When I told people that I was going to Spain for a film festival devoted entirely to ceramic culture, the response typically involved the raising of eyebrows. The notion might well seem on the extreme side of “niche,” but the “CICEMA Festival Internacional de Cinema Ceràmic de Manises” is exactly what it says it is. It was not a playlist of YouTube videos on how to trim a pot, this was a professional festival, with a collection of sponsors, a submission process that brought in 60 candidates from 18 nations, a selection committee, a jury and multiple awards. Organized by Carlos Garcia and Rafaela Pareja, with a host of volunteers, this was the third time the event has been held.

Films were organized into multiple categories. There were several documentaries focusing on the tradition of a particular region or artist, like Oropesa y el Collar de Perlas (“Oropesa and the Pearl Necklace”), which showcased rural figurative ceramics in Chile, or Tras las Huellas del Barro Andalusi (“In the Footsteps of Andalusian Pottery”), which explored how the cultural identity of the region has been shaped by a now-fading but ancient ceramics tradition. Another, “After Celadon” by ceramic film pioneer Tan Hangyu went in a different direction, exploring how several celebrated artists both in and outside China are bringing new ideas to celadon (and ceramics in general). If these attempts at capturing different traditions can be placed at one end of a spectrum, on the other end were “Experimental” films of artists using clay as an inspiration for performance through movement or narrative. In one, “Exuvie”, a woman slowly descended through a house filled with Egyptian symbols, entering rooms where she was handed intricately carved vessels by a mysterious priestly figure. In another, Coreografia de un Crecimiento, (“Choreography of Growth”), a woman in a billowing nightgown maneuvered, danced and jumped among clays and ceramic objects before being covered in slip by an older, Aquarius-like figure. In the Italian short “Aeon” (my favorite in this category), abstract ceramic forms were presented like so many asteroids or planetoids in a science fiction film, in extreme close-up, slow-motion shots of their textures as they slowly moved through a pitch-black space. There were also a few animated films, but not in the big-budget “Claymation” style we have become familiar with. These were humbler but often effective creations using the malleability of clay itself to express larger ideas. A real highlight in this regard was a lecture on ceramics and animation focusing on absurdist master Jan Švankmajer, which included a screening of some of his unrivaled ceramic animations (and if you have not heard of this guy you should look him up immediately!). There was even a work of fiction, a touching and unpretentious film about an elderly former ceramic instructor slowly losing his memory. His adult granddaughter, herself at a crossroad in life, reintroduces him to his studio and encourages him to teach her, and the two both grow as a result. This film, La Niebla (“The Fog”), ended up winning the Audience Choice award.

The penultimate screening was the Grand Jury Prize Winner from the 2024 Sundance festival, “Porcelain War” (directed by Brendan Bellomo and Slava Leontyev). This is a powerful film about a small group of ceramic artists in Ukraine who find themselves caught up in the war effort, becoming soldiers who pilot drones or teach others on the use of machine-guns. The impossibility of their situation, one day literally killing waves of doomed Russian soldiers and the next trying to return to a few days of normal life, is presented through high-production camera work and imaginative animation. It raises impossible questions and provides a never-seen-before perspective on the realities of contemporary warfare.

The festival closed with three very well-made short student films, two from India and one from Spain. The winner told the story of Kutchi pottery from the province of Gurarat, with images of weathered men crouched before wheels effortlessly throwing difficult shapes that have been part of their heritage for centuries. But it also revealed how these artisans are caught in the grip of contemporary economic realities, uniting them with films from earlier in the festival about pottery in Spain.

In hindsight what stuck with me the most were exactly these sorts of films documenting fading pottery traditions of different regional neighborhoods. To be fair, the films were each nuanced and unique, but given my poor Spanish and the blur that tends to happen at any film festival, they tended to merge into episodes from a single series, an attempt to capture a beloved history before the people who could still tell its story before it disappear. We watched many elderly, heavily accented potters talking about how things were in their “old days,” when there was a high demand for locally made terra-cotta pottery, like the “cantir” vessels that were taken into the fields to help keep the water cool. Image after image crossed the screen of men and women looking at the shambles of former wood-fired kilns or workshops and reflecting on how things used to be before economies of scale moved production to larger, modern factories, and plastic came to replace the ceramic vessels that had been used literally for hundreds of years.

This struck me as perhaps a European feature, the urge to capture the past, even the recent past, for most films were talking about things that happened not long ago, within a generation or two. As someone now living in the US, it got me thinking about American ceramics history, and their traditions and institutions. Notably absent from the festival was a North American presence, which, while heavy on Spanish films, also featured work from Italy, India, Norway, China, Switzerland, France, Germany, Argentina, Chile and the Ukraine. We Americans may not have the depth of ceramic history as Europe (nor, obviously, that of Asia), but not one of the films I saw were about the events of hundreds or thousands of years ago. They were about parents and grandparents, about recent generations and living memory. Surely we all have these, and our own neighborhood studios and institutions and traditions. Americans have the Archie Bray and Watershed, and Alfred and Black Mountain College, and North Carolina and Santa Fe, and NCECA, we have Binns and Volkous and Woodman and indigenous ceramic practices and any number of stories about ceramics impacting communities in all kinds of different ways across the country. I’m sure much of it has indeed been documented here and there at one point or another, but I still wonder who are, and who will be, the tellers of these stories down the road? If nothing else, my weekend in Manises convinced me that these stories, in this format, are valuable and important, and a festival celebrating international ceramic traditions and our shared love of clay is not really so “niche” but in fact really important, particularly given our painfully complex international political situation. With video technology so omnipresent, and at least as easy to learn as wheel throwing, there doesn’t seem to be any reason why we, whoever we are and wherever we might live, can’t all start using cameras to create new stories about our communities, our unsung heros, and our unique traditions.

The fourth iteration of the Cicema International Ceramic Film Festival will take place in 2027, as it is transitioning to a biannual format. If I’m fortunate enough to attend once again I hope I will find an even more diverse collection of countries represented.

More information on the festival itself, along with previews of many of the films, can be found on the festival’s website.

Note: For anyone actively working in this area, or more generally interested in ceramic filmmaking in any genre, please feel free to contact the author at evansb@alfred.edu, or festival organizer Carlos Garcia at cineceramico@cicema.com.

Benjamin Evans is The Wayne Higby Director and Principal Curator of the Alfred Ceramic Art Museum in New York. He holds a PhD in Philosophy from the New School for Social Research in New York and an MFA in Mixed Media from the University of Calgary.

Subscribe to Ceramics Now to read similar articles, essays, reviews and critical reflections on contemporary ceramics. Subscriptions help us feature a wider range of voices, perspectives, and expertise in the ceramics community.

Captions

Photos by Javier Marina

Undergrowth is on view at County Hall Pottery, London

January 13 – March 8, 2026

County Hall Pottery is pleased to announce Undergrowth, a group exhibition exploring the rich metaphorical and material potential of the ecological layer that exists beneath taller plants and trees. Bringing together ceramic and metal works in a tactile, multi-dimensional installation, the exhibition considers undergrowth as both a biological system and a metaphor for the hidden forces that quietly shape our world.

In ecological terms, undergrowth is vital to biodiversity: it provides shelter and nourishment for wildlife and plays a crucial role in decomposition and nutrient recycling. Metaphorically, it represents the often overlooked strata of existence – ideas, processes and systems that operate beneath the surface, subtly but profoundly influencing their surroundings.

Undergrowth unfolds across wall, floor and plinth-based works, forming an immersive landscape that visitors can navigate from multiple viewpoints. Some pieces evoke an “earth layer,” potentially incorporating metal grids that allow sightlines above and below, drawing attention to what is visible and what is concealed. The pairing of ceramics and metal creates a striking contrast between organic and industrial materials, foregrounding texture, weight and tactility.

Viewers are invited to engage slowly and attentively, encountering the work from different angles and depths. The installation proposes a space that feels interconnected and evolving, encouraging reflection on the unseen structures – ecological, material and conceptual – that underpin both the artworks and the wider environment.

Exhibited artists: Elizabeth Jackson, Emily Stapleton Jefferis, Jo Pearl, Lisa Hellrup, Meichen Chen, Mingshu Li, Raphael Emine, Safia Hijos, Sisse Holst Pedersen
Curated by Elizabeth Jackson and Emily Stapleton Jefferis

Contact
gallery@countyhallpottery.com

County Hall Pottery
County Hall, Belvedere Road
SE1 7GP London
United Kingdom

Photos courtesy of the gallery

Applications are now open for the International Competition of the Gyeonggi Ceramics Biennale 2026, inviting ceramic artists from around the world to submit works that reflect contemporary practice and a forward-looking vision for the medium. Organized by the Korea Ceramic Foundation, this renowned competition awards one Grand Prize of ~$40,000 and nine Excellence Prizes of ~$6,800 each. Submissions are accepted online until February 12, 2026.

 ceramic brussels returns to Tour & Taxis, Brussels, from January 21–25, 2026 for its third edition, bringing together 65 galleries and more than 200 artists from around 30 countries. This year’s fair features a special focus on Spain as part of EUROPALIA ESPAÑA, alongside a tribute to Enric Mestre, a major exhibition of Elmar Trenkwalder as Guest of Honour, and a presentation of the ceramic brussels art prize 2026 laureates. A programme of 12 international talks and a dedicated artbook section complete the event.

