Salt and PepperSalt and PepperFeaturing artists from Baltimore Clayworks’ exhibition An Extravagance of Salt & Pepper curated by Gail M. BrownMay 6 - June 4, 2006AN EXTRAVAGANCE of "SALT & PEPPER": containers, shakers, concepts

CURATORS STATEMENTCertain objects and forms are commonly thought of in pairs. The resonance of the words- hammer and nails, cup and saucer, meatballs and spaghetti easily come to mind. So, too, with "salt and pepper." As pairs of now totally common flavor enhancement and couples of containment, they evoke a gamut of visual images as well as conjure up the ubiquitous set on the oilcloth covered kitchen table of our collective memories.

Why are they so evocative as terms and objects? And, usually so commonplace?Verbally, they evoke a complementary yin and yang, a point/counterpoint. Visually, they do the same - from mass produced anonymity to the dubious license taken in un-poetic forms of kitsch cats and dogies, inane tourist souvenirs or those ever so elegant matching accessories for fine china dinner services.

pep.per-and-saltpe-par (-a)n (d) -soltadj (1774)salt cellar and pepper box: a small usually cylindrical box or bottle with a perforated top used for sprinkling salt or pepper on food at the table. Merriam-Webster's Collegiate Dictionary, 10th edition.

The word in point is usually. The format and the function can also become a highly personal form of unlimited domestic kinds and unexpected adventures in imagination. As long as it can hold, convey and dispense, the potential of unique vessels offers a personal challenge to inspired potters, sculptors and audience alike. And clay always seems a particularly amenable medium for unlimited flights of fancy!

In the creative hands of potters and artists, all expectations can be seasoned with "the unexpected." I invited a panoply of ingenious makers to pour their ideas onto the project. To season with the personal approach. To grind out some surprises. To revel in the possibilities of extravagant contrasts, complements and pairs. To think about hand scale, usage and the tactile experience. To muse on utility, to think form, content, sculptureor metaphor, often with added pinches of wit, humor and personal message. Some make unique functional ware, some focus on sculptural forms and vessels, some share narrative points of view. All address the world around us- in objects for use, beauty, decoration and/or forms of observation and commentary in far from the usual ways.

“An Extravagance of Salt & Pepper as containers/shakers/concepts“ will surely explore a gamut of extreme possibilities to attract and engage us.Gail M. BrownGuest Curator

Wesley Anderegg: Wesley Anderegg: Salt BoxSalt Box

At the dawn of mankind primitive At the dawn of mankind primitive peoples fashioned clay objects. They peoples fashioned clay objects. They sculpted about what they knew and sculpted about what they knew and wanted. Pregnant women and nimals wanted. Pregnant women and nimals were the hot topics of the day. I think were the hot topics of the day. I think of my work much the same way. of my work much the same way. Though the topics may be different I Though the topics may be different I feel a link to those old people sitting feel a link to those old people sitting around playing with this beautifully around playing with this beautifully plastic material.plastic material.

Ian Ian Anderson: Anderson: Salt Salt

and Pepper w Standand Pepper w Stand

My primary inspiration is message and My primary inspiration is message and narrative. Poetry, politics, and propaganda narrative. Poetry, politics, and propaganda are all influences. The idea of the are all influences. The idea of the monument/memorial partitions off a monument/memorial partitions off a cultural space which is considered sacred cultural space which is considered sacred and/or contemplative. I have in mind and/or contemplative. I have in mind national war memorials, but I am national war memorials, but I am particularly interested in memorials which particularly interested in memorials which remind us of our collective fallibility. At remind us of our collective fallibility. At play then in much of my work is a play then in much of my work is a discussion about memory: historical, discussion about memory: historical, national, and personal. Many of my pieces national, and personal. Many of my pieces are both sacred and profane, high art and are both sacred and profane, high art and kitsch. They are the consumable items thatkitsch. They are the consumable items thatthey claim to critique: metaphors for and they claim to critique: metaphors for and containers of materialism. I am trying to containers of materialism. I am trying to create contemplative and seductive work create contemplative and seductive work that carries messages which are that carries messages which are alternatively meaningful, powerful, and alternatively meaningful, powerful, and revelatory.revelatory.

