Tag Archives: Ceramics

Inside the Artist’s Studio with Hedy Yang

I am a 21 year old artist at Michigan State University, majoring in ceramics and minoring in entrepreneurship. I started a small business in college, and plan on growing it after I graduate in May of 2018.


Photo credit: Mackenzie Bogema

Believe it or not, my career as an artist started pretty unintentionally. My high school required that we take a certain number of art classes in order to graduate, so I decided that ceramics seemed like the most interesting of the available options. Little did I know, I would fall in love and it would become my passion.



It was the summer before my junior year that I really found my niche. I had always been interested in elements of nature; marble, crystals, rocks and the endless interesting textures you can find. It seemed like in the last year or two, marble has become a very glamorous material. It’s often associated with class and luxury, due to it’s high price.

Every girl at school had a marble laptop case, phone case, or something to that effect. I was definitely one of those people as well, and I wanted to figure out how to make classy, chic looking pottery that imitated marble. I discovered the bubble glazing technique through a fellow artist, Robert Crisp, at the studio I attended. After a few rounds of testing, I started posting pictures and videos of my process and results online that became somewhat viral. My work has been shared by major Facebook accounts such as InsiderArt, Buzzfeed, Elle Décor, and many more.

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Here is a photo of my process; I use a small container filled with glaze, drizzle a few drops of dish soap in it, and blow with a straw. When that mixture bubbles up over the edge of the container and pops against the piece, you are left with a crisp outline of those glaze bubbles, which mimic the veining in marble.


All my pieces are thrown and textured with precision, while the glazing part of my process brings a lot of uncertainty in the color and shapes. It took me over a year to finally feel like I was close to getting the hang of “bubbleglazing”, where I could feel consistently pleased with the results I was getting. With a lot of trial and error I was able to introduce other colors to create an entirely different style, and I plan to continue innovating and growing my style.

You can find more information about me and my work on Instagram , Facebook , or at my website

Two of Hedy’s cups are included in our national juried exhibition of drinking vessels, “The Cup, The Mug” (juried by Peter Pincus, educator and ceramic artist from Rochester, N.Y. Preview and purchase work from the exhibition through January 4, 2018: store.mainstreetartsgallery.com

Inside the Artist’s Studio with Sam Lopez

Demo days are the best days

Demo days are the best days

I was born and raised in a small dairy town in Riverside County called Mira Loma just one hundred miles north of my current home in San Diego. As a kid, I spent most of my spare time  in my dad’s leather shop either helping sew up saddles or struggling along with my own projects. Working alongside my dad over the years has allowed me to grow up with an appreciation for well-crafted objects that help serve a community.

I got my start in ceramics in high school and was instantly hooked and spent all four years completely seduced by the potters wheel. Nearly fifteen years later, in May of 2017, I still retain my infatuation with the material and recently  received my MFA in ceramics from San Diego State University and now teach ceramics at Riverside City College. I am currently learning and enjoying the process of becoming an effective educator; and as with most teachers, I get most of my own studio work done anytime class isn’t in session.

One and three fingered handled mugs

One and three fingered handled mugs

I primarily make utilitarian pottery but try to remain open to other processes and ideas. I make the majority of my work on the potters’ wheel but also use slip casting and hand building techniques for some of my larger scale works. My surface choices are made based on the color of my clay. Aside from its’ smoothness, I work primarily in porcelain because it provides an opportunity for a pristine white background to the painted surfaces I apply to each piece. It also takes color fairly well so I will often pigment my clay to explore different foreground/background color relationships.

Porcelain Polychrome cups

Porcelain Polychrome cups

Polychrome cups on Black Porcelain

Polychrome cups on Black Porcelain

slip case colored clays with black underglaze

slip case colored clays with black underglaze

When making pots, I work fluidly through small batches and continually test myself with new forms. My sketchbook will sometimes guide a making session if I am actively trying to approach new ideas of form, especially with more complex forms like teapots and other pouring pots. However, I will almost always use sketches through a batch of cups with the hopes of exploring larger forms similarly. Generally, I am attracted to creating some kind of tension in each form as well as a tension with the glaze surface of each pot.

I continually try to ask questions of each piece. The question, “How can this form demonstrate qualities of both hard and soft sensibilities?” has been lingering in my head for nearly six months and still keeps me excitedly making new work in the studio.

Varying Mug Shapes

Varying Mug Shapes

Cup variations from my sketch book

Cup variations from my sketch book

Two prominent influences are my dad and Josef Albers. My dad taught me the importance of making with quality, which means to make something that can potentially last someone a lifetime of hard use with appropriate care. The beauty of the object was secondary to its functional success. As a result, some may find my pots to be a bit heavy according to most standards. I like for the user to be confident that each pot can withstand some banging around without fear of it easily breaking so I make sure to leave them just a little on the hefty side.

Josef Albers is largely responsible for my decisions when using color. His book, The Interaction of Color is never more than an arm’s reach away when I am painting with my underglazes. This book is full of great information and I would recommend it to anyone interested in color theory. This book helps me continually ask questions about color relationships and is the influence behind all the clay and glaze choices I make.

