Croning My Way Through Life
How about a little glass work to start your day?
These artists are magical. I can’t believe what they can do. And I’m jealous. In a good way, of course….
Glassworks is one of my favorite Creative Crafts. I hope you enjoy these artists as much as I do.
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The reason for the carefree nebulous title is because I don’t know which day I will publish this blog. And I do want to publish it!
Looking back at all the Galleries, how can I not showcase some of the remarkable glass artists I’ve come across?
I hope you enjoy browsing through these glass galleries as much as i enjoyed sharing them with you.
I mean — LOOK AT ALL THIS MAGNIFICENT GLASS WORK!!
Beate Kuhn (1927–2015) was German ceramicist who created sculptural objects from wheel-thrown elements and glazed stoneware.
Over the course of a more than a 60-year career, Kuhn created profound and extraordinarily well-crafted ceramic objects, beginning with functional ceramics, moving to sculpted vessels, and then to sculpture itself.
Kuhn learned to throw on the potter’s wheel at the Werkkunstschule (School of Applied Arts) Wiesbaden, then furthered her ceramic education at the Werkkunstschule Darmstadt, where she perfected techniques for mixing and applying clay slips, engobes, and glazes.
At the intersection of Modernist painting, sculpture, and studio pottery, Kuhn found creative resonance for her practice.
The beautiful and sublime aspects of nature were another muse as she channeled brilliant assemblages of parts: seed pods, succulents, exoskeletons, fungi, and shells.
Throughout her career, Kuhn skillfully played with contrasts in her artworks: shiny and matte, light and dark, convex and concave, stillness and movement, individual and collective, birth, death, and decay. 
Her free sculptures were created from single hand-thrown and cut elements, which she assembled into a whole.
She transferred this style principle of stringing together geometrical bodies to her designs of large-scale ceramic fountains.
More of Beate Kuhn’s amazing sculptures can be found at https://carnegieart.org/exhibition/beate-kuhn/ and Ceramics Monthly.
Lisa Agababian, born and raised in New York City, is mostly a self-taught ceramic artist currently creating purposeful art in Tucson, AZ.
Although Agababian’s journey with clay was shelved for several years as she gained her formal education in mathematics & computer science, she managed to get back to her passion when she moved to Tucson in 1989.
Agababian creates unique, one-of-a-kind, ceramic heart wall sculptures.
All of her hearts are designed, hand-built, and painted with low fire colorful glazes, crystal glazes, under-glazes, metallic/luster overgrazes, and anything else she can embellish a piece with to add to the depth, beauty, and uniqueness desiring to be expressed.
Low fire earthenware clay is Agababian’s favorite medium to work with, because, as the artist says, clay not only feels good, but it is a most friendly and forgiving medium to work with before the first firing.
Her work is wonderfully three dimensional, her added flair highlighting depth and detail to her vibrant hearts.
More of Lisa Agababian’s wonderful ceramic hearts can be found at https://fuchsiadesigns.com.
Ceramic artist Zemer Peled was born and raised in Israel. She earned her MA at the Royal College of Art (UK).
Her sculptures and installations consist of thousands of hand-crafted porcelain shards: a technique that yields a texture both delicate and severe.
The arrangements are a spellbinding combination of colors, texture, and forms that have an otherworldly appeal. 
Peled’s forms are complexly ordered from the inside out, often bulging or spilling over with textures both delicate and severe.
Her ceramic fragments are geometric barbs that mysteriously take on an alluring form, offering a sense of softness despite a sharp actuality.
The forms are never static; the visual dance of sharp ceramic parts conveys a sense of constant movement.
The process behind the installation is perilous: the artist adds the hooked porcelain fragments one by one, pushing the material to its limit to create a precarious yet sustained environment, manifesting the idea of musical notes sustained in time and space.
As the installation grows more complex, the work is continuously in danger of collapsing from the weight of its own individual pieces.
More of Zemer Peled’s amazing sculptures can be found at https://www.zemerpeled.com/.
Felicity Aylieff has an established reputation as a maker of large-scale, sculptural ceramics.
Her large-scale works, all hand-thrown and hand painted, are a towering testament to the centuries-old traditions which established Jingdezhen as the “Porcelain Capital” of the world.