Linda Arbuckle: Linda Arbuckle: Salt and Pepper: White Bloom and LeafSalt and Pepper: White Bloom and Leaf

The tradition and interpretation of the The tradition and interpretation of the functional vessel bring experiences functional vessel bring experiences through the functional art object into one’s through the functional art object into one’s daily life. Line, color, gesture, and the lure daily life. Line, color, gesture, and the lure of materiality articulate the value of of materiality articulate the value of indulgence and the transience of (plant) indulgence and the transience of (plant) life. The alchemy that transforms common life. The alchemy that transforms common terracotta clay into an object that speaks in terracotta clay into an object that speaks in a domestic setting points the way toward a domestic setting points the way toward parallel transformations possible in the parallel transformations possible in the observed moments of personal life.observed moments of personal life.

Mary Barranger: Mary Barranger: Paired ShakersPaired Shakers

Salt and pepper is a pairing that intrigues Salt and pepper is a pairing that intrigues because of its utter familiarity (those tiny because of its utter familiarity (those tiny twin towers on restaurant tables!) and its twin towers on restaurant tables!) and its potential for riffs on the whole idea of pairs potential for riffs on the whole idea of pairs and sets. Linked yet not the same, they and sets. Linked yet not the same, they lead the mind to other twosomes, and to lead the mind to other twosomes, and to ponder: what makes things belong ponder: what makes things belong together? And how to speak of that together? And how to speak of that belonging-together while also honoring the belonging-together while also honoring the stubbornly individual character of the stubbornly individual character of the parts? Tasty questions indeed to carry into parts? Tasty questions indeed to carry into the studio.the studio.

Justyna Justyna BentonBenton

I am seduced by the gritty, sandy, yet I am seduced by the gritty, sandy, yet delicate texture of the table salt and the delicate texture of the table salt and the brittle, crunchy feel of the kosher salt brittle, crunchy feel of the kosher salt crushed between my fingertips. I savor the crushed between my fingertips. I savor the supple plump roundness of green pepper supple plump roundness of green pepper corns with their smooth almost waxy corns with their smooth almost waxy surface and the contrasting dry and surface and the contrasting dry and shriveled skin of black pepper corns falling shriveled skin of black pepper corns falling out of my hand. I delight in the tactile and out of my hand. I delight in the tactile and tangible qualities the spices have to offer tangible qualities the spices have to offer upon closer examination. I do not own a upon closer examination. I do not own a salt or pepper shaker. I need to touch and salt or pepper shaker. I need to touch and physically experience the spices I use. I physically experience the spices I use. I revel in the sensuality of the diverse salt revel in the sensuality of the diverse salt and pepper varieties as I lean over a pot of and pepper varieties as I lean over a pot of hot steaming soup, gradually adding my hot steaming soup, gradually adding my seasonings, reluctantly letting them leave seasonings, reluctantly letting them leave my hands. They offer a lot more to the my hands. They offer a lot more to the senses than flavor and aroma.senses than flavor and aroma.

Karl Borgeson: Karl Borgeson: Salt & Pepper Containers for Stovetop UseSalt & Pepper Containers for Stovetop Use

I restrict my color palette by keeping I restrict my color palette by keeping materials to a minimum using two clays materials to a minimum using two clays (stoneware and porcelain), four slips and (stoneware and porcelain), four slips and three glazes. Surface embellishment, when three glazes. Surface embellishment, when employed, incorporates basket weave employed, incorporates basket weave imagery, checkerboard patterns or parallel imagery, checkerboard patterns or parallel lines. Juxtaposed subtle surface variation lines. Juxtaposed subtle surface variation and texture is achieved by firing with wood and texture is achieved by firing with wood and the introduction of a small amount of and the introduction of a small amount of salt.salt.