Mixing Color Washes

Mixing Color Washes

Tech talk:
I use cone 10 Miller Porcelain (WC631) from Laguna Clay. It is sold at other supplies under the name #550 as well. My liner glaze starts out as Tom Coleman’s TC-103 clear that I tint to my liking. This glaze is a great clear as well as a great base that takes color very well. I’ve tinted it using Amaco underglazes as well as traditional combinations. I paint my work using Amaco velvet underglazes. I really enjoy the ability to mix them up and create new colors relatively quickly. All my work is fired in oxidation to cone 10 before each piece is completely sanded. I use diamond sanding pads from 3M up to 800 grit on the surfaces of all my work. It is at this stage when my pots start to come to life. Although this takes up to an hour for one pot, I get a lot of enjoyment during this process because I get to thoroughly get to know each pot individually before I pack it up.

Sanding pads after three years of use

Sanding pads after three years of use

I am currently without a website, but I hope to rectify that within the next year. For the time being, people can easily find me on Instagram @Sam_._Lopez where I routinely share my studio practice and daily shenanigans. In the next year, I hope to dial in my pots a bit more and continue growing as a maker as well as an instructor. Teaching ceramics has been such a great learning experience this last year and I look forward to continually growing and learning from my students. For now, I feel extremely thankful to be a part of the clay and craft community that seems to be growing more than ever.


“Mug”, included in the exhibition (click for more info)

"Cup", included in the exhibition

“Cup”, included in the exhibition (click for more info)

Sam is one of the award winners in our second annual “The Cup, The Mug” exhibition (juried by Peter Pincus). Stop by Main Street Arts to see Sam’s work through January 4, 2018 or buy his work  onlinestore.mainstreetartsgallery.com



Inside the Artist’s Studio with Rick Monikowski

My work is inspired by the sky and the mountains, the traditional pottery makers of the American Southwest, and the basket makers of my own Mi’kmaq people of New Brunswick Canada. My heritage is mixed – half Polish and half Mi’kmaq (Micmac) Indian of the Eel Ground First Nation of New Brunswick, Canada. I am originally from Hartford, Connecticut and now live in Rochester, NY.


My trivets and baskets, for example, incorporate both the traditional and contemporary because the Mi’kmaq were traditionally basket makers. Weaving each piece of clay is time-consuming but these are some of my favorite pieces to create.


Prior to moving to the Rochester area, I attended the University of New Mexico in Albuquerque. While pursuing my JD and PhD, I had the opportunity to study and admire Pueblo pottery. In much of my pottery, my designs combine traditional shapes and forms with contemporary methods (wheel throwing and hand building).


I began making pottery in 2001 at the Flower City Arts Center (formerly Genesee Center for the Arts and Education). I’ve also taken classes at Rochester Institute of Technology’s School of American Crafts. In the summer of 2007 I took a month-long course at the NY State School of Ceramics at Alfred University. My primary focus was studying glaze calculations while interacting with over 40 artists from across the country and a number of internationally recognized faculty. My work continues to evolve and expand as I experiment with different types of clays, glazes, and glaze applications. I create many of my own glazes. I work out of “Art Hill” near Honeoye Falls, NY (just south of Rochester).

I produce two different kinds of pottery – functional ware and art pieces. All my functional pieces are handmade and unique and are food-safe as well as microwavable and oven-safe.  I make a variety of smaller pieces such as mugs, bud vases, pie plates – again with glazes I developed myself.  And as I prepare for the show season, I spend a lot of time re-stocking my inventory shelves because once the nice weather comes, there’s less time for the studio!

mugs studio

pieplates in progress

 I have also started producing dinnerware sets. This is my own green glaze on brown speckled clay – brand new!


My art pieces, as I said, are inspired by the traditions of the American Southwest. In this plate, for example, I take an ancient design and put a contemporary spin on it. First I apply layers of colored slip, then using a sgraffito technique I scratch away the slip to reveal the Native design. In order to made it more contemporary, I often use a ruler, compass, and/or a protractor to sharpen the edges of the design.  After the piece dries, I finish it by applying a clear glaze and then I fire it .

indianplate 12in dkblue

One last thing…It is very important to me – as an artist, an attorney, and a Native American – that the general public understands the Indian Arts and Crafts Act of 1990 (P.L. 101-644). It is a truth-in-advertising law that prohibits misrepresentations in marketing of Indian arts and crafts products within the United States. It is illegal to offer or display for sale, or sell any art or craft product in a manner that falsely suggests it is Indian produced, an Indian product, or the product of a particular Indian,  Indian Tribe, or Indian arts and crafts organization. This covers all Indian and Indian-style traditional and contemporary arts and crafts produced after 1935. Every piece I make carries my RAM mark (my initials) and those pieces that reflect my Native American heritage come with a Certificate of Authenticity with my signature.


Stop by Main Street Arts to see RAM Stoneware in our gallery shop! Visit Rick’s website at http://ramstoneware.com (new website in progress) and email him at rick@ramstoneware.com.

Take a look at our previous Inside the Artist’s Studio blog post by jewelry artist Brittany Rea.

