Hello/Goodbye

Robert Zumwalt

Ghost Writing

Medium & Materials:
Porcelain, oxides, glaze

Measurements:
16” x 13” x 3”

Date:
2024

Description:
— My ceramic practice is a material investigation guided by process. I create iterative systems of production that result in series or fragments for larger works. Form is often a byproduct or secondary to this practice. My systems are set up to fail, creating obstacles that compel intuitive making, balancing process and hand and ultimately reflecting humanity. Recurring patterns of nature as well as natural forces make the bulk of my mark making. I use the layered clay technique, nerikomi, to create linework that evinces every action and to depict our existential experience through time.

Robert Zumwalt

Faux Flex

Medium & Materials:
Porcelain, glaze, cork, acrylic, gouache, ink, rayon, goldleaf

Measurements:
6” x 5.25” x 3”

Description:
— My ceramic practice is a material investigation guided by process. I create iterative systems of production that result in series or fragments for larger works. Form is often a byproduct or secondary to this practice. My systems are set up to fail, creating obstacles that compel intuitive making, balancing process and hand and ultimately reflecting humanity. Recurring patterns of nature as well as natural forces make the bulk of my mark making. I use the layered clay technique, nerikomi, to create linework that evinces every action and to depict our existential experience through time.

Robert Zumwalt

Access

Medium & Materials:
Glaze, porcelain, cork, acrylic, gouache

Measurements:
5” x 5” x 1.5”

Description:
— My ceramic practice is a material investigation guided by process. I create iterative systems of production that result in series or fragments for larger works. Form is often a byproduct or secondary to this practice. My systems are set up to fail, creating obstacles that compel intuitive making, balancing process and hand and ultimately reflecting humanity. Recurring patterns of nature as well as natural forces make the bulk of my mark making. I use the layered clay technique, nerikomi, to create linework that evinces every action and to depict our existential experience through time.

Robert Zumwalt

Blue Ooze Wooder

Medium & Materials:
Glaze, porcelain, cork

Measurements:
5.75” x 5.75” x 2”

Description:
— My ceramic practice is a material investigation guided by process. I create iterative systems of production that result in series or fragments for larger works. Form is often a byproduct or secondary to this practice. My systems are set up to fail, creating obstacles that compel intuitive making, balancing process and hand and ultimately reflecting humanity. Recurring patterns of nature as well as natural forces make the bulk of my mark making. I use the layered clay technique, nerikomi, to create linework that evinces every action and to depict our existential experience through time.

Robert Zumwalt

Blue Warp

Medium & Materials:
porcelain, oxides, glaze

Measurements:
4.75” x 3.5” x 2”

Description:
— My ceramic practice is a material investigation guided by process. I create iterative systems of production that result in series or fragments for larger works. Form is often a byproduct or secondary to this practice. My systems are set up to fail, creating obstacles that compel intuitive making, balancing process and hand and ultimately reflecting humanity. Recurring patterns of nature as well as natural forces make the bulk of my mark making. I use the layered clay technique, nerikomi, to create linework that evinces every action and to depict our existential experience through time.

Robert Zumwalt

Castling

Medium & Materials:
porcelain, oxides, mason stain, steel

Measurements:
10” x 3.5” x 2”

Description:
— My ceramic practice is a material investigation guided by process. I create iterative systems of production that result in series or fragments for larger works. Form is often a byproduct or secondary to this practice. My systems are set up to fail, creating obstacles that compel intuitive making, balancing process and hand and ultimately reflecting humanity. Recurring patterns of nature as well as natural forces make the bulk of my mark making. I use the layered clay technique, nerikomi, to create linework that evinces every action and to depict our existential experience through time.

Robert Zumwalt

Limbic Friction

Medium & Materials:
Porcelain, oxides, steel, plaster, graphite

Measurements:
16.5” x 13” x 1.5”

Description:
— My ceramic practice is a material investigation guided by process. I create iterative systems of production that result in series or fragments for larger works. Form is often a byproduct or secondary to this practice. My systems are set up to fail, creating obstacles that compel intuitive making, balancing process and hand and ultimately reflecting humanity. Recurring patterns of nature as well as natural forces make the bulk of my mark making. I use the layered clay technique, nerikomi, to create linework that evinces every action and to depict our existential experience through time.

Michelle Solorzano

Niña Pintá (Splatter Girl)

Measurements:
"20"" 10.5"" 10"""

Description:
— My work is a personal exploration of my cultural identity, influenced by the complex interplay of colonization, immigration, and assimilation. The Dominican Carnaval, with its deep historical roots, serves as a focal point in this exploration, highlighting the lasting impact of colonization on contemporary society. Beyond the vibrancy of theatrical performances, characters like The Devil in all its iterations, and the aesthetic of the Carnaval that embraces bright colors, repetition, and maximalist adornment, what captivates me most is the temporary dismantling of social hierarchies within this cultural celebration. Through extensive research, I rediscover the historical and cultural significance of these elements. My own persona, portrayed through self-portraits, becomes a means to document and retell aspects of the Dominican Republic's cultural and political history, often misrepresented through the lens of colonized minds.

Michelle Solorzano

Speaking Spanglish

Measurements:
12" 8" 8"

Description:
— My work is a personal exploration of my cultural identity, influenced by the complex interplay of colonization, immigration, and assimilation. The Dominican Carnaval, with its deep historical roots, serves as a focal point in this exploration, highlighting the lasting impact of colonization on contemporary society. Beyond the vibrancy of theatrical performances, characters like The Devil in all its iterations, and the aesthetic of the Carnaval that embraces bright colors, repetition, and maximalist adornment, what captivates me most is the temporary dismantling of social hierarchies within this cultural celebration. Through extensive research, I rediscover the historical and cultural significance of these elements. My own persona, portrayed through self-portraits, becomes a means to document and retell aspects of the Dominican Republic's cultural and political history, often misrepresented through the lens of colonized minds.