George Bowes: George Bowes: Katrina and WilmaKatrina and Wilma

Living for the first time in a tourist Living for the first time in a tourist destination city Galveston, Texas, a barrier destination city Galveston, Texas, a barrier island in the Gulf of Mexico, he began to island in the Gulf of Mexico, he began to think about souvenirs salt and pepper think about souvenirs salt and pepper shakers. Unfortunately, one can still find shakers. Unfortunately, one can still find many racist souvenirs from confederate many racist souvenirs from confederate flags to "black face" figurines. Watching flags to "black face" figurines. Watching hurricane Katrina and its aftermath the hurricane Katrina and its aftermath the problems of racial inequality in this country problems of racial inequality in this country was glaringly exposed. Having recently was glaringly exposed. Having recently lived through a very active hurricane lived through a very active hurricane season including one mandatory season including one mandatory evacuation he wanted to make a salt and evacuation he wanted to make a salt and pepper set addressing how at times naturalpepper set addressing how at times naturaldisaster scan exposed human ills.disaster scan exposed human ills.

Andy Brayman: Andy Brayman: Salt and Pepper Shakers on Salt and Pepper Shakers on

Black TrayBlack Tray

An unusual embrace of the Modernist An unusual embrace of the Modernist idiom, form follows function, is held. Many idiom, form follows function, is held. Many of the forms stray away from traditional of the forms stray away from traditional pottery shapes while maintaining all the pottery shapes while maintaining all the requirements for use. There is an emphasis requirements for use. There is an emphasis on unconventional forms, but with on unconventional forms, but with practical use in mind. Objects such as practical use in mind. Objects such as vases, salt and pepper shakers and fruit vases, salt and pepper shakers and fruit bowls are clearly meant to be used. bowls are clearly meant to be used.

Dining has the potential to be a time and Dining has the potential to be a time and space for the intellect and the sensory to space for the intellect and the sensory to blend--where words, aromas, tastes and blend--where words, aromas, tastes and thoughts inevitably mix, each influencing thoughts inevitably mix, each influencing the other. These centerpieces set the stage the other. These centerpieces set the stage for this mix to take place.for this mix to take place.

Jeffrey Jeffrey Chapp:Chapp:Improvised Iraq War Improvised Iraq War Commemorative Salt & Pepper Commemorative Salt & Pepper ShakersShakers

Salt and pepper shakers are objects that occupy a Salt and pepper shakers are objects that occupy a familiar spot in our daily existence-utilitarian familiar spot in our daily existence-utilitarian fixtures that sit on our tables and reside in our fixtures that sit on our tables and reside in our kitchens, and charm their way into our homes as a kitchens, and charm their way into our homes as a collectable commodity reflecting our obsessive collectable commodity reflecting our obsessive desire to possess material culture memorabilia. desire to possess material culture memorabilia. Although usually stylish, banal or humorous in Although usually stylish, banal or humorous in design, some salt and pepper shakers speak to design, some salt and pepper shakers speak to prevailing social conditions through advertising or prevailing social conditions through advertising or mass media imagery, or as a revelation of racist, mass media imagery, or as a revelation of racist, classism, or sexist attitudes.classism, or sexist attitudes.My works comment on American culture, politics, My works comment on American culture, politics, and global events, while steadfastly retaining the and global events, while steadfastly retaining the identity of visually appealing objects. They are a identity of visually appealing objects. They are a personal and progressive testimony to what I take in personal and progressive testimony to what I take in of the world around me: a commemorative record of the world around me: a commemorative record of a place in time, an historical event, or a specific of a place in time, an historical event, or a specific observation on contemporary life. I pay deliberate observation on contemporary life. I pay deliberate attention to surface detail, well-crafted modeling, attention to surface detail, well-crafted modeling, and intimate scale, so my messages hit with a velvet and intimate scale, so my messages hit with a velvet glove. With duality as an ever-present theme, I find glove. With duality as an ever-present theme, I find salt and pepper shakers an appropriate metaphor to salt and pepper shakers an appropriate metaphor to explore issues like war and peace, right and wrong, explore issues like war and peace, right and wrong, and good and evil.and good and evil.