Born in Edlesborough, Bedfordshire, in 1954, Aylieff studied at Bath Academy of Art, gaining a first-class Honors degree in ceramics and textiles, followed by a teaching postgraduate year at Goldsmiths College in 1978.
An ‘incredibly liberating’ artist residency in Jingdezhen, China, the historic home of Chinese porcelain production, saw the beginning of a series of monumental pots, the largest of which stands five meters (16 feet) high.
Aylieff works at the ‘big ware’ factory — a family business which specializes in making large-scale pots up to three meters in height.
It takes three throwers working in tandem to throw a big pot, and then, under her instruction, a team of ‘master throwers’ finishes her designs for monumental forms.
Aylieff decorates in detail with fencai colored enamels, painting abstract marks in cobalt pigment with huge Chinese calligraphy brushes. Fencai is an over-glaze enamel technique that dates back to the 18th century used to decorate with color and pattern, porcelain pots made at the Imperial Kilns of Jingdezhen but painted at the Palace workshops in Beijing .
Her work shows her passion for material and process through its use of color, pattern, and historically informed decorative techniques.
More of Felicity Aylieff’s amazing ceramics can be found at https://www.felicityaylieff.com/ and https://www.rca.ac.uk/more/staff/felicity-aylieff/.
Janna van Hasselt is a ceramic sculptor, born in Ōtepoti Dunedin in 1980 and now resides in Ōtautahi Christchurch, New Zealand.
She earned a BFA (printmaking) from Ilam School of Fine Arts, Ōtautahi Christchurch (2004) and, as a recipient of a Fullbright Award an MFA (visual art) from the School of Art Institute of Chicago (2014).
van Hasselt’s work is characterized by a pleasure in materials and a strong sense of spontaneity, playfulness and humor.
The artist works with media ranging from printed and dyed fabric to puff pigment, ceramics, hot glue and inflatables.
Her works often have a feeling of controlled chaos; knots, tubes, folds and stacks are van Hasselt’s forms of choice as she experiments with the tension, stress and gravity of each object made or represented.
She also explores the idea of architectural failure, questioning how far her structures can be pushed before they collapse.
“I find inspiration in the everyday; the minutiae of life as a parent,” Van Hasselt shares.
“My works are created manipulating clay and slip using varied actions present in basic life tasks – kneading, rolling, stretching, extruding, slicing, stacking, piercing, plaiting and highlighting.”
More of Janna van Hasselt’s unique and fun art can be found at https://www.janna.co.nz/ and https://www.seedgallery.co.nz/collections/janna-van-hasselt-sculpture.
Danish artist Malene Hartmann Rasmussen works with figurative narrative sculpture and installation, creating work from individual hand-modelled ceramics and found objects.
Graduating with an MA from Royal College of Art in 2011, she also studied at The Royal Danish Academy of Fine Arts School of Design in Denmark.
Rasmussen is part of a vanguard of artists who choose not to define themselves by discipline or craft but instead blur the boundaries between Applied Art, Design and Fine Art, with exceptional handcraftsmanship at its core.
The artist works with mixed media sculpture, making and arranging multiple components into complex narrative tableaux of visual excess.
Rasmussen’s ornate ceramics may initially appear excessively sweet, but upon closer inspection reveal themselves as impossible and absurd objects, imbued with the artist’s own dark narrative.
A recurring theme in her work is the forest and the mythological creatures that lurk in the dark woods. She weaves together notions of memories, daydreams and childhood nostalgia into a fairy-tale of her own making.
“Folklore relating to Scandinavia is a great inspiration and something I have grown up with during my childhood and adolescence in my native Denmark,” says Malene Hartmann Rasmussen.
“I want my work to look like a very skilled child could have made it, clumsy and elaborate at the same time. Initially the viewer may, mistakenly, be drawn to my figures thinking them to be toys; however closer examination reveals their rather darker narrative.”
More of Malene Hartmann Rasmussen’s remarkable artwork can be found at https://www.malenehartmannrasmussen.com/ and https://www.thisiscolossal.com/2023/10/malene-hartmann-rasmussen-ceramics/.
Clara Holt is a ceramic artist from Milan, Italy, specializing in illustrated tiles, wheel-thrown pots, and and ceramic projects.