Micah Sweezie

White Gold

Medium & Materials:
Porcelain

Measurements:
H: 30 x W: 30 x D:11 in.

Date:
2021

Description:
Sweezie produces ceramic and sculptural works to investigate themes of labor, memory, globalization, and material history. Her practice is heavily informed by historical research and is often inspired by revolutionary events and personal ancestral histories. Correlations between human intervention and industrial production are the crux of her work. These correlations broaden realities of understanding around our physical world, product origins, and our relationship to industrialized material. Sweezie’s forms are posed as recognizable and minimal to reflect the origins of the forms while simultaneously contrasting themselves through alternative mediums and processes. Sweezie utilizes molded and cast forms frequently to question values tied to reproduction and authorship within industry. Material value is also central to her practice. Sweezie employs an assortment of mediums such as porcelain, latex, bronze, rubber, rice paper, cast plastic, and gold gilding. Through these materials, she aspires to reposition suppressed relational histories within global and institutional perceptions.

Micah Sweezie

Dis/Member

Medium & Materials:
Porcelain

Measurements:
H: 14 x W: 13 x D: 1 in.

Date:
2026

Description:
Sweezie produces ceramic and sculptural works to investigate themes of labor, memory, globalization, and material history. Her practice is heavily informed by historical research and is often inspired by revolutionary events and personal ancestral histories. Correlations between human intervention and industrial production are the crux of her work. These correlations broaden realities of understanding around our physical world, product origins, and our relationship to industrialized material. Sweezie’s forms are posed as recognizable and minimal to reflect the origins of the forms while simultaneously contrasting themselves through alternative mediums and processes. Sweezie utilizes molded and cast forms frequently to question values tied to reproduction and authorship within industry. Material value is also central to her practice. Sweezie employs an assortment of mediums such as porcelain, latex, bronze, rubber, rice paper, cast plastic, and gold gilding. Through these materials, she aspires to reposition suppressed relational histories within global and institutional perceptions.

Jeanne Blissett Robertson

Tendrils

Medium & Materials:
Soda-fired porcelain, decal

Measurements:
8.5 x 7.5 x 7

Date:
2026

Description:
I have recently been developing a line of work involving the long standing human interest in crystalline forms and their power to connect internal human experiences with the material world. I reflect on the precarious state of our changing natural environment and its effect on our culture, both spiritually and politically. The crystal forms provide a 3D canvas for me to combine diverse imagery from sources such as photographs, painting and symbols to communicate through active, tactile engagement and to challenge core, binary understandings. ‘Tendrils’ and ‘And Then’ combine digital technologies such as 3D printing and decal with atmospheric firings. 'Tendrils' is part crystal part creature with imprinted memories from its past. 'And Then' fuses romantic imagery of a moonlit scene with computerised lettering and symbols, moments and thoughts in a state of flux.

Jeanne Blissett Robertson

And Then

Medium & Materials:
Soda-fired black stoneware, 3D printed porcelain, embedded porcelain, silver leaf

Measurements:
18 x 12 x 10

Date:
2026

Description:
I have recently been developing a line of work involving the long standing human interest in crystalline forms and their power to connect internal human experiences with the material world. I reflect on the precarious state of our changing natural environment and its effect on our culture, both spiritually and politically. The crystal forms provide a 3D canvas for me to combine diverse imagery from sources such as photographs, painting and symbols to communicate through active, tactile engagement and to challenge core, binary understandings. ‘Tendrils’ and ‘And Then’ combine digital technologies such as 3D printing and decal with atmospheric firings. 'Tendrils' is part crystal part creature with imprinted memories from its past. 'And Then' fuses romantic imagery of a moonlit scene with computerised lettering and symbols, moments and thoughts in a state of flux.

Jeanne Blissett Robertson

Dreaming of a Crystal Forest

Medium & Materials:
Hand-painted glazed porcelain

Measurements:
20 x 12 x 13

Date:
2025

Description:
I have recently been developing a line of work involving the long standing human interest in crystalline forms and their power to connect internal human experiences with the material world. I reflect on the precarious state of our changing natural environment and its effect on our culture, both spiritually and politically. The crystal forms provide a 3D canvas for me to combine diverse imagery from sources such as photographs, painting and symbols to communicate through active, tactile engagement and to challenge core, binary understandings. ‘Dreaming of a Crystal Forest’ and ‘I See the Ocean Magic’ have paintings of animals and nature taken from slot machine graphics. These symbols of freedom and adventure have been re- contextualised to question what we seek and how we find it in an increasingly noisy world.

Jeanne Blissett Robertson

I See the Ocean Magic

Medium & Materials:
Hand-painted glazed porcelain

Measurements:
11.5 x 25 x 22

Date:
2025

Description:
I have recently been developing a line of work involving the long standing human interest in crystalline forms and their power to connect internal human experiences with the material world. I reflect on the precarious state of our changing natural environment and its effect on our culture, both spiritually and politically. The crystal forms provide a 3D canvas for me to combine diverse imagery from sources such as photographs, painting and symbols to communicate through active, tactile engagement and to challenge core, binary understandings. ‘Dreaming of a Crystal Forest’ and ‘I See the Ocean Magic’ have paintings of animals and nature taken from slot machine graphics. These symbols of freedom and adventure have been re- contextualised to question what we seek and how we find it in an increasingly noisy world.