A special roundtable on visibility and access in contemporary ceramics will take place during ceramic brussels on Saturday, January 24, at 12:30. Moderated by Vasi Hirdo (Editor of Ceramics Now), the discussion brings together Gaëlle Cornut (Ceramic Art Andenne), Nele van Wieringen (Keramikmuseum Westerwald), Claire FitzGerald (Musée Ariana), and Oriol Calvo Vergés (International Academy of Ceramics) to examine how exhibitions, institutions, open calls, and other frameworks shape who is seen (and who remains underrepresented) in today’s ceramics landscape.

The Hunterdon Art Museum (Clinton, NJ) is inviting US-based artists to apply to Claybash, its second Triennial Juried Exhibition of Ceramics. The exhibition welcomes diverse approaches that explore clay as both material and idea, from functional and sculptural work to experimental practices. Claybash 2026 will be juried by curator and writer Angelik Vizcarrondo-Laboy, with awards including a $1,000 First Prize. Applications are due February 9, 2026.

Artists working in craft-based media are invited to apply for Houston Center for Contemporary Craft’s Artist Residency Program, offering three- to twelve-month residencies beginning in September 2026. Open to artists working in wood, glass, metal, fiber, and clay, the program provides 24/7 studio access, a $1,000 monthly stipend, and professional development opportunities. Residents maintain open studio hours and participate in talks and exhibitions. Applications are due February 1, 2026.

Artists based in the United States are invited to apply to Small Favors 2026, The Clay Studio’s long-running exhibition celebrating small-scale works with big impact. Open to artists working in clay and other media, the exhibition challenges makers to create works that fit within a four-inch cube. Selected pieces will be presented and offered for sale both in the gallery and online. Small Favors 2026 runs October 8 – December 31, 2026, with applications due June 1, 2026.

Artists working with clay are invited to apply for a ceramic creation residency in Saint-Quentin-la-Poterie (France) to explore the relationship between ceramics, vines, and wine culture. Organized by the Office Culturel in partnership with Domaine Deleuze Rochetin, the residency runs from June 2026 to February 2027 (minimum eight weeks on site) and includes accommodation, a studio, €4,000 in artist fees, and €2,000 in production support. Applications are due February 15, 2026.

For more than thirteen centuries, the clay-rich hills of Tajimi, in Japan’s Gifu prefecture, have quietly shaped one of the country’s most influential ceramic industries and cultures. Yet beyond specialist circles, Tajimi—the heart of the Mino Ceramic Valley—remains largely undiscovered. In April 2026, an intimate ceramic workshop and retreat with Shingo Takeuchi invites participants to step inside this living landscape of clay, craft, and community. Read more about this ceramic workshop & retreat in Tajimi, Japan.

Join artists Gabriella Mlynarczyk and Yuki Nakamura for Clay in Conversation 13: Play, the thirteenth in a series of conversations curated by Julia Ellen Lancaster, presenting artists working with clay and ceramics. This episode explores how play shapes ceramic practice, with artists presenting their work through this lens. The presentations will be followed by a conversation chaired by Tessa Peters and a Q&A with the audience. The event takes place at Portland Hall, University of Westminster, on Friday, January 16, 2026, from 6–8 pm.

Exhibitions

Discover these ceramic exhibitions that were recently featured in Ceramics Now.

• HOMO CERAMICUS at the Gyeonggi Museum of Contemporary Ceramic Art, Icheon
• Altered States: Anne Marie Laureys and Costanza Gastaldi at Taste Contemporary, Geneva
• Fiat Ignis III: Let There Be Fire at Gallery 60 NYC, New York

What’s on View

A selection of ceramic exhibitions currently on view around the world.

1. Pippin Drysdale: Infinite Terrain at the Art Gallery of Western Australia, Perth
2. Caroline Slotte and Paul Scott: One Way or Another at HB381 Gallery, New York
3. Cynthia Lahti: Trouble at James Fuentes Gallery, Los Angeles
4. Yage Wang: Lie Low at Jane Hartsook Gallery, New York
5. Anat Shiftan: Such Beauty and Noa Chernichovsky: Reblend at Benyamini Contemporary Ceramics Center, Tel Aviv
6. Undergrowth at County Hall Pottery, London
7. Elisa D’Arrigo: Out of Hand at George Adams Gallery, New York
8. Astrid Sleire: Folded Constructions at Peach Corner Gallery, Copenhagen

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Featured image – Cynthia Lahti: Trouble at James Fuentes Gallery, Los Angeles

Xanthe Somers is a contemporary ceramicist whose large-scale, vibrant works carry barbed social and political critiques. Born in 1992 in Harare, Zimbabwe, Somers studied Fine Art (Hons) at the University of Cape Town and received her MA in Postcolonial Culture and Global Policy from Goldsmiths, University of London in 2020.

The bodies of Somers’ intricate pieces are hand-coiled in the traditional way and then disrupted – their surfaces punctured, woven or adorned with meticulously shaped and painted details. Her creations evoke a sense of play, combining political commentary and hyperornamentation to draw attention to overconsumption, cheap labour and the impact of environmental-racist practices on the Global South.

Somers incorporates a broad range of visual elements into her work, including traditional Zimbabwean crafts such as weaving and soap stone sculpture, found objects, gold lustre glaze, sculpted flowers and identifiable brand emblems. Upon closer examination of the inscriptions on the pieces and their thought-provoking titles – such as Like Stale Bread After a Hard Day’s Work – the viewer is prompted into analytic contemplation.

Presented collectively, Somers’ vessel-sculptures engage in a dialogue that explores “the colonial ghosts and systematic repressions still apparent in society,” she explains. She is interested in challenging prevailing heteronormative ideas associated with beauty and refinement found in everyday, functional objects. “We create utilitarian objects to serve us, but ultimately these objects tend to outlive us,” she says. “These objects are not neutral, they carry within them the ideology in which they were created, and this legacy is not silent. These objects have an active and persuasive influence in shaping our visual reality.”

Somers has held four solo exhibitions: Rancid at Galerie Revel in Bordeaux, France (2022); A Vocabulary for Ghosts at First Floor Gallery Harare, Zimbabwe (2021); Hole Not Whole at Fusion Art Gallery, Turin, Italy (2016); and The Intimacy of Objects at The Corridor, Harare (2016). Most recently, Southern Guild presented her work at Untitled Art fair in Miami in 2022 and 2023. She has also shown at AKAA Paris, Collectable Art Fair in Brussels and Collect Art Fair in London, where she is currently based. In 2023 Somers’ work was acquired by the Victoria and Albert Museum (London). She was named the winner of the annual ANNA Award presented by Latitudes in 2024.

Visit Xanthe Somers’s website and Instagram page.

Featured work

Selected works, 2022-2025

Xanthe Somers: Selected works, 2022-2025

Captions

• The Weary Weaver, 2024, Glazed stoneware, 39.4 x 28.4 x 28.4 in. | 100 x 72 x 72 cm, Image credit: Southern Guild and Hayden Phipps. Solo exhibition at Southern Guild, Cape Town, 2024.
• Of Woof and Woe, 2024, Glazed stoneware, 43.3 x 25.3 x 25.3 in. | 110 x 64 x 64 cm, Image credit: Southern Guild and Hayden Phipps. Solo exhibition at Southern Guild, Cape Town, 2024.
• Tales Untold, 2024, Glazed stoneware, nylon cord, 39.8 x 25.3 x 25.3 in. | 101 x 64 x 64 cm, Image credit: Southern Guild and Hayden Phipps. Solo exhibition at Southern Guild, Cape Town, 2024.
• Become Undone, 2025, Glazed stoneware, 43.9 x 20.5 x 20.1 in. | 111.5 x 52 x 51 cm, Image credit: Southern Guild and Hayden Phipps. Part of Wearing Thin, project for ANNA Award Winner 2024 with residency at Southern Guild, 2025.
• Behind My Mother’s Apron, 2025, Glazed stoneware, 33.9 x 20.1 x 18.9 in. | 86 x 51 x 48 cm, Image credit: Southern Guild and Hayden Phipps. Part of Wearing Thin, project for ANNA Award Winner 2024 with residency at Southern Guild, 2025.
• Between Cloth and Clay, 2025, Glazed stoneware, 39.8 x 20.1 x 20.1 in. | 101 x 51 x 51 cm, Image credit: Southern Guild and Hayden Phipps. Part of Wearing Thin, project for ANNA Award Winner 2024 with residency at Southern Guild, 2025.
• By the Pricking of My Thumbs, 2025, Glazed stoneware, 39.4 x 27.6 x 27.8 in. | 100 x 70 x 70.5 cm, Image credit: Southern Guild and Hayden Phipps. Part of Wearing Thin, project for ANNA Award Winner 2024 with residency at Southern Guild, 2025.
• Pulling at Threads, 2025, Glazed stoneware, 33.5 x 21.3 x 20.1 in. | 85 x 54 x 51 cm, Image credit: Southern Guild and Hayden Phipps. Part of Wearing Thin, project for ANNA Award Winner 2024 with residency at Southern Guild, 2025.
• Working Class Femininity, 2023, Glazed stoneware, 40 9/10 × 19 7/10 × 19 7/10 in | 104 × 50 × 50 cm, Image credit: Southern Guild
• Fruits of Our Forefathers, 2022, Glazed stoneware, Fabric, 47 1/5 × 19 7/10 × 19 7/10 in | 120 × 50 × 50 cm, Image credit: Southern Guild