Inside the Artist’s Studio with Brittany Rea

My interest in art started before my memories truly do. I was raised in Branchburg, NJ, a small town in Northern Central New Jersey. Growing up I had incredibly supportive parents and a slew of amazing art teachers who showed me the importance and allure of art. I have since spent most of my post-high school life moving throughout New York State and had a short stay in California for an artist residency at the Sonoma Community Center.

Photo Credit: bridget Hagen, 2016

Photo Credit: bridget Hagen, 2016

Art has been one of the few constants in my life, though its meaning in my life has evolved over the years. Growing up I enjoyed drawing mostly in pastel, which led to painting, which led to going to art school. I took classes as a high school student at the Fashion Institute of Technology in New York City and attended a vocational school where I spent many hours of my day in a classroom specially focused on graphic design and fine art. I attended Pratt at Munson-Williams-Proctor Art Institute for Art Education which would lead me directly to my dream school, Pratt Art Institute. While at PrattMWP I took my first ceramics wheel class, which changed my entire path. The mesmerizing and meditative qualities of clay instantly captivated me. My professor, Bryan McGrath, encouraged me to apply to the New York State College of Ceramics at Alfred University, one of the top ceramics schools in the country. I started at Alfred the following semester. Here, I also found a love for sculpture, specifically creating room installations, and clay and sculpture were my concentrations for the remainder of my higher education, continuing all the while with a minor in Art Education.

Healing Memory 2013

Healing Memory 2013

As Above, So Below 2013

As Above, So Below 2013

Upon graduation, I began working at the Creative Studios of the Memorial Art Gallery in Rochester, NY and began working as the Production Assistant for my former professor and immense talent, Kala Stein. While her assistant, Kala was hired as the Ceramics Director at the Sonoma Community Center in Sonoma, California. She encouraged me to apply for the technician position, and  through this application I was offered a six month artist residency at Sonoma Ceramics, where my more recognizable jewelry design style and work was born.

Photo Credit Nicoletta Camerin

Photo Credit Nicoletta Camerin

I had been working with a jeweler, Marisa Krol of Interstellar Lovecraft, while in Rochester prior to my residency, working to learn the basics of jewelry making. I had always been interested in making jewelry, and grew up creating simple pieces for my family and myself. Ironically enough, I was enrolled in a Small Metals class while at PrattMWP but decided to continue on with another ceramics class instead- just shows how things can come full circle! While I was in Sonoma I decide to try my hand at making wearable clay jewelry.

Then v. Now

Then v. Now

This original work was based off of sketches I was doing from rocks and shells I had found while in Maine at Haystack Mountain School of Craft working as a Studio Assistant to David Eichelberger. These first pieces were not the strongest, but I felt I was onto something, so I persisted.

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Using Nichrome Wire to make small attachments and simple adornments on my jewelry designs, I continued to push this idea further by layering the thin wire and playing with the negative/positive space it created. I started using Cassius Clay, a cone 5 clay that fires black, to contrast the use of the chrome-colored wire.

Nicoletta Camerin

Nicoletta Camerin

Wanting to continue with this method of making but also having an urge to work larger, I began making hundreds of these small, pendant-like pieces to create an installation.

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intro|spectate 2016

intro|spectate 2016

intro|spectate, Self + Sonder, and 10 Suggestions are collections of work by Brittany Rea with a central focus on introspection and the inadvertent impact we have on those around us. The object-hood of this work is one facet of its existence while the awareness of self and the unidentified other are consequential.

Through the use of vitreous black clay embellished with delicately crafted metallic wire, Rea exemplifies the idea of inherent beauty. The use of open space invites the viewer to look beyond the materiality of the objects to further examine their abstract significance. The duality of intro|spectate creates two experiences: one of material, one of spectator.

This exhibition is about reflection brought by looking and seeing, both within and without and is the culmination of Rea’s time spent as the Resident Artist at the Sonoma Community Center.“ (Artist Statement from exit show)

intro|spectate (detail)

intro|spectate (detail)

intro|spectate (detail)

intro|spectate (detail)


Upon returning to Rochester I was offered a residency at the Adorned Studios – joining the amazing forces of Interstellar Lovecraft and Inner Loop Design Co.

The Adorned Studio -I'm pictured with Amber Dutcher of Inner Loop Design Co (center) and Marisa Krol of Interstellar Lovecraft (right) photo credit Arielle Ferraro

The Adorned Studio -I’m pictured with Amber Dutcher of Inner Loop Design Co (center) and Marisa Krol of Interstellar Lovecraft (right) photo credit Arielle Ferraro

At this time I found that a lack of easy access to kilns would drastically alter my studio process, so I started to delve further into metal fabrication.

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This is when I started to push my ideas as a designer, and started using more quality materials such as sterling silver. Even with this new process, I wanted to maintain the aesthetic of the work I was making in California, so I began using polymer clay.

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This material was easily malleable meaning I could form it to be seamless within my designs, and I didn’t have to wait for a kiln to cool, so the turnover time was incredible!