Ruth Easterbrook

Large Oval

Medium & Materials:
raw clay with flowers

Measurements:
18 x 11 x 3

Description:
I make pottery as an active participant in the coming together of people, sharing, and the enjoyment of food. Eating a beautifully prepared meal creates a celebration. I make pieces of service and I make interaction. I build my pottery using a range of techniques from the coil and slab to the wheel, responding to the mark of my hand in each. Form and surface are tightly intertwined, one setting up the other. My floral motifs are a mapping out of cone six glazes that enable me to consider the design, color, as well as sheen and viscosity of each glaze creating surfaces with tension, movement, and subtle shifts in texture.

Ruth Easterbrook

Large Globe Vase

Medium & Materials:
raw clay with flowers

Measurements:
11 x 11 x 11

Description:
I make pottery as an active participant in the coming together of people, sharing, and the enjoyment of food. Eating a beautifully prepared meal creates a celebration. I make pieces of service and I make interaction. I build my pottery using a range of techniques from the coil and slab to the wheel, responding to the mark of my hand in each. Form and surface are tightly intertwined, one setting up the other. My floral motifs are a mapping out of cone six glazes that enable me to consider the design, color, as well as sheen and viscosity of each glaze creating surfaces with tension, movement, and subtle shifts in texture.

Josephine Mette Larsen

XL Cup Holder (blue)

Medium & Materials:
glazed ceramic

Measurements:
42 x 18 x 17

Date:
2026

Description:
XL Cup Holder in (blue) and (red) take both a practical and whimsical approach to drinking sets. The overexaggerated height of the holders force two individuals to come together and share physical space during an exchange. In doing so, the cup holders become a vehicle for tending to close connections—especially important in times like these. I believe in process. I perceive this time frame to be an entirely forgiving and unmistakably insightful segment in my ceramic-based practice. Always allowing myself to be both mentally and physically immersed in the process — this essential push and pull between myself and the material, clay, is where my experience of being a craftsman is enriched. Infatuated by notions of scale and composition, I am interested in the embodied experience attained when meeting three-dimensional matter. The affect of material existence is what drives my practice (not “effect” as in the repercussion of a cause) but affects meaning, the initially visceral, raw and immediate bodily response to a physical manifestation.

Josephine Mette Larsen

XL Cup Holder (red)

Medium & Materials:
glazed ceramic

Measurements:
42 x 18 x 17

Date:
2026

Description:
XL Cup Holder in (blue) and (red) take both a practical and whimsical approach to drinking sets. The overexaggerated height of the holders force two individuals to come together and share physical space during an exchange. In doing so, the cup holders become a vehicle for tending to close connections—especially important in times like these. I believe in process. I perceive this time frame to be an entirely forgiving and unmistakably insightful segment in my ceramic-based practice. Always allowing myself to be both mentally and physically immersed in the process — this essential push and pull between myself and the material, clay, is where my experience of being a craftsman is enriched. Infatuated by notions of scale and composition, I am interested in the embodied experience attained when meeting three-dimensional matter. The affect of material existence is what drives my practice (not “effect” as in the repercussion of a cause) but affects meaning, the initially visceral, raw and immediate bodily response to a physical manifestation.

Soon Chol

Low Fever

Medium & Materials:
white stoneware

Measurements:
12"L x 6"W x 13.5"H

Description:
Human emotion comes from the interplay between people, physical space, and emotion itself. The ambivalence of human emotion occurs through unresolved and confusing situations in external and internal matters. An ambivalent moment reveals itself to me, and I depict that gray area of humanity. I recount these unsettled situations so viewers can empathetically encounter the emotions of the human forms I create. In making my work, I attempt to express the ambiguity of emotion through flat and spatial surfaces; subtle facial expression, gaze and body gesture; as well as color and brush expressions. Building the surfaces with clay allows me to seamlessly weave between dimensions and textures to articulate feelings of ambivalence.

Soojin Choi

Unfold

Medium & Materials:
white stoneware

Date:
2026

Description:
Human emotion comes from the interplay between people, physical space, and emotion itself. The ambivalence of human emotion occurs through unresolved and confusing situations in external and internal matters. An ambivalent moment reveals itself to me, and I depict that gray area of humanity. I recount these unsettled situations so viewers can empathetically encounter the emotions of the human forms I create. In making my work, I attempt to express the ambiguity of emotion through flat and spatial surfaces; subtle facial expression, gaze and body gesture; as well as color and brush expressions. Building the surfaces with clay allows me to seamlessly weave between dimensions and textures to articulate feelings of ambivalence.

Arista Wilson

The washing up is stacking up but here let's peer and ponder

Medium & Materials:
Gouache on birch panel

Measurements:
24 x 36 x 2

Date:
2026

Description:
I am captivated by the small markers of life in our landscape, whether it be wild grass, fallen branches or the light peeking in between. These moments of life are ever changing so I paint quickly, in multiples, on site. I’m interested in how the presence of a place can be built out of many moments, how these moments develop, and the pursuit of their preservation. Paintings emerge on paper and then again on porcelain. I work with thin, translucent porcelain so light peeks through the undergrowth as you sip. I want to scoop up the poetry of a pond and press it into your hands. Through gouache and glaze I chase the light, hoping to capture an image, a feeling, a knowledge contained within these places. I’m curious how a landscape can be abstracted but the feeling can stay true. My work is curious. My work is play. My work is deep affection. My work is a love for places and the present.

Arista Wilson

Pond Cup

Medium & Materials:
Stoneware

Date:
2026

Description:
I am captivated by the small markers of life in our landscape, whether it be wild grass, fallen branches or the light peeking in between. These moments of life are ever changing so I paint quickly, in multiples, on site. I’m interested in how the presence of a place can be built out of many moments, how these moments develop, and the pursuit of their preservation. Paintings emerge on paper and then again on porcelain. I work with thin, translucent porcelain so light peeks through the undergrowth as you sip. I want to scoop up the poetry of a pond and press it into your hands. Through gouache and glaze I chase the light, hoping to capture an image, a feeling, a knowledge contained within these places. I’m curious how a landscape can be abstracted but the feeling can stay true. My work is curious. My work is play. My work is deep affection. My work is a love for places and the present.