The Latvia International Ceramics Biennale is gradually becoming one of the most significant ceramics events not only in the region, but also in Europe. This is evidenced by the growing interest among artists and their desire to be part of the biennale. Its extensive programme, curatorial work, distinguished selection committee and critical reception all contribute to the image of a promising and important event.

In 2025, the Latvia International Ceramics Biennale presented its fifth edition, consisting of a variety of exhibitions. Alongside the main juried Martinsons Award exhibition, dedicated to honouring one of Latvia’s most important ceramic artists, Pēteris Martinsons, the programme features numerous solo and curated displays. The winner of the previous exhibition is invited to present a solo show at the Rothko Museum. In 2025, it was Lithuanian artist Milena Pirštelienė with her exhibition Matchstick in the Sand. Here she presents small cube-shaped ceramic objects (an important element for emphasising craftsmanship), which serve as a basis for recording her everyday memories — a slow documentation process that becomes a form of personal therapy.

In recent years, the biennale has also expanded geographically. In addition to the main exhibitions, other cities have hosted events such as Fresh – New Voices in Latvian Ceramics, a showcase of young Latvian ceramicists, and Windless, a Baltic ceramics exhibition featuring artists from Lithuania, Latvia and Estonia. As a guest exhibition within the biennale’s framework, the Rothko Museum also presented works by ceramicists from the The Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland, titled Lost for Words. Thus, the autumn ceramics season in Latvia was truly impressive, stretching across both time and visual experiences.

The 5th edition theme, From Stardust to Lush Sprouts, embraces the journey from primordial beginnings towards further development – much like the creative process from idea to physical form. According to the curators (Valentins Petjko and Aivars Baranovskis), it also reflects clay as a material that has accompanied humanity from its origins, first as a fundamental tool for development and later as a medium for artistic expression. This transformation from primal imagery to contemporary contexts — including feminist narratives and the depiction of woman as a creator of the universe (inspired by Marija Gimbutas’ archaeomythological research) — can be seen in the work of U.S. artist Denny Gerwin. His Venus is a depersonalised and furious (yet restrained) female figure. Simple chamotte clay combined with wood firing references ancient cultural foundations, while the clearly expressed, declarative pose of the hands signals resistance to persistent gender stereotypes.

The exhibition showcases works of highly diverse themes, ranging from figurative to abstract. Understandably so – from nearly 1,000 applications, the international jury selected 80 artists. Thus, participation alone is a considerable achievement. Ceramics from 30 countries are included. As this is a competition, winners were selected in both the international and national categories. The concept of first, second and third prizes was abandoned, and instead gold, silver and honourable mentions were awarded.

The gold prize in the international category and the title of best artwork of the year went to Polish artist Daria Kowalewska for her piece Violent Existence. It is a highly expressive yet monumental work, evoking a slightly unsettling image of a mysterious creature. According to the artist, the work conveys strength and energy. The form – or imagined creature – grows, expands and seeks to occupy as much space as possible, demonstrating boundless vitality. Kowalewska is accustomed to creating complex, multi-part, large-scale compositions. Her palette is typically subdued, echoing natural clay colours and further emphasising organic qualities. Her artistic interests revolve around material transformation and decay, drawing inspiration from natural forms.

Latvian artist Elina Titane follows similar creative principles, and she received an honourable mention for her work Dreamers. In her creative process she prioritises playful exploration rather than rational explanation, searching for connections between materiality, intuition, visual expression and inner sensibilities. Her organic forms are inspired not only by nature but also by fragments of everyday life. Titane emphasises the inherent qualities of clay and therefore usually avoids using glazes – as she has also done this time.

Silver prizes in the international category were awarded to Hanna Miadzvedziava and Hyunjin Kim. Miadzvedziava has received numerous awards in recent years, including the Faenza main prize at the 63rd Premio Faenza. Her work Hot–Cold War explores the fine balance between outward calm and inner turmoil. Through its spiky, viscous forms and colouring, it expresses the tension accumulating in these turbulent times – tension ready to erupt at any moment. Meanwhile, South Korean artist Kim’s piece also examines the complexity of emotional worlds, but focuses more on the emotions themselves and how they interact. The piece weaves a labyrinth – emotions overlap, intersect and form intricate structures and layers. The turbulence of these times, like dark clouds, also appears in Valdas Kurklietis’ From Darkness to…. The artist holds onto the idea that although the present feels unpredictable and frightening, light – or at least its reflection – always emerges, sustaining belief in the ultimate triumph of good.

Part of the exhibition features works combined with non-ceramic materials, or use techniques that diverge from those typical of the medium. For example, another honourable mention recipient, Guglielmo Maggini, presents a bright pink creature (something between a living being and an organic natural form) that blurs the line between life and death. Through the combination of natural (clay) and synthetic (resin) materials, the artist explores themes of historical and personal memory. Like Kowalewska and Maggini, several artists address themes of growth and transformation through strange, slightly unsettling creatures, as seen in Agnė Šemberaitė’s Totem, Michał Żesławski’s Fused Together, and Kristīne Niedrāja’s The Firstborn. Particularly organic and sensitive forms characterise Eglė Einikytė-Narkevičienė’s Between Different Worlds. Her works are full of drama and powerful emotional intensity. Drawing on Baroque ideas, the artist examines the eternal conflict while juxtaposing it with the search for harmony. Her vibrant colouring and striking plasticity distinguish her from many others and make her work recognisable on the international ceramics scene.

There is also no shortage of humorous works that charm with their playfulness, lightness and sometimes ironic intent. Elements of humour can be found in works by Krisaya Luenganantakul (Thailand), Kauri Kallas (Estonia), Agate Kalcenaua, Laima Lauriņa, Zahars Ze, Rūdis Pētersons and Vita Valdmane (Latvia). As can be seen, many such works come from Latvian artists.

In the national category, two artists received the gold prize: Lilija Zeiļa and Inese Brants. Both are representatives of an older generation with long-standing experience in the field. Zeiļa presents Burnt Landscape, a rhythmic work without a clear beginning or end, full of repeating elements. This is exactly her aim – to create the impression of boundless space. The familiar palette of deep red, black and grey, and the sheen achieved through terra sigillata technique, are immediately recognisable. She draws inspiration from traditional Latgalian pottery and, of course, from nature. By combining traditional techniques with contemporary forms (a hallmark of her work), she reflects on destruction and rebirth.

Inese Brants is widely known in Latvia as a master of porcelain and decals, and is considered one of the country’s most significant creators. Art historian Dace Ļaviņa even compares her to Pēteris Martinsons, so it is no surprise that Brants was awarded the main prize in the national category. In addition to actively participating in local and international exhibitions, she also works in porcelain research and is one of the organisers of the Latvian International Porcelain Painting Symposium.

Not only the piece exhibited at the Martinsons Award, but Brants’ entire artistic practice aligns closely with the biennale’s theme. Her artistic trajectory connects past and present, aiming to create a link between them and leave a trace for the future. Like Zeiļa, Brants addresses time: it does not stand still, it does not disappear, yet always carries emotional weight. Yesterday’s events become today’s memories, and thoughts of tomorrow manifest as dreams. Everything is interconnected and cannot exist without the other parts.