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I could start and finish a piece in one day – never before was that a possibility with clay.

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Polymer was a great material to use for a time, but I wanted to continue to grow and use more sophisticated, quality materials.

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I started incorporating gemstones into my work, and am continuing to push this further. In the past few months I’ve enjoyed using my work for a greater good.

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(JBOS Series – Proceeds go to the Breast Cancer Research Foundation and a breast cancer survivor)

I started to make lines devoted to specific causes with proceeds being donated to different foundations and causes.

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One Collective Heart (Proceeds are divided and donated to the Americans Civil Liberties Union, National Endowment for the Arts, and the Natural Resource Defense Council).

I hope to continue pushing my abilities, and using my work for the betterment of those and that which surround me. I am currently moving into a new studio situation and am looking forward to the inspiration new beginnings can bring!

Photo credit Bridget Hagen 2016

Photo credit Bridget Hagen 2016

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Stop by Main Street Arts to see Brittany’s jewelry in our gallery shop. Visit Brittany’s website at www.brittanyrea.com and follow Brittany on Instagram @rea.designs to see her artwork, process, and even some travel photos! Find Brittany on Facebook at www.facebook.com/brittanyreajewelryandart.

Take a look at our previous Inside the Artist’s Studio blog post by local artist Andy Reddout.

Inside the Artist’s Studio with Jessie Marianacci Valone: jmv ceramics

My name is Jessie Marianacci Valone and I am a potter and owner of jmv ceramics.  I grew up in the Finger Lakes area and currently live in Bristol, NY with my husband and two labradors, Lola and Buxton.

IMG_2832 IMG_0387_2

With a focus on utilitarian pottery forms, I strive to create beautiful, well crafted, functional forms that people will enjoy and use for display and engagement in the home and day to day life.

I began my artistic career in graphic design but have been working in clay for about 5 years now.  I became hooked when I took an elective class at school and wound up spending the majority of my time in the clay studio.  I switched my major the next semester and have been working in clay ever since.  I enjoy working with my hands and have an appreciation for the handmade. 


I completed a year apprenticeship at the Rochester Folk Art Guild in Middlesex, NY as well as three summer internships with Kate Symmonds at Coach Street Clay in Canandaigua, NY.  I recently graduated from Alfred University with my BFA and have been working as a studio potter ever since.

I create my functional pottery forms with the potters wheel and  hand alterations, using a cone 6 porcelaneous clay body.

When I am creating a new piece I begin by sketching out forms
and surface designs ideas.


I then make paper cut outs to further investigate the form before moving to the wheel and creating it in 3D.


I use simple glazes to accentuate the generous and sturdy form and quiet the surface, allowing for a focus on form without distraction.

I also use a variety of colored slips and tools to create different surface designs.  This allows for the surface to be painterly yet still influenced by my graphic design background.

IMG_1040 jmv1

The surfaces are pleasant, calm, stable, sturdy, generous, and clean. The work gives off a cool, refreshing feeling through the color palette I have chosen.


The colors are these of natural elements; skyline, beautiful clouds, reflections in the lake, smooth river-stones in the creek-bed, waves crashing on the shoreline, reflections on the water or the inside of
a seashell. These are all places I pull inspiration from.

 IMG_9698outerbanks 060

The forms are sturdy, strong, generous and made for use. They are designed to be pleasant to look at and to function well. I hope that even the smallest of details such as the way the handle fits in your hand or the angle of the lip are pleasant areas for use.



Craftsmanship and handwork are important aspects of my work.
I find tremendous value working with my hands along with the physical demands and intellectual choices I make in my practice
keep my work exciting and keep me continuing to work. I strive
to advance my skills as a potter through the process of research, planning and repetition.

I work in a production based practice while still maintaining a
high level of quality, thought/context and energy in the work.


Bringing something new and thoughtful into the world generates sense of meaning and fulfillment.  There are so many avenues you can take with clay and the opportunities are endless, this keeps me striving to create.

Stop by Main Street Arts to see work by jmv ceramics in the gallery shop! Visit Jessie’s website at www.jmvceramics.com. Like her Facebook Page and follow her on Instagram @jmvceramics.

Take a look at our previous Inside the Artist’s Studio blog post by Brooklyn artist Anne Muntges.

Inside the Artist’s Studio with Jillian Cooper

I spent my early childhood growing up in Manchester, New Hampshire and then moved to Lubbock, Texas where I remained for 20 years.  I earned my MFA with concentrations in Ceramics and Metalsmithing/Jewelry from Texas Tech University in 2015.  Currently, I am living in Plano, Texas where I work at Collin College as the Ceramics Lab Coordinator.


I enjoy using lace in my work because it can be found embellishing everything from tablecloths to underwear.  It can be innocent, seductive, outrageous, delicate, timeless and trendy. It appears on babies, brides, entertainers and grandmothers.  The incorporation of lace allows me to simultaneously represent a variety of associations.