Arista Wilson

Pond Cup

Medium & Materials:
Stoneware

Date:
2026

Description:
I am captivated by the small markers of life in our landscape, whether it be wild grass, fallen branches or the light peeking in between. These moments of life are ever changing so I paint quickly, in multiples, on site. I’m interested in how the presence of a place can be built out of many moments, how these moments develop, and the pursuit of their preservation. Paintings emerge on paper and then again on porcelain. I work with thin, translucent porcelain so light peeks through the undergrowth as you sip. I want to scoop up the poetry of a pond and press it into your hands. Through gouache and glaze I chase the light, hoping to capture an image, a feeling, a knowledge contained within these places. I’m curious how a landscape can be abstracted but the feeling can stay true. My work is curious. My work is play. My work is deep affection. My work is a love for places and the present.

Arista Wilson

Pond Cup

Medium & Materials:
Stoneware

Date:
2026

Description:
I am captivated by the small markers of life in our landscape, whether it be wild grass, fallen branches or the light peeking in between. These moments of life are ever changing so I paint quickly, in multiples, on site. I’m interested in how the presence of a place can be built out of many moments, how these moments develop, and the pursuit of their preservation. Paintings emerge on paper and then again on porcelain. I work with thin, translucent porcelain so light peeks through the undergrowth as you sip. I want to scoop up the poetry of a pond and press it into your hands. Through gouache and glaze I chase the light, hoping to capture an image, a feeling, a knowledge contained within these places. I’m curious how a landscape can be abstracted but the feeling can stay true. My work is curious. My work is play. My work is deep affection. My work is a love for places and the present.

Arista Wilson

Pond Cup

Medium & Materials:
Stoneware

Date:
2026

Description:
I am captivated by the small markers of life in our landscape, whether it be wild grass, fallen branches or the light peeking in between. These moments of life are ever changing so I paint quickly, in multiples, on site. I’m interested in how the presence of a place can be built out of many moments, how these moments develop, and the pursuit of their preservation. Paintings emerge on paper and then again on porcelain. I work with thin, translucent porcelain so light peeks through the undergrowth as you sip. I want to scoop up the poetry of a pond and press it into your hands. Through gouache and glaze I chase the light, hoping to capture an image, a feeling, a knowledge contained within these places. I’m curious how a landscape can be abstracted but the feeling can stay true. My work is curious. My work is play. My work is deep affection. My work is a love for places and the present.

Arista Wilson

Pond Cup

Medium & Materials:
Stoneware

Date:
2026

Description:
I am captivated by the small markers of life in our landscape, whether it be wild grass, fallen branches or the light peeking in between. These moments of life are ever changing so I paint quickly, in multiples, on site. I’m interested in how the presence of a place can be built out of many moments, how these moments develop, and the pursuit of their preservation. Paintings emerge on paper and then again on porcelain. I work with thin, translucent porcelain so light peeks through the undergrowth as you sip. I want to scoop up the poetry of a pond and press it into your hands. Through gouache and glaze I chase the light, hoping to capture an image, a feeling, a knowledge contained within these places. I’m curious how a landscape can be abstracted but the feeling can stay true. My work is curious. My work is play. My work is deep affection. My work is a love for places and the present.

Arista Wilson

Pond Cup

Medium & Materials:
Stoneware

Date:
2026

Description:
I am captivated by the small markers of life in our landscape, whether it be wild grass, fallen branches or the light peeking in between. These moments of life are ever changing so I paint quickly, in multiples, on site. I’m interested in how the presence of a place can be built out of many moments, how these moments develop, and the pursuit of their preservation. Paintings emerge on paper and then again on porcelain. I work with thin, translucent porcelain so light peeks through the undergrowth as you sip. I want to scoop up the poetry of a pond and press it into your hands. Through gouache and glaze I chase the light, hoping to capture an image, a feeling, a knowledge contained within these places. I’m curious how a landscape can be abstracted but the feeling can stay true. My work is curious. My work is play. My work is deep affection. My work is a love for places and the present.

Michael Dika

Painter Boy

Measurements:
34 x 30 x 17

Date:
2026

Description:
My practice is centered on the re-performance of memory specifically; the memories of spaces I call home. I deconstruct the traditional architectural processes of building mud houses in Ghana, using raw clay, found wooden pallets alongside historical shards unearthed in Philadelphia, fragments of vessels once broken and buried. Through my interventions, I deconstruct and reconstruct these found materials and objects, treating each layer of history as an accumulation rather than a loss. This suggests that translation across time and medium is not a reduction, but an accretion of meaning. In this work, I hold the domestic and the industrial in tension, the ephemeral against the permanent, and the labor that connects both. My practice is situated precisely in that liminal space between what is built and what is remembered, between material and memory, between Ghana and Philadelphia.

Michael Dika

Remains Emerging

Measurements:
12 x 30 x 42

Date:
2025

Description:
My practice is centered on the re-performance of memory specifically; the memories of spaces I call home. I deconstruct the traditional architectural processes of building mud houses in Ghana, using raw clay, found wooden pallets alongside historical shards unearthed in Philadelphia, fragments of vessels once broken and buried. Through my interventions, I deconstruct and reconstruct these found materials and objects, treating each layer of history as an accumulation rather than a loss. This suggests that translation across time and medium is not a reduction, but an accretion of meaning. In this work, I hold the domestic and the industrial in tension, the ephemeral against the permanent, and the labor that connects both. My practice is situated precisely in that liminal space between what is built and what is remembered, between material and memory, between Ghana and Philadelphia.