Bruce Cochrane: Bruce Cochrane: Salt and Pepper Salt and Pepper

BrickBrick

After 25 years of working in clay, utility After 25 years of working in clay, utility continues to serve as the foundation for continues to serve as the foundation for my ideas. The pots I make, no matter how my ideas. The pots I make, no matter how simple or complex, are meant to be simple or complex, are meant to be experienced on a physical and visual level. experienced on a physical and visual level. The way an object caries, lifts, cradles, The way an object caries, lifts, cradles, pours and contains are properties which I pours and contains are properties which I strive to make engaging for the user, strive to make engaging for the user, offering more than just convenience. I offering more than just convenience. I explore and develop ideas through working explore and develop ideas through working in multiples. Concentrating my efforts on a in multiples. Concentrating my efforts on a specific series of forms allows me to define specific series of forms allows me to define and clarify my thoughts as well as solve and clarify my thoughts as well as solve problems in sequential order.problems in sequential order.

Cynthia Consentino: Cynthia Consentino: Wolf and Rabbit Wolf and Rabbit

GirlGirl

Wolf and rabbit imagery find their origins Wolf and rabbit imagery find their origins in a study I read many years ago. Children in a study I read many years ago. Children were asked to name an animal that was were asked to name an animal that was most like themselves. Girls answered the most like themselves. Girls answered the names of cuddly, passive, even stuffed names of cuddly, passive, even stuffed animals (one girl said a flower), while the animals (one girl said a flower), while the boys responded with more aggressive, boys responded with more aggressive, predatory animals.predatory animals.

Deirdre Daw: Deirdre Daw: Salt of the EarthSalt of the Earth

It's horrifying to find that a majority of It's horrifying to find that a majority of Americans now believe that torture is Americans now believe that torture is acceptable as long as it is helping to "keep acceptable as long as it is helping to "keep Americans safe". The justification of Americans safe". The justification of torture for any reason is absolutely torture for any reason is absolutely soulless, immoral and ignorant. Like the soulless, immoral and ignorant. Like the black pepper and white salt, Enemy black pepper and white salt, Enemy combatants are Evil and Americans are combatants are Evil and Americans are Good, the same kind of Black/White, Good, the same kind of Black/White, Evil/Good thinking behind the justification Evil/Good thinking behind the justification of torture. Ironically, George Bush is of torture. Ironically, George Bush is perceived by many as a good guy-"the salt perceived by many as a good guy-"the salt of the earth "- which contrasts greatly with of the earth "- which contrasts greatly with his employment of torture, secret prisons, his employment of torture, secret prisons, and illegal spying on Americans.and illegal spying on Americans.

Josh Deweese: Josh Deweese: Salt and Pepper SetSalt and Pepper Set

I am interested in how pots can be used I am interested in how pots can be used every day to bring art into our lives, every day to bring art into our lives, enhancing our experience with food, enhancing our experience with food, adorning our homes, and providing a adorning our homes, and providing a necessary ritual to nourish our soul and necessary ritual to nourish our soul and mind as well as our bodies. I try to make mind as well as our bodies. I try to make pottery that is successful in several ways;pottery that is successful in several ways;comfortable to use, enjoyable to look at, comfortable to use, enjoyable to look at, and interesting to think about. The Salt and and interesting to think about. The Salt and Pepper set is a new format for me. I enjoy Pepper set is a new format for me. I enjoy the idea of pairs. It is yet one more the idea of pairs. It is yet one more opportunity for expression that can opportunity for expression that can become a part of a daily domestic ritual.become a part of a daily domestic ritual.

Marc Digeros: Marc Digeros: Salt and Pepper with Salt and Pepper with

Basket, 2006Basket, 2006

My pieces are hand-built using thin slabs to My pieces are hand-built using thin slabs to construct walls that wrap around slump-construct walls that wrap around slump-molded bases. As I build, I try to leave clues molded bases. As I build, I try to leave clues as to how my pieces have been as to how my pieces have been constructed, such as seams and other constructed, such as seams and other marks that result from my hands and tools marks that result from my hands and tools touching the clay. Similarly, I design and touching the clay. Similarly, I design and glaze my pieces with the understanding glaze my pieces with the understanding that the kiln will often transform my that the kiln will often transform my perfecting tendencies into happy accidents perfecting tendencies into happy accidents that can't always be reproduced. Many that can't always be reproduced. Many times it is this unforeseeable outcome that times it is this unforeseeable outcome that fuels my desire to create.fuels my desire to create.