I have only recently began using plaid in my work.  It started as a suggestion from a friend and I ran with it.  The more I research it, the more I enjoy using it much for the same reason I use lace. Its broad spectrum of use and associations from historic family tartans, to the lumberjack, to the school girl leave so much room for interpretation


“Plaid Mug” featured in The Cup, The Mug exhibition

I use Laguna Dark Brown boxed clay. I start out with a simple slab built cylinder.  I slip and score the seam and use the overlap as part of my design instead of smoothing it out.


When the cylinder is formed I use it as a template to cut out a rough circle for the bottom.


Thick slip is painted over lace on the slab that is going to be the inside bottom of the mug.


When the slip is no longer tacky, I peel away the lace.


The bottom of the cylinder is slipped and scored and carefully attached to the bottom.


The excess slip around the edges is wiped away and the remaining clay is pushed up against the cylinder creating a lip around the bottom.  The basic cylinder shape is gently formed into a softer edged form.


I use a rubber tipped tool to divide the surface into an area that will have lace added to it.  The area without the lace is pushed out slightly more from the inside.


Again, thick slip is painted over lace and allowed to sit until it is no longer tacky.


The lace is peeled away and any excess slip is wiped away with a rubber tipped tool.  I use a drill bit to remove clay so that the stitches are recessed into the clay and not just sitting on top.


Small coils are rolled out and pressed into the holes to create the stitches.


When the clay dry, I sketch out a (very) rough plaid pattern.


Three coats of underglaze are applied, then it is bisque fired to cone 08.


After bisque firing, a clear or celadon glaze is applied on the interior.  The lace and stitches are waxed and a clear glaze is applied over the outside.  I then fire to cone 10 in reduction.

My plaid cups are still in their early stages of experimentation and development, but I am excited to see what they grow into from here.  You can find me and my work on Instagram @toberninejilly or on my website at www.jilliancooper.com

Stop by Main Street Arts to see the mug shown above by Jillian Cooper in our current exhibition “The Cup, The Mug: A National Juried Exhibition of Drinking Vessels” (juried by ceramic artist Peter Pincus, exhibition runs through January 6th). 

Inside the Artist’s Studio with Cat Clay: Pop Vintage

Cat Clay’s work is on view in our juried exhibition “Small Works 2016”. Their work is available for purchase in our Online Gallery Shop:

Cat Clay was founded by Clifton Wood, a gorgeous calico who stepped on a rainbow the same day as Prince.


Miss Clifton Wood

She has been reincarnated as the Dalai Kitten, Miss Beckett. The sole employee of Cat Clay is Sabra, who also doubles as a mediocre kitten servant.

Our studio was founded 10 years ago, after taking classes at Genesee Pottery and RIT, as well as working alongside Stephen Merritt & Richard Aerni. We are located in the historic Hungerford Building in Rochester, New York. Cat Clay’s cozy studio has all the usual components: wheel, slab roller, kiln, display shelves. Plus an executive gym for Beckett.

Cat Clay studio

Cat Clay studio

We make functional pottery and sculpture, and are best known for our mug shot mugs.

David Bowie mugshot mug

David Bowie mugshot mug

And this time of year, we make ornaments – lots & lots of ornaments. With critical quality control being provided by senior management.

Quality control of ornaments by Miss Beckett Wood

Quality control of ornaments by Miss Beckett Wood

The other mainstay of our studio is Pop Vintage, where we transform vintage china into pieces that appeal to a new generation of collectors. This is done by designing an image with pop references, applying it to the china, then re-firing it in the kiln.

The first step in creating a Pop Vintage piece is to buy vintage china. A lot of vintage china. 6 shelving units of vintage china. Too much china? A lot of our friends are enablers, acting as pickers – keeping a lookout when they go thrifting or to estate sales.


When we bring home a new pattern, we test it for lead – both to meet federal regulations, and to be sure our kiln is not contaminated and fuming lead on everything that’s fired in it.

Once we pass that hurdle, the guess work begins: how hot was the glaze fired on the vintage china?

If under-fired, the image isn’t melted enough into the surface of the glaze and will rub off. If over-fired, the image will disappear. Or bloating can happen, so that the piece looks like it has the plague, like poor Mr. Sloth (pictured below). Or even worse, the piece can melt down, turning into a lava flow in the kiln, and taking out everything in its path. Most of our vintage china is successfully re-fired to a point from 1900-2300 degrees – and a mere 50 degree difference can spell success or failure.


Even if we guess correctly, there may be a defect in the piece that isn’t visible until after the firing. Soup saves lives, but it couldn’t save the invisible crack that grew in the kiln.

Bowl cracked during firing

Bowl cracked during firing

When we started making pop vintage, about 3 out of 10 pieces were successful. But we fell in love with those successes and kept plugging away. Now, given a new china pattern by an unknown maker, we guess correctly about 70% of the time.

And our images? We design them using Adobe Photoshop and Illustrator.  Sometimes current events inspire a design, such as our St. Bowie ornament, where we added renaissance wings and halo.


Other times, we incorporate  lots of vintage illustrations with a snarky twist, to make the bridge from vintage to pop. For Valentine’s Day, we’ll couple an old print of cutlery and pair it with the caption, “Spooning leads to forking”. Or take a vintage cupid, and substitute an AK47 for the bow and arrow, with the added words, “Love hurts”.