Dehmie Dehmlow

Composition Platter with Writing

Medium & Materials:
Stoneware

Measurements:
12.75 x 12.25

Date:
2026

Description:
I think about my pots as paintings, compositions, functional objects and sometimes sculpture, all in one. The parameters that making functional pottery provides gives me an exciting framework to play within. The work in this show embodies my love for process and texture, both visual and tactile. The wall assemblage piece is one of my favorites. This piece opens up the possibilities for composition and incorporates more of what I love: salvaged objects with detail and specific function repurposed into an ecosystem of formal qualities, and aged/patinas surfaces.

Dehmie Dehmlow

Composition Platter with Writing

Medium & Materials:
Stoneware

Measurements:
11.5 x 4.25 x 7

Date:
2026

Description:
I think about my pots as paintings, compositions, functional objects and sometimes sculpture, all in one. The parameters that making functional pottery provides gives me an exciting framework to play within. The work in this show embodies my love for process and texture, both visual and tactile. The wall assemblage piece is one of my favorites. This piece opens up the possibilities for composition and incorporates more of what I love: salvaged objects with detail and specific function repurposed into an ecosystem of formal qualities, and aged/patinas surfaces.

Dehmie Dehmlow

Funky Watering Can

Medium & Materials:
Stoneware

Measurements:
11.5 x 4.25 x 7

Date:
2026

Description:
I think about my pots as paintings, compositions, functional objects and sometimes sculpture, all in one. The parameters that making functional pottery provides gives me an exciting framework to play within. The work in this show embodies my love for process and texture, both visual and tactile. The wall assemblage piece is one of my favorites. This piece opens up the possibilities for composition and incorporates more of what I love: salvaged objects with detail and specific function repurposed into an ecosystem of formal qualities, and aged/patinas surfaces.

Dehmie Dehmlow

Wall Assemblage with Salvaged Objects

Medium & Materials:
Stoneware, found objects and materials, brass and stainless steel wire. 2024

Date:
2026

Description:
I think about my pots as paintings, compositions, functional objects and sometimes sculpture, all in one. The parameters that making functional pottery provides gives me an exciting framework to play within. The work in this show embodies my love for process and texture, both visual and tactile. The wall assemblage piece is one of my favorites. This piece opens up the possibilities for composition and incorporates more of what I love: salvaged objects with detail and specific function repurposed into an ecosystem of formal qualities, and aged/patinas surfaces.

Dehmie Dehmlow

Funky Wall Lantern

Medium & Materials:
Cone 5/6 stoneware: red clay, stained terra sigillatas, mid-range glazes, washes, brass wire, stainless steel wire, edison light bulb, nichrome wire, electric lightbulb socket with 15ft cord, zip ties.

Date:
2026

Description:
I think about my pots as paintings, compositions, functional objects and sometimes sculpture, all in one. The parameters that making functional pottery provides gives me an exciting framework to play within. The work in this show embodies my love for process and texture, both visual and tactile. The wall assemblage piece is one of my favorites. This piece opens up the possibilities for composition and incorporates more of what I love: salvaged objects with detail and specific function repurposed into an ecosystem of formal qualities, and aged/patinas surfaces.

Dehmie Dehmlow

Funky Wall Lantern II

Medium & Materials:
Cone 5/6 stoneware: red clay, stained terra sigillatas, mid-range glazes, washes, brass wire, stainless steel wire, edison light bulb, nichrome wire, electric lightbulb socket with 15ft cord, zip ties.

Date:
2026

Description:
I think about my pots as paintings, compositions, functional objects and sometimes sculpture, all in one. The parameters that making functional pottery provides gives me an exciting framework to play within. The work in this show embodies my love for process and texture, both visual and tactile. The wall assemblage piece is one of my favorites. This piece opens up the possibilities for composition and incorporates more of what I love: salvaged objects with detail and specific function repurposed into an ecosystem of formal qualities, and aged/patinas surfaces.

Bradford Davis

Cage

Medium & Materials:
Ceramic stoneware, 550 paracord, gabion cage, metal wire

Measurements:
27 x 29 x 29"

Date:
2026

Description:
I am humbled to say that the return to clay has been one of the greatest catalysts in my path of healing. As a veteran contemplating the sum of my life experiences and their weight on my mental health, I have come to co-exist with my traumas and disabilities, journeying through stages of denying, researching, acknowledging, and fighting them, akin to a circle of acceptance. My artistic practice is fueled by the repetitive deconstruction and reconstruction of the archive of trauma that I have walked with for over a decade. This mirrors aspects of a common therapy practice known as cognitive behavioral therapy, the second go-to treatment plan of the Department of Veterans Affairs, Mental Health Clinics — second only to intense medication regimens. As a patient, I stagnated for over a decade from failed interactions, treatment plans, and a deluge of ever-changing medications and their side effects: years of isolation, fear, instability, insanity, reflection, and breaking bread with demons I never knew existed. During this period, I was incapable of engaging with clay, convinced that I would discover yet another passion I was no longer able to enjoy due to my injuries. In my practice, I seek clarity, questioning boundaries and sensibilities through the process of engaging clay. Perhaps for many, the malleability of clay leads to a greater awareness of self, a conversation between the material and the maker. The unpredictability of the ceramic process that I explore through stress, fracturing, and deformation strikes a chord in my brain — a vibration of internal calmness providing a brief respite from my mind’s exhaustive mental war games.