Kowkie Kowkie Durst: Durst: Salt and PepperSalt and Pepper

I imagine my pots in someone's home, I imagine my pots in someone's home, tossed from sink to table to shelf. I want tossed from sink to table to shelf. I want them to live with someone and become a them to live with someone and become a part of their everyday life. The physical part of their everyday life. The physical connection-lips, hands, eyes-that engages connection-lips, hands, eyes-that engages a user with the object is essential to the a user with the object is essential to the creation of meaning for pottery. My creation of meaning for pottery. My approach to clay enacts my passion for the approach to clay enacts my passion for the material and exposes the physical nature material and exposes the physical nature of my own existence. My understanding of of my own existence. My understanding of the power of images to translate history the power of images to translate history and stories has deepened through my and stories has deepened through my study of petroglyphs. The drawings on my study of petroglyphs. The drawings on my pots are rendered as cartoon-like pots are rendered as cartoon-like abstractions of our contemporary cultural abstractions of our contemporary cultural icons, which I use to narrate our intimate icons, which I use to narrate our intimate relationship with everyday objects as well relationship with everyday objects as well as to capture everyday moments that may as to capture everyday moments that may sometimes be overlooked.sometimes be overlooked.

Heather Mae Heather Mae Ericson: Ericson: SprinkleSprinkle

My work discusses the coupling of design with traditional My work discusses the coupling of design with traditional techniques of wheel-thrown porcelain and industrial techniques of wheel-thrown porcelain and industrial techniques of plaster molds. I deal with the meal and objects techniques of plaster molds. I deal with the meal and objects used on the table. I am interested in implications found not used on the table. I am interested in implications found not only in the utilization of the ware, but also in various only in the utilization of the ware, but also in various methods of storage and presentation. When creating I deal methods of storage and presentation. When creating I deal with all stages of an object's existence, such as storage, with all stages of an object's existence, such as storage, display, rituals, and etiquette. I explore the possibility of display, rituals, and etiquette. I explore the possibility of changing the way we treat the vital ritual of dining. I seek to changing the way we treat the vital ritual of dining. I seek to direct the eye, hand, and mouth to treat food differently. I direct the eye, hand, and mouth to treat food differently. I create ware that raises awareness of the situation and sparks create ware that raises awareness of the situation and sparks contemplation before devouring the elements. I am not sure contemplation before devouring the elements. I am not sure how far objects can be manipulated before the average how far objects can be manipulated before the average person needs education for utilization. I am interested in person needs education for utilization. I am interested in making new objects that comment on the past, the now, and making new objects that comment on the past, the now, and the future. Questions I explore are: what about a table the future. Questions I explore are: what about a table setting needs to be purely functional, what is decorative, setting needs to be purely functional, what is decorative, how much of the two should be brought together? Why do how much of the two should be brought together? Why do objects come to look and function as they do? How should objects come to look and function as they do? How should an object feel in the hand? How does a single piece interact an object feel in the hand? How does a single piece interact with the others in the setting or on the table? What does it with the others in the setting or on the table? What does it do to the art when food comes into play? How much can an do to the art when food comes into play? How much can an artist be involved in how an owner displays, uses, and cares artist be involved in how an owner displays, uses, and cares for an object? I believe through qualities of the work some of for an object? I believe through qualities of the work some of the outcome can be placed upon an object by the creator.the outcome can be placed upon an object by the creator.

Kathryn FinnertyKathryn Finnerty

Deborah Fritts: Deborah Fritts: AbundanceAbundance

We are fortunate to be part of a rich and We are fortunate to be part of a rich and prosperous society. So many times, the prosperous society. So many times, the simple gifts are taken for granted and simple gifts are taken for granted and overlooked. Due to commercialism, we overlooked. Due to commercialism, we supersize our life.supersize our life.

Unfortunately, this leads to extravagance Unfortunately, this leads to extravagance and wastefulness. We should simplify--and wastefulness. We should simplify--slow down--respect nature—and celebrate slow down--respect nature—and celebrate true living.true living.