Alongside conceptual strength, her work is characterised by exceptional technical mastery. She is particularly interested in re-using old decals from the now-defunct Riga Porcelain Factory in a contemporary context. She often incorporates found historical objects into her artworks: old factory decals or, in her latest series, historical photographs. Using contemporary technologies, she transforms these historical artefacts for present and – she hopes – future generations. The work exhibited at the biennale, A Tribute to the Brass Bands of the First Independent Latvian State, combines historical narrative, modern technologies and current global events. It depicts early 20th-century Latvian freedom fighters – members of military brass bands. The orchestra is chosen as a symbol of emotional strength and unity, striving for independence. In today’s context, echoes of the past gain renewed relevance, resonating not only with Brants herself, but also with other artists. The connection with the author’s historical roots is also conveyed through the work’s color scheme. Surfaces lavishly decorated with gold and platinum lustres gleam and radiate luxury, and this brilliance is drawn from Latvian folk tales. It is also her personal way of honouring key historical figures through what she excels at most – the demanding and delicate techniques of porcelain decoration, where corrections are almost impossible. Brants also undertook meticulous research, selecting the best photographs from 12 Latvian museums, processing them, creating decals via silk-screen printing and finally hand-painting them to produce the remarkable A Tribute to the Brass Bands of the First Independent Latvian State series – truly deserving of gold.

It is practically impossible to describe every artist in such a rich exhibition. This article aims to highlight the works particularly noted by the jury. Yet it must be stressed once again that the exhibition abounds in remarkable technical solutions, diverse ideas and outstanding craftsmanship. The biennale’s theme is also excellently reflected in the physical presentation of the works and exhibition design. The interplay of light and shadow not only highlights individual pieces but also creates an overall atmosphere, where individual elements merge into a cohesive portrait of the Latvia International Ceramics Biennale.

Aurelija Seilienė is a Lithuanian art critic and curator working mainly in ceramics. She earned her Master’s in History and Theory of Arts from the Vilnius Academy of Arts. Seilienė published numerous articles in the cultural press, compiled catalogs, and wrote introductory articles. She participates in ceramic conferences and also works as an expert in various exhibition selection commissions and project financing programs.

Martinsons Award, the International Juried Exhibition of the 5th Latvia Ceramics Biennale, is on view at the Rothko Museum in Daugavpils from September 5, 2025, to February 1, 2026.

Subscribe to Ceramics Now to read similar articles, essays, reviews and critical reflections on contemporary ceramics. Subscriptions help us feature a wider range of voices, perspectives, and expertise in the ceramics community.

Photos by Didzis Grodzs

Jason Lee Starin is an artist who received his MFA in Applied Craft and Design from Pacific Northwest College of Art and Oregon College of Art and Craft in 2011, and his BFA in Ceramics from Grand Valley State University in 1999. In 1998, he studied Conceptual Art and Sculpture at Kingston University, Kingston, UK.

Jason Lee Starin has shown in numerous group exhibitions throughout the USA, most notably at Atlantic Gallery, NYC; Katherine E. Nash Gallery, MN; Law Warschaw Gallery, MN; Woodmere Art Museum, PA; Gravity Gallery, MA; American Museum of Ceramic Art, CA; The Center for Craft, Creativity and Design, NC; GCA Gallery, NYC; Arizona State University Art Museum, Ceramics Research Center, AZ; The Clay Studio, PA; and San Angelo Museum of Fine Arts, TX. From 2015 to 2019, Starin was a full-time Resident Artist at The Clay Studio in Philadelphia, PA. In 2017, he received an Independence Foundation Fellowship Grant to research his interest in geomythology during a two-month stay at the NES Artist Residency in Skagaströnd, Iceland.

From 2015 to 2020, Starin served as a faculty member as well as the Ceramic Shop Supervisor and Technician in the Craft and Material Studies Program at The University of the Arts in Philadelphia, PA, and during that time also taught Advanced Handbuilding classes at The Clay Studio. From 2013 to 2014, he was the Lead Ceramic Technician and Studio Manager for the Ceramic Department at Mt. Hood Community College in Gresham, OR. He has held positions with BDDW, LLC; Mudshark Studios, LLC; Michael Curry Design, Inc.; The Urban Institute for Contemporary Arts; and Kendall College of Art and Design of Ferris State University. Starin is currently a full-term Resident Artist at The Archie Bray Foundation and a 2025 Quigley-Hiltner Fellowship recipient.

Visit Jason Lee Starin’s website and Instagram page.

Featured work

VISITOR Series, 2024-2025

SOL Series, 2020-2023

Jason Lee Starin: VISITOR Series, 2024-2025

A series of ceramic wall-hanging sculptures that combine abstracted architectural and organic forms, both in landscape and body.

Captions

• VISITOR_001, 2024, Ceramic stoneware, cone 5, oxidation glaze, 21H x 15W x 10D
• VISITOR_002, 2024, Ceramic stoneware, cone 5, oxidation glaze, 21H x 15W x 9D
• VISITOR_003, 2024, Ceramic stoneware, cone 5, oxidation glaze, 21H x 15W x 10D
• VISITOR_004, 2024, Ceramic stoneware, cone 5, oxidation glaze, 21H x 15W x 9D
• VISITOR_005, 2024, Ceramic stoneware, cone 5, oxidation glaze, 20H x 13W x 9D
• VISITOR_006, 2024, Ceramic stoneware, cone 5, oxidation glaze, 20.5H x 14W x 9D
• VISITOR_007, 2024, Ceramic stoneware, cone 5, oxidation glaze, 21H x 14W x 9D
• VISITOR_008, 2024, Ceramic stoneware, cone 5, oxidation glaze, 20H x 15W x 11D
• VISITOR_009, 2025, Ceramic stoneware, cone 5, oxidation glaze, 21H x 15W x 7.5D
• VISITOR_011, 2025, Ceramic stoneware, cone 5, oxidation glaze, 21H x 15W x 9D
• VISITOR_012, 2024, Ceramic stoneware, cone 5, oxidation glaze, 22H x 12W x 9D
• VISITOR_013, 2025, Ceramic stoneware, cone 5, oxidation glaze, 21H x 13W x 6.75D
• VISITOR_014, 2025, Ceramic stoneware, cone 5, oxidation glaze, 24H x 16W x 9D
• VISITOR_015, 2025, Ceramic stoneware, cone 5, oxidation glaze, 22H x 16W x 10D

Jason Lee Starin: SOL Series, 2020-2023

A series of ceramic and multi-media sculptures influenced by architectural detritus and varying landscape surfaces, suggesting the deterioration of structure, containment, as well as categorical reasoning as signified in the ubiquitous simple geometry of the cube as a false-solid or empty container.

Captions

• SOL_004, 2020, Ceramic stoneware, iron oxide, cone 6, oxidation glaze, 10.5H x 10.5W x 13.5D
• SOL_001, 2020, Ceramic stoneware, cone 6, oxidation glaze, 10.5H x 10.5W x 10.5D
• SOL_002, 2020, Ceramic stoneware, cone 6, oxidation glaze, 10.5H x 10.5W x 10.5D
• SOL_003, 2020, Ceramic stoneware, underglaze, cone 6, oxidation glaze, 10.5H x 12W x 13.5D
• SOL_005, 2020, Ceramic stoneware, cone 6, oxidation glaze, 10.5H x 10.5W x 10.5D
• SOL_026, 2020, XPS foam, papier-mâché, white glue, ink, acrylic, joint compound, and milk paint, 10.5H x 10.5W x 10.5D
• SOL_027, 2023, XPS foam, papier-mâché, white glue, ink, acrylic, joint compound, and milk paint, 10.5H x 10.5W x 10.5D
• SOL_028, 2022, XPS foam, papier-mâché, white glue, ink, acrylic, joint compound, and milk paint, 10.5H x 10.5W x 10.5D
• SOL_029, 2022, XPS foam, papier-mâché, white glue, ink, acrylic, joint compound, and milk paint, 10.5H x 10.5W x 10.5D
• SOL_030, 2023, XPS foam, air-dry clay, papier-mâché, white glue, ink, acrylic, joint compound, and milk paint, 10.5H x 10.5W x 10.5D
• SOL_032, 2023, XPS foam, papier-mâché, white glue, ink, acrylic, joint compound, and milk paint, 10.5H x 10.5W x 10.5D
• SOL_033, 2023, XPS foam, papier-mâché, white glue, ink, acrylic, joint compound, and milk paint, 10.5H x 10.5W x 10.5D
• SOL_034, 2023, XPS foam, papier-mâché, table salt, white glue, ink, acrylic, and joint compound, 10.5H x 10.5W x 10.5D

HOMO CERAMICUS is on view at the Gyeonggi Museum of Contemporary Ceramic Art, Icheon

September 19, 2025 – February 22, 2026

Homo Ceramicus is a neologism first articulated by the Gyeonggi Museum of Ceramic Contemporary Art (GMoCCA). In its most literal sense, the term designates humankind that works with clay.