Bradford Davis

Here and Now

Medium & Materials:
Ceramic stoneware, 550 paracord, steel and copper horse shoe nails, plywood

Measurements:
112 x 10 x 91"

Date:
2024

Description:
I am humbled to say that the return to clay has been one of the greatest catalysts in my path of healing. As a veteran contemplating the sum of my life experiences and their weight on my mental health, I have come to co-exist with my traumas and disabilities, journeying through stages of denying, researching, acknowledging, and fighting them, akin to a circle of acceptance. My artistic practice is fueled by the repetitive deconstruction and reconstruction of the archive of trauma that I have walked with for over a decade. This mirrors aspects of a common therapy practice known as cognitive behavioral therapy, the second go-to treatment plan of the Department of Veterans Affairs, Mental Health Clinics — second only to intense medication regimens. As a patient, I stagnated for over a decade from failed interactions, treatment plans, and a deluge of ever-changing medications and their side effects: years of isolation, fear, instability, insanity, reflection, and breaking bread with demons I never knew existed. During this period, I was incapable of engaging with clay, convinced that I would discover yet another passion I was no longer able to enjoy due to my injuries. In my practice, I seek clarity, questioning boundaries and sensibilities through the process of engaging clay. Perhaps for many, the malleability of clay leads to a greater awareness of self, a conversation between the material and the maker. The unpredictability of the ceramic process that I explore through stress, fracturing, and deformation strikes a chord in my brain — a vibration of internal calmness providing a brief respite from my mind’s exhaustive mental war games.

Adrián Gómez

Superalimento del Futuro

Medium & Materials:
Earthenware, glaze, wax

Date:
2026

Description:
Distance from family, home, and community has prompted a further study into the histories determining my identity. From the perspective of a first-generation Mexican-Guatemalan maker, my work describes what it means to preserve and mourn customs obscured by borders. The use of specific culturally significant motifs, replicated but often altered, portrays archival memory of personal and recorded Latino history. In honoring the moments fundamental to my cultural identity, I can process the limited access to the traditions practiced by my family for generations. The intent to make is sustained by my urgency to represent and understand the cyclical nature life follows when obscured by borders. Researching pre-Colombian histories, I realized these deeply personal relationships were universal and that I could, in fact, have an audience. Connecting with the long tradition of ceramics in the Americas I began using red clay to maintain that historical throughline. Making work that embodies the notion of being stuck between culture and place is essential because it gives a point of entry to many with similar lived experiences. In these challenging political times, I realized encountering one of my works can be the representation and connection people need. Recently, I’ve been diving into how new cultural practices were introduced to the Indigenous cultures of the Americas. My sculptures now appear as snapshots of perceived realities arising from meshing information together.

Jeremiah Ibarra

Dog Fight and Smiles (Cookie Jar)

Medium & Materials:
Terra cotta, terra sigillata, majolica

Measurements:
14x10x10

Date:
2026

Description:
“My pots and pantry references offer a recollection on family and growth – a common narrative. One that speaks to a culture of “getting by.” The drawings dress up modestly glazed terracotta tableware. In turn the pots become placeholders for commemorative China in a lower to middle class cabinet.”

Jeremiah Ibarra

Sword and Revolver (Cookie Jar)

Medium & Materials:
Terra cotta, terra sigillata, majolica

Measurements:
13x10x10

Date:
2026

Description:
“My pots and pantry references offer a recollection on family and growth – a common narrative. One that speaks to a culture of “getting by.” The drawings dress up modestly glazed terracotta tableware. In turn the pots become placeholders for commemorative China in a lower to middle class cabinet.”

Jeremiah Ibarra

A Sleepy Referee (Trencher)

Medium & Materials:
Terra cotta, terra sigilata, majolica

Date:
2026

Description:
“My pots and pantry references offer a recollection on family and growth – a common narrative. One that speaks to a culture of “getting by.” The drawings dress up modestly glazed terracotta tableware. In turn the pots become placeholders for commemorative China in a lower to middle class cabinet.”

Jeremiah Ibarra

J. Wellington and the Death of Frank

Medium & Materials:
Graphite on manila

Measurements:
33x35

Date:
2018

Description:
“My pots and pantry references offer a recollection on family and growth – a common narrative. One that speaks to a culture of “getting by.” The drawings dress up modestly glazed terracotta tableware. In turn the pots become placeholders for commemorative China in a lower to middle class cabinet.”

Nicholas Malik

Black Barbie

Medium & Materials:
Ceramic, cocoa butter

Measurements:
5” x 2” x 12”

Date:
2026

Description:
What Black is and what Black ain’t? My research focuses on the aesthetic qualities retained through Black spiritual practices as they extend along the Middle Passage throughout the Caribbean and Americas. Within the vastness of these knowledge systems is articulated a complex visual language and material relationship. Folded legibility and reconstructive assemblage served as a basis for this knowledge and its necessary preservation across the Atlantic; however, although maintained, this knowledge at the same time – and by the same means – becomes blurred. In this obscured view lies the ability for an active interpolation. It is these qualities where the potential for continuation is taken up, and my artwork displays the generative ability of these mis/translations. These works are reconstructions of existing forms evocative of a researched thought, interpolated into different media and built into novel iterations. Each one is a curious question hoping that the answer will help me catch a flash of the spirit.

Nicholas Malik

The Fields Where The Yam Grew Have Been Salted

Medium & Materials:
Clay, sand, river grass, salt, peanut shells, a call for strength

Date:
2026

Description:
What Black is and what Black ain’t? My research focuses on the aesthetic qualities retained through Black spiritual practices as they extend along the Middle Passage throughout the Caribbean and Americas. Within the vastness of these knowledge systems is articulated a complex visual language and material relationship. Folded legibility and reconstructive assemblage served as a basis for this knowledge and its necessary preservation across the Atlantic; however, although maintained, this knowledge at the same time – and by the same means – becomes blurred. In this obscured view lies the ability for an active interpolation. It is these qualities where the potential for continuation is taken up, and my artwork displays the generative ability of these mis/translations. These works are reconstructions of existing forms evocative of a researched thought, interpolated into different media and built into novel iterations. Each one is a curious question hoping that the answer will help me catch a flash of the spirit.