Julia Galloway: Julia Galloway: Salt and Pepper FruitSalt and Pepper Fruit

I am interested in pottery that is joyous, I am interested in pottery that is joyous, intimate and weaves into our daily lives intimate and weaves into our daily lives though use and decoration. The though use and decoration. The composition of work comes from composition of work comes from architecture, human form and natural architecture, human form and natural structure found in plants. The surface structure found in plants. The surface decoration of a lettering system or floral decoration of a lettering system or floral patterns establishes structure and mystery, patterns establishes structure and mystery, order and secrets. I am most curious when order and secrets. I am most curious when my pots support our intimate rituals of my pots support our intimate rituals of nourishment and celebration, and have nourishment and celebration, and have inherent internal dialogue within the work inherent internal dialogue within the work itself.itself.

Rebecca Harvey: Rebecca Harvey: SheepSheep

I have a great love for the strange little bits I have a great love for the strange little bits of domestic imagery in the world, of domestic imagery in the world, wallpaper patterns, plastic farm animals - wallpaper patterns, plastic farm animals - objects abstracted, so far removed from objects abstracted, so far removed from their original scale, meaning and material their original scale, meaning and material to make their reassignation improbable at to make their reassignation improbable at best. I have a box sitting on my desk in my best. I have a box sitting on my desk in my studio - I pull it out every once in a while – studio - I pull it out every once in a while – the shapes are simplistic to the point of the shapes are simplistic to the point of being crude, a single color, red or black or a being crude, a single color, red or black or a strange tan rooted to their little rectangle strange tan rooted to their little rectangle of plastic - Proust's limbic madeliness.of plastic - Proust's limbic madeliness.

Bryan Hopkins: Bryan Hopkins: Salt and Pepper on Salt and Pepper on

StandStandFollowing in the lineage of "fine china" I Following in the lineage of "fine china" I produce objects for domestic service, adding produce objects for domestic service, adding my own sense of affect and defect. Piercing, my own sense of affect and defect. Piercing, tears, cut-outs and perforations toy with the tears, cut-outs and perforations toy with the archetype of the clay pot as container and archetype of the clay pot as container and call to question one's idea of function. The call to question one's idea of function. The work is heavily indebted to the implicit work is heavily indebted to the implicit qualities of the material used in its creation -qualities of the material used in its creation -Porcelain. Indeed, when you think of Porcelain. Indeed, when you think of porcelain you first consider its physical porcelain you first consider its physical qualities (strength, fragility, translucence), qualities (strength, fragility, translucence), then porcelain's class association and cultural then porcelain's class association and cultural significance. Acting to contain the tangible significance. Acting to contain the tangible when in use and the intangible (light, when in use and the intangible (light, shadow) when on display, these pots are ever shadow) when on display, these pots are ever functioning in their intended environment: functioning in their intended environment: the home.the home.

Italy: Italy: Salt CellarSalt Cellar

Majolica on terracotta. 17Majolica on terracotta. 17thth c. Victoria and c. Victoria and Albert Museum, London.Albert Museum, London.

Jackie Jackie Johnson: Johnson: Myxoid Salt & PepperMyxoid Salt & Pepper

UF BFA alum, MFA Univ of Massachusetts, UF BFA alum, MFA Univ of Massachusetts, Dartmouth. Jackie also has a Bachelor of Dartmouth. Jackie also has a Bachelor of Science degree in Biology. Science degree in Biology.

Of all the parts of the body, the soft organs Of all the parts of the body, the soft organs are the most vulnerable to decay. It is the are the most vulnerable to decay. It is the part of us that degrades first. The softest part of us that degrades first. The softest parts are the most defenseless yet hold the parts are the most defenseless yet hold the key to defending our bodies. I would like key to defending our bodies. I would like my artwork to stimulate thoughts about my artwork to stimulate thoughts about the visceral. This includes the involuntary the visceral. This includes the involuntary control we have over the insides of our control we have over the insides of our bodies. To become aware leads us to sense bodies. To become aware leads us to sense our internal beings. When creating salt and our internal beings. When creating salt and pepper shakers, I consider the functional pepper shakers, I consider the functional use of a sculptural object. How the pair use of a sculptural object. How the pair relate to each other, to the tray, and then relate to each other, to the tray, and then the entire relationship to the food. I prefer the entire relationship to the food. I prefer my forms to be unconventional and my forms to be unconventional and unsettling in the functional sense.unsettling in the functional sense.