In this exhibition the concept is employed in a more deliberate and focused sense, referring to potters who transcend mere technical practice and who, through clay, articulate a distinctive attitude toward life and a unique spirit. By framing the exhibition in this way, we seek to illuminate the identity of potters from a multidimensional perspective and hope that audiences will encounter their existence with greater depth and empathy.

Participating Artists
Part 1. Neil Brownsword, Back Inkyo, Saito Yuna, Lim Jihyun, Tontouristen
Part 2. Kang Youngjun, Moon Chanseok, Park Miran, Park Songkuk, Shin Hyunchoul, Woo Sihyeong, Lee Heami
Part 3. Kim Woonhee, Kim Yeji, Park Sunyoung, Yang Hyejung, Lee Joonsung, Cho Younsang

List of Artists from the GMoCCA Collection on Exhibit
Kim Junmyung, Naoki Kato, Nelson Lim, David Hicks, Dyah Retno, Lana Kova, Lisa Creskey, Rika Herbst, Lindsey Dezman, Magari Kazuma, Mee-sun Kim Park, Park Songkuk, Stephanie Lanter, Takefumi Aoki, Eliza Au, Christine Yiting Wang, Irina Razumovskaya, Ley. Wang, Choi Myungjin, Kathryn Baczeski, Ke Tang, Claudi Casanovasu, Tamaki Risa

In the novel by Hwang Sunwon (1915–2000), The Old Potter (1939), the protagonist is portrayed as a figure of steadfast conviction, meticulously inspecting the pottery taken from the kiln and tolerating no flaw, however small. This image, representing a popular perception of the potter, has been shaped over a long history.

While past and present ceramists reveal considerable differences in their methods and environments, they display a remarkable continuity in their attitude toward life and in their craftsmanship. These inner commonalities are quietly and faithfully preserved within the ceramics they have created, the tangible fruits of their labor.

The GMoCCA, attentive to these similarities and continuities, seeks to illuminate the existence of the ceramist through the concept of Homo Ceramicus. Homo Ceramicus is a neologism first proposed by the GMoCCA, signifying “humanity shaped through clay.” In this exhibition, the concept is employed in a more specific sense, defined as “the ceramists who shape clay” and “those who speak through clay.” It thus designates not mere technical practitioners, but beings who possess a distinctive way of life and a singular spirit.

Through this new designation, we seek to perceive the ceramist, much like the figure in Hwang Sunwon’s novel, in a more multidimensional and profound way. Furthermore, by illuminating their identity through an analytical and multilayered lens, we hope to foster a deeper public understanding of the ceramist. We also aim to reflect upon their attitude and their practice as we live through these weary times. We are then led to pose the following question to ourselves:

“With what attitude toward life are we shaping our today?”

This exhibition is organized into three parts. Part I: Breathing Humbly highlights the cycle of clay, the destiny of ceramists who must live within that cycle, and their attitudes toward nature. Clay circulates, life that springs from it nourishes other life, and all existence ultimately returns to it. Within this principle of circulation, humanity has long revered clay as sacred. From the Bible, Sumerian and Greek mythology, and Native American beliefs to Korea’s agrarian traditions, clay has been honored as the very origin of creation and of life. In ancient Greece, Keramos was venerated as the god of pottery and became the very root of the word “ceramic.” Pottery itself was at times regarded as an act akin to divine power.

Contemporary ceramists likewise carry forward this tradition. They immerse themselves in the material of clay and the process of creation, finding wonder in moments of unpredictability. The practice of ceramics is deeply conditioned by natural forces such as temperature, humidity, fire, and wind and is imbued with variables that cannot be controlled by human will alone. Confronted with these limits, ceramists yield to a force beyond the self and approach their work with humility.

The video artwork of Tontouristen, which reveals such aspects of the ceramist, recalls the naturalness and materiality inherent in ceramics. It also reminds us that the ceramist, within such a landscape, is a being who contemplates deeply on the themes of human intervention and the restoration of nature. Neil Brownsword, in turn, conveys the identity of the ceramist through an elemental approach of engaging clay and laboring repetitively. Lim Jihyun, as an artist who works with the material of clay, introduces experimental artworks that present perceptions of both the digital world and the material world. Back Inkyo, through large-scale installations, embodies the enduring ceramist’s spirit of inquiry that embraces even failure. Saito Yuna discloses the vision of the ceramist who does not see nature as separate from the self but as an existence that enfolds the artist.

Together, these artists’ humility, which drives them to accept themselves as part of nature’s order and attune to its subtle changes as they continue their work, evokes the distant past when humanity encountered the world as something sacred. Even today, ceramics remain a mode of creation in which human beings engage the world in its deepest essence.

Part II: Enduring and Healing illuminates the attitude of ceramists who, while enduring the arduous processes of their craft, personify the Korean concept of 玩物趣味wanmulchwimi (a contemplative passion for objects) by drinking tea, creating and handling objects, and repeatedly indulging in them as a mode of both practice and meditation. Within this space, tea utensils and objects that represent such qualities are displayed. These artworks move beyond the notion of mere drinking vessels or decorative items, carrying instead the significance of ceramics as a medium for the ceramist’s self-cultivation and healing.

For the ceramist, the act of drinking tea is regarded not merely as simply imbibing something, but as a ritual that encompasses life and work, as well as materiality and spirituality. By raising a teacup they have crafted, bringing to their lips the tea within, and savoring it slowly, they reawaken through the body the texture, weight, balance, warmth, and flow of the ceramic, sensuously experiencing their own artwork anew.

It is, at once, a time of self-reflection and a quiet pause in which the tension and stubborn persistence felt in working with clay are momentarily set aside. In this stillness, ceramists savor the lingering resonance of contemplation, converse with themselves, and experience once more an intimate connection with nature.

Kang Youngjun, who prepared a dedicated tea room for such experiences, presents tea utensils that delicately embody a Korean sensibility laden with a touch of antiquity. Woo Sihyeong, through a process akin to spiritual practice, creates unglazed ceramic works that evoke the cycles of existence and extinction, transformation and healing.

Moon Chanseok, drawing on experience accumulated through countless failures, presents tea utensils poetically themed around the moon. Lee Heami reveals silver-glazed ceramics that are continuously transformed over the course of the user’s life. Shin Hyunchoul presents tea utensils that serve as mediums of self-cultivation and spiritual reflection. Park Miran unveils ceramic plates that reinterpret glaze along with objects imbued with the meaning of healing, while Park Songkuk introduces experimental tea utensils inspired by the motif of hanji, traditional Korean paper.

These artists’ creations are similar in that they are brought to completion through immersion, despite countless hours and repeated failures. Such an attitude involving silently conversing with clay and steadfastly walking the path solely in pursuit of beauty reveals the very essence of the ceramist.

Part III: Reflecting and Living consists of six miniature self-portraits created by contemporary ceramists, together with 24 artworks from the collection of the GMoCCA. Installed as if to guide the viewer, these figures recall Kkokdu (traditional wooden effigies), at once ornamental objects and religious symbols that served as guardians of the deceased, designed to protect and to transform the sorrow of death into solace and wit.

Kkokdu were symbolic beings that bridged the human and the transcendent, serving as mediators that transformed life and death, suffering and sorrow into consolation and humor. The self-portraits presented in this space likewise reinterpret the character of such traditional forms in a contemporary context, functioning as windows that reflect the unseen inner world of the ceramist beyond the tangible form of the artwork itself.

The artworks are organized around 喜怒哀樂huinoaerak–four fundamental emotions of human beings– allowing the viewer to observe each ceramist’s attitudes and emotions that shape their life and offering a glimpse into their inner world. 喜Hui comprises artworks that symbolize joy and the delight of creation, while 怒No brings together artworks that convey anger and frustration. 哀Ae presents artworks that symbolize loss and compassion, and 樂Rak consists of artworks that humorously unravel the complex interplay of emotions such as joy and sorrow, and hatred and despair.

Lee Joonsung presents a kkokdu object rooted in the artist’s intimate stories yet steeped in emotions and narratives that resonate with all hearts. Kim Yeji reveals her identity as a ceramist who views the world from a distinctive perspective through objects that dramatically embody inner emotions.

Park Sunyoung expresses in clay the love and stress she has experienced while raising two children, exploring the balance between art, life, and motherhood. Kim Woonhee introduces a kkokdu object of a simple form, accented by witty expressions and endearing attire. Yang Hyejung presents modest, endearing “kkokdu” objects that evoke an unspoiled childhood.

Cho Younsang introduces an artwork that embodies reflections on human society through drawings that carry a tactile presence, raising philosophical questions about human existence.

These artists’ works reveal the ceramist as one who unfolds stories through clay. Clay is not merely a material for shaping form; for the ceramist, it is a tool for shaping a personal philosophy, a mirror linking inner emotion and the outer world, and ultimately a medium that ceaselessly questions the very origin of existence.