Holt’s work focuses on storytelling, the ongoing impulse to tell and convey stories, characters, and experiences.
Each piece tells its own story, illustrated with a drawing inspired by places, mythology or childhood stories.
Holt carefully incises shallow cuts out of the smooth surface of a glazed pot, revealing the outlines of figures, animals, plants, and landscapes.
Some pieces are decorated with the sgraffito technique, applying a layer of colored slips to leather hard pottery and then scratch off parts of the layer to create contrasting images, patterns and texture and reveal the clay color underneath.
Other pieces are handmade and bisque fired, then decorated using oxides and pigments which are glazed and refired again to make them water safe and food safe.
More of Clara Holt’s amazing pottery can be found at https://claraholt.com/.
Ukrainian artists Andriy and Olesya Voznicki create voluminous ceramic vessels and sculptures.
Forced to recently flee their home in Ukraine and relocate to the Netherlands, the Voznickis began to create ceramic pieces using locally-sourced materials. 
Based in Amsterdam, the duo draw inspiration from natural phenomena like the changing seasons, patinas and aging, and elements like fire or earth.
Their focus is heavily on experiments combining ceramics with wood and coal.
The pieces mirror the shapes and textures of boulders or lava rock, suggesting both beauty and resiliency and influenced by a concept called bionic design, which mimics characteristics and adaptations in nature.
The hallmark of these creations lies in their texture, roughness, cracks, and irregularities, embodying a deep appreciation for the natural process of expression.
The anomalies that emerge during creation are welcomed, imbuing the work with a unique charm, untamed beauty, and singular character. Rather than increasing production volumes, we aim to make each product as individual as possible.
More of Andriy and Olesya Voznicki’s wonderfully unique sculptures can be found at https://naturaceramica.com/ and Homo Faber.
Kitty Shepherd (1960-) is an internationally recognized British studio potter and ceramic artist known for her bold use of color with slip (liquid clay mixture that has been tinted with metal oxides to create vibrant colors).
Her studios located in Granada, Spain, Shepherd describes the natural world and popular iconography in a way that is totally unique in the ceramic discipline.
Fueled by a global culture, Shepherd is increasingly focused on the tracking down of things and on the attachment of emotions to these objects.
Within her discipline she has become a collector of all kinds of objects and material.
Her ideas come to life in her work to form interesting connections between familiar iconic images.
The result is a form of art as play, involving the reframing of objects within a world of attention and manipulation of context; a context standing in a metaphorical relation to the world of everyday life. 
“I believe that many of the objects we are attracted to today have been with us all of our lives,” Shepherd shares.
“I continually ask myself what are my favorite things and also the following questions: Why these objects? What power do they hold for me? What meaning? What memories do they conjure up? What emotions? And most importantly, what stories do I tell myself about them and through them?”
More of Kitty Shepherd’s delightful and beautiful ceramics can be found at https://www.studioslipware.com/ceramics/.
Sunkoo Yuh is a Korean ceramics sculpture artist who resides in Athens, Georgia. 
Yuh received his BFA degree from Hong Ik University, Seoul, Korea and his MFA degree from the New York State College of Ceramics in Alfred, NY.
The artist’s process is a painstaking one. Intuitive pen-and-ink drawings form the basis of his lively narratives and the ongoing dialogue he has with his day-to-day life.
He then moves to the process of rendering them three-dimensionally in clay, applying vibrant, multi-layered glazes reminiscent of historical T’ang pottery.
Yuh records these impressions of his personal and intimate experiences in everyday life as spontaneous yet intricate ink and brush works.
His selected two-dimensional compositions are then represented and re-contextualized into conceptual and three-dimensional forms.
More of Sunkoo Yuh‘s amazing sculptures can be found at https://www.thenevicaproject.com/sunkoo-yuh
Helena Hafemann born 1997, is an artist and curator living and working in Wiesbaden, Germany.
In her work, she deals with the visualization and transformations of social values and explores the dignity of the materials.
Her instinct merges the fragility of porcelain with the tensile strength of thread, creating a paradoxical interplay that is stunning and metaphorical.
Hafemann meticulously pieces together broken plate fragments, not to restore the saucer to its original form, but to transcend it.