Jeremy Kane: Jeremy Kane:

TB Salt and PepperTB Salt and Pepper

Through the use of historical techniques and Through the use of historical techniques and found objects I narrate my thoughts on the found objects I narrate my thoughts on the culture in which I grew up. These ideas stem culture in which I grew up. These ideas stem from the variety of thoughts that occur when from the variety of thoughts that occur when associating amongst many "types" of people. associating amongst many "types" of people. My pieces are sturdy and often modified with My pieces are sturdy and often modified with chrome additions, rubber and metal to pay chrome additions, rubber and metal to pay homage to trucks, antiques and industrial homage to trucks, antiques and industrial design. They contain bright colors and design. They contain bright colors and narratives about specifically American narratives about specifically American attributes. They embody everyday common attributes. They embody everyday common images. Just as the willow pattern is specific to images. Just as the willow pattern is specific to china, the images I choose are American. china, the images I choose are American. Semi-trucks, flames, American flags, mud-flap Semi-trucks, flames, American flags, mud-flap ladies and humorous phrases are appropriated ladies and humorous phrases are appropriated on the forms. The images are proud, similar toon the forms. The images are proud, similar tostickers plastered against and old instrument stickers plastered against and old instrument case or on the bumper of a family station case or on the bumper of a family station wagon. These are souvenirswagon. These are souvenirsand icons of American culture.and icons of American culture.

James Klueg: James Klueg: Salt/Pepper SetSalt/Pepper Set

I try to make smart art pottery that I try to make smart art pottery that could only be made in the present, that could only be made in the present, that reflects my personal voice and that has reflects my personal voice and that has at least something to say on various at least something to say on various levels to diverse visual audiences.levels to diverse visual audiences.

Jim Lawton: Jim Lawton: Quotation Marks S & PQuotation Marks S & P

Like the tailor, the approach I take in Like the tailor, the approach I take in making pots is to configure enclosures- to making pots is to configure enclosures- to contain as well as to reveal within the work contain as well as to reveal within the work the eccentric shape of human life. It is my the eccentric shape of human life. It is my view that meaning is held on both sides of view that meaning is held on both sides of these fabrics: an inner life of use and the these fabrics: an inner life of use and the outer one of appearance. It is not outer one of appearance. It is not incongruent to me that clay and carnal incongruent to me that clay and carnal bodies share certain elemental bodies share certain elemental connections: pottery possessing the ability connections: pottery possessing the ability to describe the human condition while to describe the human condition while simultaneously being a part of it. Simple simultaneously being a part of it. Simple objects, such as a condiment dish or salt & objects, such as a condiment dish or salt & pepper shakers seem to me to be ideal pepper shakers seem to me to be ideal places for these eccentricities to be places for these eccentricities to be reflected.reflected.

Farraday Newsome: Farraday Newsome: Persephone’s Year Salt and PepperPersephone’s Year Salt and Pepper

This salt and pepper shaker is conceived as This salt and pepper shaker is conceived as Persephone‘s Year in consideration of the life Persephone‘s Year in consideration of the life of light and dark that defines the Persephone of light and dark that defines the Persephone myth. The Greek goddess Persephone spent myth. The Greek goddess Persephone spent half of the year as the Queen of Death in the half of the year as the Queen of Death in the underworld, which was experienced as fall underworld, which was experienced as fall and winter on Earth. She spent the other half and winter on Earth. She spent the other half of the year on Earth's surface, and thus the of the year on Earth's surface, and thus the seasons of spring and summer. This myth seasons of spring and summer. This myth addresses the subject of our human addresses the subject of our human experiences of duality: light and dark, life and experiences of duality: light and dark, life and death, happiness and grief. It has been death, happiness and grief. It has been enjoyable to interpret this big idea on a enjoyable to interpret this big idea on a humble form.humble form.