In this sense, Homo Ceramicus presents artworks that reveal the identity of ceramists who contemplate the cycles of life within the order of nature, endure human limitations, and personify their immersion in practice alongside the pursuit of technical perfection. This exhibition also shares with the viewer the everyday lives of ceramists who handle clay as though they were engaging in daily self-cultivation, laying bare their attitudes toward life itself.

Furthermore, the exhibition extends beyond merely displaying artworks to convey the following messages:

“Clay becomes true ceramic only after being tried by fire.”

“A broken vessel is not a failure but a passage that must be passed through.”

“Even when the flame of the kiln falters in the rain, the ceramist rekindles the fire and continues the work in silence.”

Ceramists understand that failure is not an end but a part of growth, and that each moment is precious and fleeting. This truth extends to all of us, for it is through trials that we become stronger and discover the opportunity to begin again. Through these messages, which are subtly hidden within the exhibition, we hope that the question posed to each viewer in the prologue, “With what attitude toward life are we shaping our today?,” will reveal an answer tempered with the strength of affirmation.

Contact
contact@gmocca.org

Gyeonggi Museum of Contemporary Ceramic Art
263, Gyeongchungdae-ro 2697 Beon-gil, Icheon-si,
Gyeonggi-do Province, 17379
Republic of Korea

Photos courtesy of Gyeonggi Museum of Contemporary Ceramic Art

Rooted in the Pennsylvania German Fraktur tradition, Katie Strachan’s practice merges sculpture, ceramics, and installation to create layered forms that hold traces of memory, ritual, and decay. With a background in fiber and ceramics, Strachan merges material sensitivity with conceptual intent, often blurring the boundary between object and text, relic and record. Strachan holds a BFA in Fiber from the Fashion Institute of Technology (F.I.T.) in New York. She began her ceramic training as an apprentice in Kanazawa, Japan, before completing her MFA at Tainan National University of the Arts (TNNUA) in Taiwan. She is the recipient of the 2023 NCECA Emerging Artist Award and Third Prize in the 2021 Blanc de Chine International Ceramic Art Award. She has participated in residencies at EKWC (Netherlands) and Shigaraki (Japan).
Artist Statement

“My work explores the fragile boundaries between preservation and decay, materiality and time. Using ultra-thin layers of clay—sometimes folded, sometimes powdered—I create forms that echo textiles, manuscripts, and relics. Influenced by boro textiles and the Japanese concept of impermanence, my process is rooted in quiet, repetitive gestures that leave behind traces of care and erosion. Through ceramic, wax, and other humble materials, I aim to hold fleeting moments in suspension, inviting viewers to pause and reflect on the quiet persistence of memory. My works function less as vessels and more as tactile documents—thresholds between presence and absence, stillness and transformation.”

Visit Katie Strachan’s website and Instagram page.

Featured work

Selected works, 2021-2025

Katie Strachan: Selected works, 2021-2025

My work explores the fragile boundaries between preservation and decay, materiality and time. Using ultra-thin layers of clay—sometimes folded, sometimes powdered—I create forms that echo textiles, manuscripts, and relics. Influenced by boro textiles and the Japanese concept of impermanence, my process is rooted in quiet, repetitive gestures that leave behind traces of care and erosion. Through ceramic, wax, and other humble materials, I aim to hold fleeting moments in suspension, inviting viewers to pause and reflect on the quiet persistence of memory. My works function less as vessels and more as tactile documents—thresholds between presence and absence, stillness and transformation.

Captions

• Black swan, 2024, black clay and wax, 40x36x17H cm
• Envelop #1, 2024, terra cotta, 44x20x5.5H cm
  Envelop #2, 2025, porcelain, white clay, black clay and rutile, 17x47xH5 cm
  Envelop #3, 2025, porcelain and white clay, 27x40x5H
• Prolongation #1, 2021, porcelain & wax, 40x32x6H cm. Photo credit: Yuji Imamura
  Prolongation #2, 2021, porcelain & wax, 46.5x30x7H cm. Photo credit: Yuji Imamura
  Prolongation #3, 2021, porcelain & wax, 33x24x20H cm. Photo credit: Jason Goh
• Rhythm & Accumulation #1, 2025, white clay and porcelain, 27x50x2 cm
  Rhythm & Accumulation #2, 2025, terra cotta and white clay, 27x29x2 cm
• Subversive preservation #1, 2022, porcelain, terra cotta and wax, 10.2 x 20.3 x 10.2 cm
  Subversive preservation #2, 2022, porcelain, terra cotta and wax, 17x17x16H cm
  Subversive preservation #3, installation, 2022. Photo credit: Chin Chin Gallery
• with-out A ̶s̶ ̶o̶ ̶u̶ ̶n̶ ̶d̶ #1, Installation 2022, porcelain, terra cotta and wax and felt, 56x50x27H cm. Photo credit: Jason Goh
  with-out A ̶s̶ ̶o̶ ̶u̶ ̶n̶ ̶d̶ #2, Installation 2022, porcelain, terra cotta and wax and felt, 56x50x27H cm. Photo credit: Jason Goh
  with-out A ̶s̶ ̶o̶ ̶u̶ ̶n̶ ̶d̶ #3, Installation 2022, porcelain, terra cotta and wax and felt, 56x50x27H cm. Photo credit: Jason Goh
  with-out A ̶s̶ ̶o̶ ̶u̶ ̶n̶ ̶d̶ #4, Installation, 2022, terra cotta, wax, wood and iron, 140x35x70H. Photo credit: Jason Goh

Posted on January 7, 2026
Application deadline: February 16, 2026

Central Connecticut State University invites applications to join the Art & Design Department as a full-time tenure-track Assistant Professor of Ceramics. We seek applicants who have experience in the field of ceramics supported by a body of artistic work and teaching relevant to traditional and contemporary thinking as it relates to ceramic art production and practice.

As we celebrate 175 years of academic excellence and innovation, we invite you to be a part of our mission at CCSU. Explore the opportunity to make a meaningful impact in the lives of our students and the broader community, please visit CCSU to learn more.

About CCSU’s Art & Design Department
The Art Program offers two undergraduate degrees: a B.S. in Art Education for students who wish to pursue a career in teaching art, and a B.A. in Art which provides student with studio options such as Painting, Ceramics, Sculpture, Printmaking, Illustration, Photography, Video Art, Mural Painting, and Art History. The Department also offers a Minor in Art and a Minor in Art History.

Position Profile
The ideal candidate will have a comprehensive understanding of the histories and cultural practices that inform contemporary ceramics as an art form as well as a demonstrated understanding of various traditional and contemporary aspects of 3-dimensional making. This includes a wide range of knowledge, skills and experience with various glaze and kiln firing techniques, including but not limited to electric, gas, and alternative firings.

Applicant profiles and supplementary materials will be evaluated for appointment based on the following:

Education:
• Master of Fine Arts (MFA) in Ceramics or directly related field.

Required Qualifications
• Minimum of two years of teaching ceramics at the university level.
• Experience in hand-building and wheel-throwing ceramic processes.
• Active and consistent exhibition record in ceramic art.
• Proficiency with electric and gas kiln firing techniques.
• Knowledge and ability to teach ceramic glaze chemistry.
• Experience with ceramic studio management.

Preference will be given to applicants with the following:

Preferred Qualifications:
• Experience with new ceramic-media applications.
• Ability to work collaboratively with other disciplines.
• Experience with alternative kiln firing techniques.
• Experience with mold-making/slip-casting.

To Apply
To begin the application process, select the “Apply” button and electronically submit the following documents by February 16, 2026.
• Letter of interest addressing the qualifications for this position.
• Current curriculum vitae
• Names of three current professional references with title, email addresses and telephone

Please submit the following under additional material:
• A document with a link to a digital portfolio with 20 examples of candidate’s work and 20 examples of candidate’s students’ work

Incomplete or late applications will not be considered. E-mailed and mailed applications will not be accepted. Please redact any personally identifiable information (i.e., Social Security Number, date of birth, marital status, country of origin) from any documents submitted.

Applicants must currently be authorized to work in the United States on a full-time basis.

Inquiries may be sent to Craig Frederick, Search Committee Chair, at 860-832-2637 or frederickcrm@ccsu.edu.

With Ceramics un-limited world, the Südtiroler Künstlerbund opened the doors of its exhibition space SKB Artes in Bolzano to a vibrant exploration of clay in all its forms. On view from August 29 to November 7, 2025, the show brought together a carefully curated selection of artists whose works highlight the boundless potential of the material. Ceramics un-limited world invited visitors to reflect on clay’s enduring presence in art and culture, tracing its meanings from ancient traditions to contemporary interpretations and into the future.