Janina Myronova

OLIVIA

Medium & Materials:
Stoneware, underglaze paint Hand forming and painting

Measurements:
13 x 11 x4

Date:
2026

Description:
My characters display a specific, distorted body perspective. The forms are a bit clunky, chubby, anatomically misshapen, marked with accents which double the characters or hybridize their silhouettes. Each sculpture is a different personality, a personal story, a graphic “novel” featuring my favorite motifs: images of family relationships, parent and child, partners, pets. My emotions are “scratched” into them, with a subtle hint towards humor. Wonder, anger, fear and joy are all present there. What also influences the emotional charge of the figures is the colour scheme of my sculptures, defining the characters and saturating their personal stories placed on the bodies and clothing. I emphasize their colouration by the black-and-white drawings in the background, constituting a backdrop to my stories.

Janina Myronova

VIKTORIA

Medium & Materials:
Stoneware, underglaze paint

Measurements:
10,5 x 14,2 x 4,5 in

Date:
2026

Description:
My characters display a specific, distorted body perspective. The forms are a bit clunky, chubby, anatomically misshapen, marked with accents which double the characters or hybridize their silhouettes. Each sculpture is a different personality, a personal story, a graphic “novel” featuring my favorite motifs: images of family relationships, parent and child, partners, pets. My emotions are “scratched” into them, with a subtle hint towards humor. Wonder, anger, fear and joy are all present there. What also influences the emotional charge of the figures is the colour scheme of my sculptures, defining the characters and saturating their personal stories placed on the bodies and clothing. I emphasize their colouration by the black-and-white drawings in the background, constituting a backdrop to my stories.

Janina Myronova

WHERE THE GREEN EYES WONDER

Medium & Materials:
Stoneware, underglaze paint

Measurements:
9 x 11,5 x 5

Date:
2025

Description:
My characters display a specific, distorted body perspective. The forms are a bit clunky, chubby, anatomically misshapen, marked with accents which double the characters or hybridize their silhouettes. Each sculpture is a different personality, a personal story, a graphic “novel” featuring my favorite motifs: images of family relationships, parent and child, partners, pets. My emotions are “scratched” into them, with a subtle hint towards humor. Wonder, anger, fear and joy are all present there. What also influences the emotional charge of the figures is the colour scheme of my sculptures, defining the characters and saturating their personal stories placed on the bodies and clothing. I emphasize their colouration by the black-and-white drawings in the background, constituting a backdrop to my stories.

Janina Myronova

PLAY ALL DAY

Medium & Materials:
Handformed stoneware and underglaze

Measurements:
68 x 28 x 14

Date:
2026

Description:
My characters display a specific, distorted body perspective. The forms are a bit clunky, chubby, anatomically misshapen, marked with accents which double the characters or hybridize their silhouettes. Each sculpture is a different personality, a personal story, a graphic “novel” featuring my favorite motifs: images of family relationships, parent and child, partners, pets. My emotions are “scratched” into them, with a subtle hint towards humor. Wonder, anger, fear and joy are all present there. What also influences the emotional charge of the figures is the colour scheme of my sculptures, defining the characters and saturating their personal stories placed on the bodies and clothing. I emphasize their colouration by the black-and-white drawings in the background, constituting a backdrop to my stories.

Janina Myronova

MIA

Medium & Materials:
Stoneware, underglaze paint Hand forming and painting

Measurements:
10,5 x 12,2 x 5

Date:
2026

Description:
My characters display a specific, distorted body perspective. The forms are a bit clunky, chubby, anatomically misshapen, marked with accents which double the characters or hybridize their silhouettes. Each sculpture is a different personality, a personal story, a graphic “novel” featuring my favorite motifs: images of family relationships, parent and child, partners, pets. My emotions are “scratched” into them, with a subtle hint towards humor. Wonder, anger, fear and joy are all present there. What also influences the emotional charge of the figures is the colour scheme of my sculptures, defining the characters and saturating their personal stories placed on the bodies and clothing. I emphasize their colouration by the black-and-white drawings in the background, constituting a backdrop to my stories.

Janina Myronova

AMELIA

Medium & Materials:
Stoneware, underglaze paint

Measurements:
15 x 10,5 x 6 in

Date:
2026

Description:
My characters display a specific, distorted body perspective. The forms are a bit clunky, chubby, anatomically misshapen, marked with accents which double the characters or hybridize their silhouettes. Each sculpture is a different personality, a personal story, a graphic “novel” featuring my favorite motifs: images of family relationships, parent and child, partners, pets. My emotions are “scratched” into them, with a subtle hint towards humor. Wonder, anger, fear and joy are all present there. What also influences the emotional charge of the figures is the colour scheme of my sculptures, defining the characters and saturating their personal stories placed on the bodies and clothing. I emphasize their colouration by the black-and-white drawings in the background, constituting a backdrop to my stories.