Then comes marrying the image to a specific piece of china, taking into account how the china’s colors will change from the kiln’s heat. And adjusting the contrast of the image so that it pairs well with the vintage glaze characteristics.

Once that’s done, we  re-size the image for the specific china, print it on special paper that creates a water-slide decal, cut it out, soak it in water and apply it to the plate. At this point, the decal is a stark black. A design may be a simple one-image decal. Or there can be over 20 individual decals that are hand-placed on one object.

Plates with images, before firing

Plates with images, before firing

Now it’s time to carefully pack up everything, load it in the car and take it to the kiln at the studio.

The kiln will fire for 8-12 hours and cool for 16 hours before we can unload it. And at the end, if all has gone well, we have a Pop Vintage piece. The decal image is now a warm sepia, and the original colors of the vintage china have softened.

"Surrender, Soviet Shark Subs"

“Surrender, Soviet Shark Subs”

Want to see more of our work? Look no further than Main Street Arts, which carries our Pop Vintage year round. Or check us out on Instagram: @cat.clay. And feel free to visit the studio – we’re there a lot!

In our spare time, we host Graphic Ear, a radio show on WAYO 104.3.

Our radio show on WAYO 104.3

Our radio show on WAYO 104.3

Each Thursday at 6pm, we have a visual artist as our guest, and talk about their life & work and play the music their favorite music. And we’ve had members of the Main Street Arts on – both Bradley Butler and Melissa Huang!

Bradley Butler on Graphic Ear

Bradley Butler on Graphic Ear


Stop by Main Street Arts to see Cat Clay’s work in our current exhibition “Small Works 2016” (juried by Bleu Cease, Executive Director/Curator of RoCo; exhibition runs through January 6th). Sabra and Beckett’s work is available in our Online Gallery Shop: store.mainstreetartsgallery.com. and in our physical gallery shop. 

Inside the Artist’s Studio with Renee LoPresti

Renee’s cups are on view in our juried exhibition “The Cup, The Mug: A National Juried Exhibition of Drinking Vessels”. Her cups are available for purchase in our Online Gallery Shop: store.mainstreetartsgallery.com

“I was born and raised in rural Northwestern New Jersey and graduated with a Bachelor of Fine Arts degree from the New York State School of Ceramics at Alfred University. Currently, I live in San Marcos, Texas as a resident artist at Eye of the Dog Art Center. My focus is making functional ceramics consisting of simple forms and graphic surfaces with underlying narratives.”


All pieces are thrown using a locally mixed, mid-range stoneware clay with a high-iron content (Armadillo’s Cinco Rojo from Austin, TX). The claybody becomes a rich, rusty color when fired and provides a dark base layer for the brightly colored underglazes, which are layered upon it. I prefer to create relatively simple forms designed for comfort and functionality. The smooth thrown surface and simplicity in shape  creates the perfect  ‘blank canvas’ for the graphic surfaces.

thrown mug prepared for surface decoration

thrown mug prepared for surface decoration

Overlapping blocks of punchy colors and repetitious dots patterns are layered beneath images of paper airplanes, crashing into one another and sometimes ascending into the clouds. The paper airplane has become my most commonly used image lately, and I have come to fall in love with the range of scenarios and interpretations it offers. To me, the paper plane is delicate, fleeting, and hopeful, with the ability to be easily picked up by a gust of wind and soar freely. Of course, the planes can eventually fall and are often crashed into a large pile. I love to play with notions of hope and cheerfulness, backed by underlying tones of loss or despair.

finished mugs with crashing and ascending paper airplanes

finished mugs with crashing and ascending paper airplanes

First, I begin by throwing multiples of the same form in small batches that can be finished in approximately one week. Each piece is trimmed, each handle is pulled and shaped before attaching. After the ends are cut to fit, both sides of the handle are slipped, scored and firmly pressed to the cup. Coils are added near each connection for strength, but mostly for visual continuity and ergonomics. All mugs are stored in a damp box (an air-tight plastic box with a 2” plaster sub-floor to regulate and maintain moisture) until they are decorated.

damp box storage

damp box storage

thrown and trimmed cups awaiting handles to be attached

thrown and trimmed cups awaiting handles to be attached

slipping and scoring for handle attachment

slipping and scoring for handle attachment

The layering begins by incising equally spaced vertical lines using a blade and a circle divider, thereby creating a general framework for each subsequent layer.

using a circle divider and xacto to incise vertical lines

using a circle divider and xacto to incise vertical lines

Next, the imagery with highest contrast and focus are affixed to the leatherhard clay using thin gauge die-cut vinyl. The paper airplanes are cut using a Silhouette Cameo, which can cut many identical images with intricate lines. The vinyl is the perfect material because it sticks well to the bare clay and when removed from under many layers it will create crisp lines without tearing (and its reusable).

applying die-cut vinyl paper airplane cutouts

applying die-cut vinyl paper airplane cutouts

After all the vinyl images are in place, the first color of underglaze is applied to the entire piece.