To reach the exhibition, visitors passed through a courtyard and ascended a staircase before entering the historical rooms. In this transitional outdoor space stood a white-glazed Rococo tile stove, a technical and artisanal masterpiece long retired from its original function. Gracefully positioned in the courtyard, it set the tone for the exhibition by evoking our most immediate associations with clay – the domestic, the functional, the everyday object. The stove also served as the site of an intervention by artist and stove builder Peter Chiusole (*1958), who transformed the area into a small working and advisory studio during the run of the exhibition. On a wooden shelf, he combined historical fragments with his own handcrafted pieces – glazed roof tiles, shards of architectural ceramics, vases, and miniature models of tiled stoves – while a small replica of the Rococo stove joined the display. Once a week, he guided visitors through the construction, use, and artistic design of historical and contemporary tiled stoves, offering insights, demonstrations, and personal stories that connected the objects to Alpine craftsmanship and cultural history.

Upon entering the exhibition rooms, visitors were greeted by a shelving unit filled with small sculptures and vessels by various artists, showcasing the diversity of the ceramic medium – and, just beside it, a festively set table. The 25 soup bowls drawn from a private collection subtly referenced another familiar aspect of ceramics: their presence in daily life and domestic rituals. This intimate scene was complemented by wall decorations created with patterned rollers by Luis Seiwald (*1969). For these, he used terra sigillata that he had personally extracted from a clay quarry in the Valle di Casies in Northern Italy. In this first room, Seiwald also set up a small production area where visitors could follow the process step by step – from collecting clay in the quarry to the countless stages in between. His practice illustrates how a raw material becomes a finished ceramic object through skill, time, and meticulous refinement.

Following Seiwald’s exploration of transformation, Julia Schuster‘s (*1989) contribution shifted the focus from process to sensation, emphasizing the intimate physical engagement with the material. Her video-documented performance LONGING (2026) shows the artist’s hands shaping and kneading raw clay. The work becomes a metaphor for sensuality and for the traces left by the human body in the act of forming, inviting viewers into a tactile experience that foregrounds how we perceive the world through touch. It is astonishing how a material so soft and malleable can acquire a solid and lasting presence – one of the many wonders of ceramics. Another of Schuster’s works, FOLDING (2016), charmingly demonstrates this transformation: the wall-mounted piece appears to crystallize the intuitive shaping process. The impressions of the artist’s hands remain inscribed in the form, telling the story of her movements, with a fleeting gesture made permanent through firing and a white glaze.

Just as other forces act on clay beyond the shaping hand, Julian Burchia‘s (*1989) Bewegtes Blau (Blue in Motion) (2018) explores how time and chemical processes leave their mark. The work consists of 30 individual impressions of roof tiles, their colors shifting from shimmering copper to deep luminous blue – the result of oxidation in the Raku technique, in which the firing time of each object was deliberately extended by ten seconds. Hung in a row, the tiles evoke the changing hues of the horizon during the “blue hour,” when the sky transforms from moment to moment. The controlled timing in the firing process produces similarly subtle variations, creating a dialogue between natural and technical rhythms.

In the following rooms, the exhibition revealed how contemporary ceramics deliberately challenge and subvert expectations of materiality. Beate Gatschelhofer (*1994) created large-scale wall compositions that merge hand-building techniques with 3D printing. The pastel-colored forms of her series Verzögerung als schlechter Zeitvertreib (2023, 2024), connected by neon straps, point to non-linearity and to processes in which progress unfolds through detours, pauses, and repetitions. The forms appear to sink into the straps, giving an impression of softness despite their ceramic material. Helene Kirchmair (*1981) likewise plays with this shift in perception, transforming what is originally soft and pliable into its opposite. Her Salvagente (2018), a group of small porcelain lifebuoys stacked in a corner, turns a rubbery object into something solid, fragile, and unexpectedly delicate. In her wall piece Velvet (2018), Kirchmair continues this exploration of material confusion: arranged into a pictorial object, cup handles evoke a textile structure, deceiving the eye and reimagining what ceramics can be.

The exhibition returned to the theme of material instability with Frank Louis‘ (*1966) works Cumulus humilis (2017) and Cumulus mediocris (2015). Entering a room painted deep blue, visitors found themselves among a field of small clouds perched on fine steel structures. Clouds are long-standing symbols of imagination and projection; everyone knows the experience of watching formations shift from animals to fantastical beings in seconds. They stand for transience, yet Louis renders them solid and fixed, playing with this contradiction. And clouds, one might think, should float – but here they rest on the ground, further destabilizing expectations. In German, the expression “Schäfchenwolken” links sheep and clouds, and indeed these ceramic cloudlets could almost be read as a small herd. Each cloud bears the name of the high-pressure system that passed over Austria, Louis’ home country, during its creation, tying each one – Ingrid, Kathrin, Britta – to a specific moment in time. Additional clouds hang on the walls, strapped down by safety belts. With gentle humor, the work restrains a symbol of freedom, hinting at the human desire to grasp the ungraspable, to preserve the transient, to resist nature’s fundamental truth: that everything is in flux.

This notion of continual transformation also resonates with Tom Marseiler‘s (*1989) porcelain sculptures from the neophyt nectar series (2025). These constructed assemblages carry within them the processes of joining, breaking, and reordering. They are animated by contrasts – fine and coarse structures, colorless and pastel elements – revealing moments of experiment and inquiry. Rather than mastering the clay, the works expose its shifting potential. They evoke transformation and ephemerality, reminiscent of futuristic organisms that might begin to move at any moment. A similar creatureliness inhabits Marseiler’s Bandits (2022–25), dark stoneware sculptures whose rough, almost volcanic surfaces evoke a primordial materiality. Positioned directly on the floor, they require visitors to bend down to meet them at eye level; their presence is archaic, intimate, and quietly affecting. These sculptures formed one of the many highlights of the exhibition.

Another major focal point was the work of Elmar Trenkwalder (*1959). His vertically striving ceramic structures exceed the dimensions of conventional kilns and evoke the ornamental richness of Asian temples as well as the exuberance of Baroque basilicas. In the catalogue, they are described as “baroque fusions of thought” brought by the artist to “mental vividness.” Even the smaller-scale pieces shown here inspire awe: layer upon layer reveals extraordinary technical mastery and an imaginative choreography of beings and ornaments. Biomorphic shapes merge with architectural elements; everything grows together. The glaze reinforces this cohesion, making the sculptures appear as if poured in a single gesture and heightening their vitality. Diverse cultural influences, memories, mythical creatures, animal forms, and ornamental motifs blend into a single entity, prompting reflections on origins, interconnectedness, and the idea that we are part of a vast whole composed of countless long-preceding elements. The experience recalls standing before historical architectural masterpieces – temples or cathedrals – marveling at human imagination and craftsmanship.

In contrast to Trenkwalder’s imposing ceramic towers stood the work of Edith Berger (*1997). Here, wonder arose not from scale but from dedication to the small. Ab-wesen (2024) consists of a delicately hand-crocheted headpiece into which tiny wedge-shaped porcelain elements are integrated. It forms a fragile mesh of yarn, wire, and porcelain, quietly asserting its presence on a small wall-mounted shelf. The piece recalls forms of head adornment found across many cultures. The head sculptures Frauenkopf (2023) by Sergio Sommavilla (*1951), similarly modest in scale, also possess a distilled expressiveness. They evoke the character of archaic artifacts encountered in ethnological displays. Sommavilla’s faces feel classical and timeless, their reduction lending them an elemental, ever-present quality. Traces of modeling animate their surfaces, while layers of engobe add further depth.

This reduction and careful modeling found a different expression in the work of Clara Mayr (*1993). Her plaster casts of pigs undergo subtle transformations, shifting from animal to human forms. The pig heads of Fockenkopf (2025) derive from casts taken from the two sows with whom the artist lived for several years. The heads reproduce the animals’ features with exact fidelity. Fired using the Raku technique, their surfaces bear cracks, scorch marks, and irregular glazes, giving them a vivid, almost living presence. In the subsequent wall pieces, subtle changes appear: the shape of the ears shifts, eyelashes emerge, a gentle smile spreads across the faces – gradually giving the heads a distinct expression that hints at emerging human features. As the series Mutationen (2025) progresses, these mutations continue until the heads take on floral or seed-like forms, merging natural and human elements in uncanny yet poetic ways.