Celia Feldberg

Boars and Wildflowers

Medium & Materials:
Earthenware, slip, underglaze, glaze

Measurements:
13 x 13 x 9

Date:
2026

Description:
Celia Feldberg makes illustrated pottery, teaches, and maintains an active involvement at craft schools. She earned her BFA in ceramics from the Massachusetts College of Art and Design in 2019. Her work has been featured by The Ceramic Shop, Pottery Making Illustrated, Tales of A Red Clay Rambler and The Potters Cast. Celia was the glaze technician for Ben Carter’s Complete Guide to Low-Fire Glazes for Potters and Sculptors. She has exhibited at the Philadelphia Museum of Art Craft Show, Flower City Pottery Invitational, and in galleries across the country. Celia is currently based in Philadelphia where she is a long-term resident artist at The Clay Studio.

Celia Feldberg

Seagull Plate

Medium & Materials:
Earthenware, slip, underglaze, glaze

Measurements:
11 x 11 x 2

Description:
Celia Feldberg makes illustrated pottery, teaches, and maintains an active involvement at craft schools. She earned her BFA in ceramics from the Massachusetts College of Art and Design in 2019. Her work has been featured by The Ceramic Shop, Pottery Making Illustrated, Tales of A Red Clay Rambler and The Potters Cast. Celia was the glaze technician for Ben Carter’s Complete Guide to Low-Fire Glazes for Potters and Sculptors. She has exhibited at the Philadelphia Museum of Art Craft Show, Flower City Pottery Invitational, and in galleries across the country. Celia is currently based in Philadelphia where she is a long-term resident artist at The Clay Studio.

Celia Feldberg

Ducks in the Orchard

Medium & Materials:
Earthenware, slip, underglaze, glaze

Measurements:
"15 x 8 x 1.5"

Date:
2026

Description:
Celia Feldberg makes illustrated pottery, teaches, and maintains an active involvement at craft schools. She earned her BFA in ceramics from the Massachusetts College of Art and Design in 2019. Her work has been featured by The Ceramic Shop, Pottery Making Illustrated, Tales of A Red Clay Rambler and The Potters Cast. Celia was the glaze technician for Ben Carter’s Complete Guide to Low-Fire Glazes for Potters and Sculptors. She has exhibited at the Philadelphia Museum of Art Craft Show, Flower City Pottery Invitational, and in galleries across the country. Celia is currently based in Philadelphia where she is a long-term resident artist at The Clay Studio.

Celia Feldberg

Up and Away

Medium & Materials:
Earthenware, slip, underglaze, glaze

Measurements:
12 x 12 x 15

Date:
2026

Description:
Celia Feldberg makes illustrated pottery, teaches, and maintains an active involvement at craft schools. She earned her BFA in ceramics from the Massachusetts College of Art and Design in 2019. Her work has been featured by The Ceramic Shop, Pottery Making Illustrated, Tales of A Red Clay Rambler and The Potters Cast. Celia was the glaze technician for Ben Carter’s Complete Guide to Low-Fire Glazes for Potters and Sculptors. She has exhibited at the Philadelphia Museum of Art Craft Show, Flower City Pottery Invitational, and in galleries across the country. Celia is currently based in Philadelphia where she is a long-term resident artist at The Clay Studio.

Celia Feldberg

Coastal Charms

Medium & Materials:
Earthenware, slip, underglaze, glaze

Measurements:
15 x 15 x 2

Date:
2026

Description:
Celia Feldberg makes illustrated pottery, teaches, and maintains an active involvement at craft schools. She earned her BFA in ceramics from the Massachusetts College of Art and Design in 2019. Her work has been featured by The Ceramic Shop, Pottery Making Illustrated, Tales of A Red Clay Rambler and The Potters Cast. Celia was the glaze technician for Ben Carter’s Complete Guide to Low-Fire Glazes for Potters and Sculptors. She has exhibited at the Philadelphia Museum of Art Craft Show, Flower City Pottery Invitational, and in galleries across the country. Celia is currently based in Philadelphia where she is a long-term resident artist at The Clay Studio.

Daeun Lim

one wall apart for lonely residents

Medium & Materials:
Earthenware

Measurements:
20 x 12 x 7

Date:
2026

Description:
My work employs the aesthetics of utilitarian ceramics in order to challenge assumptions about functionality. My process and the resulting forms adopt the language of industry - sleek, white ceramics rendered with 3D modeling, printing, and mold-making - but subvert the expectation of utility. These materials and methods produce objects that are both recognizable and unfamiliar, whose apparent functionality ranges from ambiguous to hyper-specific, impractical, or exaggerated to absurdity. I explore objects’ potential beyond practical use. I design “function” in a way that pushes boundaries rather than reinforcing traditional utility, and reposition function as a question rather than an answer. Function in my work moves beyond the literal and becomes an analog for the human experience. Shaped by the identities given to me - a woman, a foreigner, and someone who continuously moves between different cultural and social expectations - these functions reflect ways of seeing, adapting, and existing within shifting contexts.

Daeun Lim

Tiles

Medium & Materials:
porcelain

Measurements:
5.5 x 5.5 x 2 (each of two tiles)

Date:
2026

Description:
Through my work, I want to push the boundaries of what an object can be. My practice begins with an interest in design—specifically, the concept of affordance. In the material world, affordance operates as a form of communication. It is a set of signals and suggestions that assumes an object is destined to be used. I take these familiar cues of usability and treat them simply as formal elements. Over time, my focus has shifted from the suggestion of function to the imposition of attitude. The teapots in this exhibition, for example, refuse to obey. They demand to be used only on their own terms, making the experience deliberately inconvenient. By delaying their intended use, these objects challenge our assumed control over things, forcing us to rethink the unspoken hierarchy between user and object.

Daeun Lim

Urinal I

Medium & Materials:
porcelain

Date:
2026

Daeun Lim

Urinal II

Medium & Materials:
Porcelain

Date:
2026

Daeun Lim

Affording I-IV

Medium & Materials:
slip cast porcelain

Measurements:
5.5 x 5.5 x 2

Date:
2026