Once dry to the touch, I will begin blocking out sections using the blade to incise defined areas. These areas are then filled with the second color of underglaze.

grey underglaze applied to blocked areas with 1" hake brush

grey underglaze applied to blocked areas with 1″ hake brush

Often, I will use the rule of thirds when deciding where to place the horizontal lines for each layer of color blocking. It is important that the blocks continue to become smaller in size, as to not cover too much of the preceding layers.

mint underglaze being applied to smaller blocked areas

mint underglaze being applied to smaller blocked areas

Now, I begin to apply glaze to certain areas, particularly to the areas where one’s mouth will come in contact with the rim.  I use Mayco’s Stroke and Coat glaze because it is formulated to be applied to greenware. The clouds are also cut using the die-cutting machine, but are cut from construction paper. Paper is preferred for this stage because it can quickly be soaked in water and gently applied to previous layers without marring the surface.

paper cloud cutouts ready for use after being cut from silhouette cameo die-cutting machine

paper cloud cutouts ready for use after being cut from silhouette cameo die-cutting machine

After three coats, the paper clouds and vinyl airplanes are quickly removed  (this helps to keep the edges clean and crisp).

removing paper cutouts while glaze is still wet

removing paper clouds

removing vinyl paper airplanes from cloud section while glaze is still wet

removing vinyl paper airplanes from cloud section

An applicator squeeze bulb is used to apply glaze dots of a complementary color. The dots are applied to all open areas that were painted with the first base color. This allows the dot pattern to move all around the piece, even inside and outside of the handle.

using squeeze bulb to apply  dots inside the handle

using squeeze bulb to apply dots inside the handle

The final touch is to use a tracing wheel to create the dashed lines trailing behind each airplane. These lines create an additional line quality, one that is organic and momentous and helps to carry one’s eye around the piece.

the tracing wheel being used to create trails behind each paper plane

the tracing wheel being used to create trails behind each paper plane

finished and ready to dry before being bisque to cone 06

finished and ready to dry before being bisque fired

The mugs are then bisque to cone 06, each piece is gently sanded using fine grit sandpaper. An opaque, cream colored liner glaze is poured into the interiors, and they fired in an electric kiln to cone 5. All the feet are then sanded again to ensure a smooth bottom surface.

bisqued mugs sanded and ready for liner glaze

bisqued mugs sanded and ready for liner glaze

finished mugs after being gaze fired to cone 5

finished mugs after being gaze fired to cone 5

finished mug in demonstrated color palette

finished mug in demonstrated color palette

In the upcoming  year I plan to continue to explore new color palettes and narrative-based imagery. I have a few workshops I will be teaching in 2017 on surface techniques. For the most up-to-date information on my studio practice you can find me on Instagram @renee_lopresti. You can also find me on the web at  http://www.reneelopresti.com

Stop by Main Street Arts to see two cups by Renee LoPresti in our current exhibition “The Cup, The Mug: A National Juried Exhibition of Drinking Vessels” (juried by ceramic artist Peter Pincus, exhibition runs through January 6th). Renee’s work is available in our Online Gallery Shop (available cup pictured below): store.mainstreetartsgallery.com

ONLINE EXCLUSIVE: Renee LoPresti, "Pink, Blue and Green Planes Crashing Teabowl", stoneware, 3.25" x 3.5", 2016.

ONLINE EXCLUSIVE: Renee LoPresti, “Pink, Blue and Green Planes Crashing Teabowl”, stoneware, 3.25″ x 3.5″, 2016.

Take a look at our previous Inside the Artist’s Studio blog post by sculptor Muhammad Aslam.

Inside the Artist’s Studio with Ryan Caldwell

Ryan’s cups are on view in our juried exhibition “The Cup, The Mug: A National Juried Exhibition of Drinking Vessels”. His cups are available for purchase in our Online Gallery Shop: store.mainstreetartsgallery.com

“Ryan Caldwell received his Bachelor of Fine Arts degree with emphasis in Ceramics and Sculpture from Washburn University. Ryan was awarded the Charles A. and Margaret Pollak Art Purchase Award in 2015 from Washburn University Art Department. He has been juried into shows at Mulvane Museum of Art for five consecutive years, and multiple  national shows around the country. He has received awards for his work such as second place in a juried show at the Topeka art guild, the “out of the box” purchase award, and a honorable mention equipment award at the KC clay guild tea bowl national. His work is in art collections small and large. Including The Mulvane Art Museums permeant collection. He currently lives and works in Topeka, Kansas.”


Throughout the past 5 years of making utilitarian work alongside sculptural ceramics my process has evolved and incorporated new elements and techniques. I would like to guide you through the creation of my tea bowls and other drinking vessels.


I use Aardvark’s Cone 10 porcelain in conjunction with a fine white casting slip from Crane Yard Clay in Kansas City. The techniques I use are pinch/coil within plaster molds to create uniformity in size and shape. This video shows me using this technique for a larger mug form.

After I create the body of the form, it is set aside to set up. Then, I hand carve a foot using one of my favorite tools, an old cheese cutter. Once these have reached the leather hard stage I use Amaco Velvet Underglazes to paint the bottoms with bright eye catching color. Doing so brings interest to a part of the piece that is most of the time ignored.