Formally, these evolving shapes almost segue into the work of Lucia Pizzani (*1975), although her material and visual language clearly diverge from Mayr’s. In Pizzani’s wall installation Escritura (2020), some forms recall the floral realm or leaf-like structures, while others evoke tools or masks. Their surfaces carry the imprint of dried corncobs. Playful and archaic at once, the composition brings together shapes drawn from nature and culture – forms become signs, and signs become carriers of meaning, even as their significance remains open. A comparable openness characterizes Die Wege entstehen im Gehen (2025) by Veronika Thurin (*1964). The eight sculptures displayed on a wooden platform share a similar overall structure, yet each is distinguished by unique surface decorations and applications. Some of these additions subtly resemble microbial, fungal, or bacterial growth spreading across a terrain, creating a quiet resonance with the nature-inspired forms elsewhere in the room. The sculptures exude an air of mystery, as if bearing secret messages that resist deciphering.

As the exhibition drew to a close, the note of humor and irony that had been present from the beginning came to the fore in the work of Josef Rainer (*1970). In the shelving display at the start of the exhibition, visitors encountered the playful series My private art history: Klein Josef bestaunt ein Werk von… (2024–25), in which Rainer engages wittily with art history. A miniature “little Josef” sits opposite towering figures of contemporary art – such as Sarah Lucas, Thomas Schütte, or Antony Gormley – marveling at their works, setting the tone for the light-hearted commentary that threads through Rainer’s practice. This humorous approach culminates in Die Jury (2023), presented as the final work in the exhibition, inside a cabinet illuminated by rhythmically changing colored lights. Five bottle-shaped figures, formed in Rainer’s unmistakable style, gather in a semicircle, scrutinizing a central abstract sculpture with quiet, comic seriousness. Their verdict remains open, playfully reflecting the decision-making processes of the art world and raising the perennial question of how objective such judgments can truly be. This playful scenario resonates with the exhibition itself: just as Rainer’s jury deliberates, the curators faced the challenge of selecting works from a vast field of possibilities. Their choices – evident in the rich diversity on display and the meaningful dialogues between works – speak for themselves. The exhibition not only highlighted the versatility of the ceramic medium but also demonstrated a refined curatorial sensibility. It presented a rich and well-balanced overview of contemporary ceramic practice – carefully assembled, engaging, and resonant.

Artists: Edith Berger, Julian Burchia, Maria Burger, Daniela Chinellato, Peter Chiusole, Maria Delago, Beate Gatschelhofer, Helene Kirchmair, Frank Louis, Tom Marseiler, Clara Mayr, Josef Rainer, Julia Schuster, Luis Seiwald, Sergio Sommavilla, Corinna Theuring, Veronika Thurin, Elmar Trenkwalder, Lucia Pizzini

Curators: Eva Gratl, Eleonora Klauser Soldá, Lisa Trockner

Katherina Perlongo (b. 1989 in Bolzano, Italy, lives in Berlin) is Curator at the KINDL – Centre for Contemporary Art in Berlin and co-founder of the curatorial collective CUCO – curatorial concepts berlin. Most recently, she was Director ad Interim and Curator of Outreach at Georg Kolbe Museum. Currently, she is researching topics at the intersection of contemporary art, craft and design.

Ceramics un-limited world was on view between August 29 and November 7, 2025, at Südtiroler Künstlerbund’s SKB Artes space in Bolzano, Italy.

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Photos by Gustav Willeit

Ceramic Workshop & Retreat with Takeuchi Shingo in Tajimi, Japan

April 21–25, 2026 | Tajimi, Japan

Immerse in Japan’s Hidden Ceramic Capital, Tajimi

For more than thirteen centuries, the clay-rich hills of Tajimi, in Japan’s Gifu prefecture, have quietly shaped one of the country’s most influential ceramic industries and cultures. Yet beyond specialist circles, Tajimi—the heart of the Mino Ceramic Valley—remains largely undiscovered. In April 2026, an intimate ceramic workshop and retreat with Shingo Takeuchi invites participants to step inside this living landscape of clay, craft, and community.

Running from April 21 to 25, 2026, the workshop offers ceramic practitioners and enthusiasts a rare opportunity to experience Tajimi not as a tourist destination, but as a working ceramic town—where clay is still drawn from the earth, processed locally, and shaped by generations of accumulated knowledge. With a maximum of eight participants, the retreat emphasizes depth over scale, allowing for close mentorship, meaningful exchange, and a slower, attentive way of learning.

A Place Shaped by Clay

Tajimi’s identity is inseparable from its geology. The region’s clay-rich land has supported ceramic production for over 1,300 years, forming what is now known as the Mino Ceramic Valley. From practical tableware and industrial tiles to tea ceremony vessels and contemporary sculptural works, ceramics here have always existed at the intersection of function, ritual, and innovation.

This workshop centres Tajimi’s distinct identity. Rather than isolating studio practice from its context, participants are encouraged to understand ceramics as part of a broader ecosystem—one that includes land, industry, culture, and daily life. Each day balances hands-on making with field visits and cultural experiences, offering insight into how material, place, and process inform one another.

Learning from the Source

One of the defining experiences of the retreat is a guided visit to the clay pits of the Mino Valley, followed by time spent with a legendary local clay blender and bespoke clay processing site. Participants will trace the journey of clay from its geological origins to its refined form, learning directly from experienced producers who design and blend clays for both traditional and contemporary use.

This encounter reveals how subtle differences in origin, mineral content, and processing shape the texture, colour, and character of clay. It is a rare opportunity to engage with material at its source, deepening not only technical understanding but also sensitivity to the expressive potential of locally rooted materials.

Hand-Building with Shingo Takeuchi

At the heart of the workshop is Shingo Takeuchi, a respected ceramic artist and educator. Over his 40 years of ceramics practice, Takeuchi has developed a highly recognisable sculptural ceramic style.

His complex hand-built forms are achieved through reduction-cooling techniques that reveal the inherent beauty of clay itself. Takeuchi also produces iron-rich, unglazed tableware whose calm, earthy surfaces evolve through daily use.

Over the retreat, Takeuchi will lead a series of focused studio sessions, beginning with an introduction to his distinctive hand-building process, followed by the construction of more complex forms, and finally, finishing techniques. The small group setting allows for close observation, dialogue, and feedback, offering participants rare insight into both the technical and philosophical foundations of his practice.

With an international exhibition history spanning New York, Seoul, Milan, Sydney, and Taipei, numerous awards, and decades as a teacher, Takeuchi brings a depth of experience that is rarely accessible in such an intimate format.

Beyond the Studio: Culture, Community, and Space

The workshop extends beyond the ceramics studio and explores the social and cultural spaces that sustain Tajimi today. Participants will be guided through local museums and walk Oribe Street, where small creative businesses are reactivating historic buildings and reshaping the town’s relationship to its ceramic heritage. One of the retreat’s most reflective experiences comes on the fourth day: a modern tea ceremony. The ceremony offers a depth of cultural knowledge and context, of the relationship between ceramic teabowls and Zen and Wabi-sabi aesthetics.

Thoughtfully Structured Days

The five-day itinerary offers a balanced program of enriching activities and relaxing moments.
● Day 1 welcomes participants to Tajimi, check-in, a guided museum visit, and dinner locally.
● Day 2 focuses on the land itself, beginning with visits to clay mines and processors before transitioning into hands-on studio work with Takeuchi Shingo.
● Day 3 deepens formal studio learning and introduces the context of ceramic town life and creative spaces.
● Day 4 concentrates on finishing techniques and culminates in the tea ceremony experience.
● Day 5 offers a gentle conclusion, with a late check-out and farewell brunch.

Shared meals throughout the retreat reinforce a sense of community, providing opportunities for conversation and reflection beyond the studio.

Guided by Place: Ion Fukazawa

The workshop is organised in collaboration with Ion Fukazawa, a ceramic artist, interpreter, and tour guide based in Tajimi. Raised between Sydney and Tokyo, Fukazawa brings a bicultural perspective shaped by both Australian and Japanese approaches to craft and design.

He holds a Bachelor of Design in Ceramics from UNSW Art & Design and has created tableware for acclaimed restaurants in Australia. His practice deepened further at Ishoken (Tajimi City Pottery Design & Technical Center), where he studied contemporary Japanese ceramic methodologies and developed his art practice.
Now exhibiting both in Japan and internationally, Fukazawa’s work explores the dialogue between natural processes and human touch. Alongside his studio practice, he guides groups through the mountains of Gifu, connecting visitors to the region’s landscapes, makers, and stories. His role in the retreat ensures a culturally sensitive experience that bridges language, context, and community.

Accommodation:

Participants will stay in local machiya townhouses integrated into the town, prioritising comfort and character.

Practical Details
● Dates: April 21–25, 2026
● Price: 286,000 yen (tax included)
● Group Size: Minimum 4, maximum 8 participants
● Deposit: 50,000 yen (non-refundable)
● Cancellation: Non-refundable within 30 days of the retreat
● Food: Dietary requirements accommodated with advance notice

For enquiries and applications
Website: www.craftlabjapan.com
Instagram: www.instagram.com/craft.lab.japan/
Email: hello@craftlabjapan.com