She also stretches hundreds of strands of filigree thread between broken segments of plates.
By employing delicate threads to connect these broken pieces, she creates an entirely new object, one that acknowledged the saucer’s past while propelling it into a new dimension of aesthetic and emotional significance.
The threads that stretch between the porcelain fragments symbolize the bonds that hold us together, even in the face of fragmentation. Together, these materials tell a story of loss, transformation and redemption, capturing moments of dissolution and freezing them in time.
More of Helena Hafemann’s wonderfully creative artwork can be found at her website, https://www.helenahafemann.de/.
Philip Kupferschmidt is a ceramic artist based out of San Bernardino county, California.
Kupferschmidt received an MFA in ceramics and BFA in creative photography from California State University, Fullerton.
His ceramics are formed by hand on the wheel, and while following a general series of themes, no two pieces are identical, nor surface exactly alike.
Kupferschmidt is interested in exploring unique approaches decorative and functional ceramics through design, color and glaze experimentation.
The defining moment of his ceramics journey was seeing the potential in a glaze that preserved the intense colors and textures he sought, making endless iterations and perfecting the glazing technique through experimentation.
Because no two pieces are identical, no surface alike, his art is in the approach of creation —communicating degrees of confidence, playfulness and satisfaction.
More of Philip Kupferschmidt‘s amazing ceramics can be found at https://www.philipkupferschmidt.com/.
Glen Martin Taylor is a ceramic artist who devotes himself to his craft within his studio house in Ohio.
Self-taught, he has honed his skills over a decade of dedicated study and practice within the medium of ceramics.
His current focus remains within the realm of ceramics, but his love for creating art has been a lifelong companion.
Glen’s work is deeply rooted in his Ohio upbringing and the strong blue-collar work ethic instilled in him from a young age.
The slower pace of life in this region has allowed him to fully immerse himself in his art, and the quiet solitude of his studio has become a haven for experimentation and exploration.
Taylor pushes the boundaries of traditional ceramics, incorporating antique elements, such as vintage china inherited from his grandmother, to give his pieces a unique historical and sentimental significance.
Taylor finds inspiration for his work by delving into the depths of his own emotions and personal experiences.
His artistic endeavors are a reflection of his own autobiographical journey, drawing upon past traumas and his current understanding of the complexities and nuances of life.
By tapping into raw, visceral feelings, he is able to create work that is deeply personal and evocative.
More of Glen Martin Taylor‘s marvelously unique artworks can be found at https://glenmartintaylor.com/.
Karen Risby is a ceramic artist based in rural Suffolk, England.
Risby obtained her degree in Ceramics at Camberwell College of Art, working and living in South London for many years before moving to Suffolk to set up her new ceramic studio.
Her work is an extension of her love of drawing, exploring pattern and line using both brushwork and sgraffito, a process that involves scratching back into the painted surface.
Risby takes inspiration from nature, myth and story telling.
Birds are a prominent feature of her work, often interweaved with landscapes, people and places.
Risby’s work is hand built and hand painted using porcelain slip, stains and oxides, she fires her work to stoneware.
More of Karen Risby‘s ceramics can be found at https://www.karenrisby.co.uk/.
Diana Kersey is a visual artist who works in clay, creating both studio pottery and architectural ceramics.
Kersey earned a MFA in ceramics from Washington State University in 1997, and a BFA in drawing from Texas Tech University in 1994.
Kersey exclusively works in ceramics, creating everything from small studio pieces to large architectural installations.
Her work is instantly recognizable due to the muscular and spontaneous qualities of the clay, which she enhances with colorful and translucent glazes.
The birds, insects, fish, and flowers present in her work suggest a primordial narrative, while the underlying decorative grids and motifs capture the relentless energy, complexity, and contradictions that pulse through our contemporary society.
“My making process reflects and informs how I wish to live my life. I spend very little time on regrets or changing my mind,” Kersey shared.
“I trust that I make the best decisions I can, relying on the information at hand. So my pots, basically, represent my philosophy about how to live a happy life with no room for regrets.”
More of Diana Kersey‘s whimsical ceramics can be found at https://www.dianakersey.com/.
Born in Biella in 1968, Alessandro Ciffo joined the world of design only in 1997.