When the underglaze is fully dry I coat the inside and outside with a super white casting slip.

After they are fired to a cone 08 bisque I use a stencil to draw on circle patterns with a pencil.

These circles are then glazed with a brush and waxed overtop. This allows me to dip the pieces into  glaze without destroying the pattern created.

The glazing of these forms can range from simplistic to very gestural and loose. I combine store bought Amaco celadons with my own formulated glazes. These are then fired in a Skutt kiln to cone 6 oxidation. For a final bit of elegance I apply Duncan bright gold luster to the rim. This is done with a heavy application so that it flows over the edges created beautiful golden drips.

goldapplyThese are fired to cone 018. Then cleaned, photographed and packed away for shows or storage.stacked-cups-2016

This has been a glimpse into my studio practice. Thank you for letting me share my passion in life with you. If you would like to see more, please visit my website www.caldwellceramics.com. My main form of social media is Instagram. You can follow me and my work @caldwellceramics. For more information or any question please feel free to contact me. Don’t forget to always keep making, keep experimenting, and keep having fun.

Stop by Main Street Arts to see two cups by Ryan Caldwell in our current exhibition “The Cup, The Mug: A National Juried Exhibition of Drinking Vessels” (juried by ceramic artist Peter Pincus, exhibition runs through January 6th). Ryan’s work is available in our Online Gallery Shop (available cups pictured below): store.mainstreetartsgallery.com

Take a look at our previous Inside the Artist’s Studio blog post by printmaker Katherine Baca-Bielinis.

Inside the Artist’s Studio with Rachel Donner

Rachel’s cups are on view in our juried exhibition “The Cup, The Mug: A National Juried Exhibition of Drinking Vessels”. Her cups are available for purchase in our Online Gallery Shop: store.mainstreetartsgallery.com

I grew up in Taos, New Mexico and attended college at the University of Northern Colorado in Greeley, Colorado. Santa Fe, New Mexico has been my home for just one and a half years. I moved here from Cincinnati, Ohio where I had just done a yearlong artist residency at Core Clay. I was ready to get back to the southwest and move closer to family and friends. Though I took a job as an assistant to a local clay artist, I set up a studio and worked diligently in all of my spare time. By the end of December 2015 I was ready to take the leap and quit my job. As I write this, it is just about my one-year anniversary with “Rachel A. Donner Ceramics”.

Rachel Donner Ceramics

Rachel at work in her Santa Fe Studio.

The following is a brief description of my process:

Functional pottery is the primary art form I indulge in. Sketching, repetition, trial and error, and real world observation fuel my design choices for form, surface, and function of the pots I make. I use the potters wheel to form the pots and then decorate them during the leather hard stage. One of my favorite forms to make is cups. There is something infinitely satisfying about making cups. With every cup I make, despite the simplicity of a cup, I find new details, subtlety, and exploration within each one.

Rachel Donner Ceramics

tools for inlay

After throwing and trimming, the first layer of decoration is inlay. I use an xacto blade to make lines or hole punching tools in varied shapes (square, triangle, circle, or flower). Using Amaco Velvet Underglaze, I inlay color into the thin lines and wipe away the excess with a sponge.

Rachel Donner Ceramics

ready for color inlay

Rachel Donner Ceramics

inlay before the excess is wiped off

Rachel Donner Ceramics

craft punches for making paper stencils

Next comes the paper stencils. I cut out different basic geometric shapes with craft punches (made for scrapbookers) using plain, cheap printer paper. Dip these stencils in water and they adhere perfectly to leather hard clay. Then, I paint on the main color of underglaze over the stencils and after three coats, peel off the stencils and clean up the lines and foot of the piece. This completes the green stage. After bisque, each piece is coated in a translucent glaze and then fired in an electric kiln to cone 5.

Rachel Donner Ceramics

part way through the stencil removal

Rachel Donner Ceramics

a nearly finished bowl next to a pile of used paper stencils

I love clay because it is alive. Every step of the way you have to be there to take it through the process. To quote my artist statement, “Creating something out of clay is like healing a wound.” There is never ending mystery and growth when working with clay.

Rachel Donner Ceramics

cups by Rachel Donner

Rachel Donner Ceramics

cups by Rachel Donner

Rachel Donner Ceramics

detail of cups by Rachel Donner

Instagram is one of my favorite social media platforms and I use it regularly to show all parts of my process, even the failures (follow me @666_tinka). From beginning to end and everything in between, it’s really fun to share what is happening with your fellow makers in the sweet online clay community. I also have a website at www.racheladonner.com.

Stop by Main Street Arts to see two cups by Rachel Donner in our current exhibition “The Cup, The Mug: A National Juried Exhibition of Drinking Vessels” (juried by ceramic artist Peter Pincus, exhibition runs through January 6th). Rachel’s work is available in our Online Gallery Shop: store.mainstreetartsgallery.com.

Take a look at our previous Inside the Artist’s Studio blog post by furniture maker Patrick Kana.