple forms with very little embellishment to get at the strength and inner beauty of the vessel form.
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Barbara Bouman-Jay
My most recent body of work consists of oil, wax, and plaster on panel utilizing a modified fresco technique The paintings evolve through the application of layered materials, gestures, dragging, and scraping. A surface is established that is new and exciting and inspires the next journey of rediscovery.
The development of my art has been a long and continuous, intuitive journey; a voyage of experimentation and evolution. I am process-driven with the materials, exploring the layering of color to create a shifting visual field. There is a cycle of construction and deconstruction which continues until the piece becomes relevant for me and I think “it works”. I can relate this to a meditative, sensual and intuitive journey into boundless space.
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Caitie Sellers
I use traditional silversmithing techniques to create work that revolves around a unique combination of alloys and industrial materials. I fuse fine copper mesh from an industrial manufacturer with sterling silver as the base for most of my pieces, using techniques I developed during a residency at the Houston Center for Contemporary Craft. Using these materials creates an effect that provides solid planes with transparency, allowing me to play with dimension and layers.
I am fascinated with the hidden workings of cities — beautiful, efficient design that is hidden beneath pavement and brick. Using transparent mesh allows me to show both the outer skin and the guts of a place. These pieces show the basic building blocks of a city, something assembled by ancient and forgotten hands, juxtaposed with modern additions and renovations. I’m interested in showing the cycles of urban growth and decay.
I use many other techniques to recreate infrastructure in miniature. I weave thin gauge sterling silver wire to create chain link fence. I use filigree techniques to make tiny guard rails and brick walls. I use granulation techniques to build silt and gravel. I coil and fuse fine wire to create powerlines and cables. I combine these simple overlooked structures with 18 karat gold to symbolize their real value in our lives.
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Espacia Fotiu
With all possibilities accounted for I orchestrate a variety of mediums. Watercolor allows me to surrender to spontaneity, immediacy, and impermanence, that of which water consistently represents.
While the ink and other mediums contrast with permanence, concentration, and order.
I use negative space to represent the unknown - a conduit to view the chaos from afar, but close inspection reveals harmonious order.
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Jera Lodge
Jera Lodge creates pattern-based jewelry that has the illusion of volume while staying light in weight. She assembles architecturally inspired shapes with unique connections, resulting in playful, kinetic, and interactive jewelry. Each piece of jewelry is hand formed and finished in her Philadelphia studio.
Jera received a BFA in Jewelry & Metalsmithing from Edinboro University in 2012. Since graduating, Jera has worked at Peters Valley Craft Center in NJ, Haystack Mountain School of Craft in Maine, and was a resident artist at the Houston Center for Contemporary Craft.
Over the years she has maintained her studio practice through over a dozen moves around the country, residing in PA, ME, NJ, NC, TX, and NY for various lengths of time. Jera currently maintains a full-time studio practice in Northwest Pennsylvania.
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Joseph Graci
Using both hand and power tools I create carved wood panels and objects. My primary source for materials is salvaged offcuts from local sawmills and cabinet shops. Inspiration is drawn from two main sources; the simple and clean forms of modern design, as well as from the dynamic environment where I live on the southern shore of Lake Superior in Marquette Michigan.
The wood is often worked green then allowed to warp and crack as it dries. After carving I paint or burn the surface to emphasize tool marks. The lines and textures carved in the wood are abstractions from the natural world; rocks, water, sand, waves, trees, ice… I primarily work within squares, rectangles, and grids; exploring relationships between the organic carving and the machined lines.
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Julie Jerman - Melka
I use basalt beach pebbles collected along the shores of Lake Superior and combine them with hand forged sterling silver, tube set gemstones and freshwater pearls. The uniqueness of each pebble, along with the hand forging of metal and placing gemstones in different positions on each piece all contribute to the individuality of each piece.
I have been collecting the pebbles since childhood and feel fortunate I can incorporate them in my work. I also call myself a metal mover and love the forging and manipulating of metal with various hammers on different anvils.
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Kenyon Hansen
The insatiable need to work with my hands is the driving force of my craft. The pulse of my practice lies in the rhythm of making and through repetition the work evolves, changing slowly in response to each firing cycle. Tactile and visual consideration and slowing down is key to this process.
These elements carry equal weight and are central in my working process leading up to the finished pieces. I focus on utilitarian objects that enrich the quotidian experience. My work is made of soda-fired porcelain and stoneware clays.
Ideas are generated and inspired by the everyday experience, patchwork quilts, structure, and patterns found in nature. Currently, I am exploring the dichotomy of vessel structure and the fluidity of glaze.
Producing textured surfaces and raised lines allows a place for the glaze to pool and collect and in return enriching the surface and building of depth. My hope is that the pots I make will contribute to the field of craft and elevate the everyday experience.
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Kris Marubayashi
Earth, Water, Air, Fire, Time
5 components that come together to create different textures, colors, weights, shapes. With clay, the combinations are endless, as are the challenges. Working with clay is like life: you have to pursue your passions, be in tune with your surroundings, relish the unexpected, appreciate the little things, and love what you are doing each minute.
I want the clay and its qualities to be front and center, with my function being the partner and facilitator. I primarily use the raw clay to create my work, sometimes adding slip for surface texture and color contrast.
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Lynda Ladwig
Function and form are paramount. My goal is that the shape can stand alone, decoration acting to strengthen the shape.
Some of these pieces employ the use of slip (liquid clay) in either black or white. Designs are created through different methods: sgraffito, paper stencil, and texture. Pieces are twice fired using a clear matte glaze or left unglazed. All of the functional pieces are food, microwave, and dishwasher safe.
My work is not driven by a lofty spiritual or intellectual philosophy. I have lines and shapes constantly tumbling around in my head. Expressing them, whether it is in building or garden design or in pottery is something I need to do.
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Patrick Dragon
The appeal of the vessel form is its universality and simplicity. It is a neutral format in which artistic styles can take flight. The Vessel’s basic elements-foot, wall, and rim are inherently sculptural and impose few limits on the imagination.
My wheel-thrown, thin-walled vessels are carved, hammered, and manipulated to create exterior shapes and patterns that contrast vibrantly with their smooth, empty interior volumes. Many are burnished and covered with fine particles of decanted clay called terra sigillata and sagger-fired in wood, facilitating subtle color variations. In this process, exterior surfaces remain porous after each firing, allowing me, like the natural world from which these materials come, to slowly build up layers of color and clay. The vessel’s interiors are double glazed, creating richly contrasting colors and textures. Some are further enhanced with slip trailing using black slips of varying thickness.
The open vessel forms I create become biomorphic objects expressing the patterns and shapes I observe and sense on the surface of the earth - the layers of rock, water, plants, and diverse life forms.
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