Neil Patterson: Neil Patterson: Brancusi Pepper and SaltBrancusi Pepper and Salt

Neil makes pots that are designed to be Neil makes pots that are designed to be used and enjoyed. Through their carefully used and enjoyed. Through their carefully considered volume, weight, surface and considered volume, weight, surface and textures he hopes to provide a slow, savory textures he hopes to provide a slow, savory experience for the user. There is always an experience for the user. There is always an evidence of the soft material, clay, often evidence of the soft material, clay, often bolstered by a formal or architectural bolstered by a formal or architectural structure. He knows that to have an structure. He knows that to have an intimate connection to the hand formed intimate connection to the hand formed object is vital to a full life. To experience object is vital to a full life. To experience the touch of a potters hand while savoring the touch of a potters hand while savoring a cup of coffee or a bowl of soup is one of a cup of coffee or a bowl of soup is one of life's sublime pleasures. This Salt and life's sublime pleasures. This Salt and pepper shaker set, like most of my work, is pepper shaker set, like most of my work, is wheel thrown and altered. Stoneware clay wheel thrown and altered. Stoneware clay fired to cone six in oxidation.fired to cone six in oxidation.

Kevin Snipes: Kevin Snipes:

Salt and Pepper BoxSalt and Pepper Box

I am continuously fascinated by the concept of I am continuously fascinated by the concept of duality: to two things intrinsically bound together, duality: to two things intrinsically bound together, made of the same stuff, yet that are also made of the same stuff, yet that are also inherently in opposition with each other. Such inherently in opposition with each other. Such things as 'lightness and darkness' and 'day and things as 'lightness and darkness' and 'day and night' exist in duality. But what I find most night' exist in duality. But what I find most interesting is the way that we define one side of interesting is the way that we define one side of the duality by describing what it is not. How is it the duality by describing what it is not. How is it possible to describe what lightness is, for instance, possible to describe what lightness is, for instance, without referring to the concept of darkness, or to without referring to the concept of darkness, or to describe what rigidity is without describing describe what rigidity is without describing softness? These thoughts are my starting point in softness? These thoughts are my starting point in the act of creating. It is my goal that, by creating the act of creating. It is my goal that, by creating multiple layers of dualities, I can develop multiple layers of dualities, I can develop provocative narratives in each piece. provocative narratives in each piece.

I like to think of my work as 'sweet and spicy,' not I like to think of my work as 'sweet and spicy,' not too much of either, with a good dash of humor. too much of either, with a good dash of humor. There is an uncertain sense of edginess or mystery There is an uncertain sense of edginess or mystery that offers viewers just enough information to be that offers viewers just enough information to be able to extrapolate their own stories. I work on a able to extrapolate their own stories. I work on a personal, intimate level that encourages an almost personal, intimate level that encourages an almost private investigation of the objects that I make.private investigation of the objects that I make.

Shoko Teruyama: Shoko Teruyama: Salt and Pepper Bowls w Salt and Pepper Bowls w

SpoonsSpoons

Sacredness plays an important role in my work. Sacredness plays an important role in my work. Each vessel is made to preserve specific objects Each vessel is made to preserve specific objects and memories determined by the owner. I am and memories determined by the owner. I am interested in how the collaboration of my work interested in how the collaboration of my work and personal objects engages nostalgia. Many and personal objects engages nostalgia. Many people have kept a favorite stone from a river, a people have kept a favorite stone from a river, a worn out piece of glass from the ocean, a worn out piece of glass from the ocean, a smooth twig from the woods, or some object smooth twig from the woods, or some object connected to a time and place. My boxes and connected to a time and place. My boxes and bowls honor these objects and together they bowls honor these objects and together they become sacred. Memories are unique in become sacred. Memories are unique in perspective. Individuals preserve them in many perspective. Individuals preserve them in many formats. These vessels hold what is collected. formats. These vessels hold what is collected. They save experiences and recollection.They save experiences and recollection.