Self-teaching and self-production are the key words of his artistic journey, which is based on the research of the potentialities of silicone, his one and only medium, the only material capable of fully expressing his emotions.
With an outstanding technical control, mastered through tireless experimentations and endless patience, Ciffo creates artefacts that cannot be easily classified, as they are a crossroads between art and design.
Usually employed in sealants, adhesives and insulation, a humble material like silicone becomes poetry in his hands.
With an outstanding technical control, mastered through several experimentations and infinite patience, Ciffo creates one-of-a-kind artifacts.
The material, having abandoned the working tool, is transformed into the typical moustache of this tropic silicone.
Every single tile presupposes a precise, repetitive and always the same gesture.
More of Alessandro Ciffo’s unique work can be found at https://www.rossanaorlandi.com/designers/ciffo-alessandro/.
George E. Ohr, the so-called “Mad Potter of Biloxi,” was a wild, inventive ceramic artist in the late 19th and early 20th centuries, but his work was largely misunderstood during his time, and languished in a Mississippi garage.
George Edgar Ohr (1857-1918) has been called the first art potter in the United States, and many say the finest.
Although active from 1879 until around 1910, it was not until his pottery was rediscovered half a century after his death that Ohr began to enjoy the reputation he felt he deserved.
Ohr is considered the most important US ceramic artist for several reasons. First, he was a pioneer of the art pottery movement in the United States.
His work challenged the traditional notion that ceramics were purely functional objects, and instead presented them as works of art.
Secondly, Ohr was highly experimental, constantly pushing the boundaries of his medium. He was never satisfied with simply replicating existing techniques; instead, he sought to invent new ones.
This led to the development of his signature ” coil and pinch” method, which produced uniquely organic and asymmetrical forms.
Lastly, Ohr’s work has been highly influential in the field of ceramics. His unique style and approach to clay-making has inspired generations of artists, and his pots are now highly sought-after by collectors.
Today, Ohr is recognized as a major pioneer of American ceramics.
His work has made a lasting impact on the ceramics community and the art world alike, and has inspired generations of artists working in ceramics to innovate and work with the medium in unique ways.
More of George E. Ohr’s pottery can be found at https://georgeohr.org/george-ohr/, https://mshistorynow.mdah.ms.gov/issue/george-e-ohr-americas-first-art-potter, and https://www.artsy.net/article/artsy-editorial-eccentric-mississippi-artist-pioneered-american-ceramics.
Korean artist Yeesookyung received her MFA in Painting, at Seoul National University, Seoul, Korea, in 1989.
The artist creates sculptures by combining discarded shards of porcelain, assembling them to make new forms and fusing them with gold leaf.
The resulting works are often organic in shape, resembling soap bubbles or other biomorphic forms.
Her series titled “Translated Vase,” was first inspired by the Korean artisan tradition of destroying porcelain works that are not deemed pristine, and she has continued to make the fused pieces since 2001.
Intrigued by these tossed aside works and shards, Yeesookyung began saving fragmented tea cups and pots rejected by contemporary masters.
The artist collected broken shards from artisans who worked in Korea replicating historical vessels from the Goryeo (918–1392) and Joseon (1392–1897) dynasties.
Honoring the works’ dismantled states, she traces each crevice in 24-karat gold leaf in the style of Japanese kintsugi, merging the unwanted works together in a way that heightens the beauty of their distress.
By ‘translating’ these porcelain elements, Yeesookyung highlights the fragility and imperfections of human existence as well as the inevitable failure of any attempt to construct historic continuity.
More of Yeesookyung‘s wonderful creations can be found at https://www.yeesookyung.com/ and https://www.instagram.com/yeesookyung_/.
Sandra Apperloo is the potter behind The Pottery Parade.
She creates all her ceramics by hand from her studio located in Utrecht, The Netherlands.
Apperloo loves colors and patterns, and has a weak spot for pastel shades.
She likes to sculpt tiny eyes and paint weird freckles, and challenges herself to try out new fun things all the time.
She rarely creates plans or designs before she starts working on a piece.
Apperloo usually decides on the shape when she is building it, finding what feels good at that moment.
This is the case for every part of the process: shaping, sculpting, choosing the colors and painting the patterns.
It helps her to stay open minded and try out new things, which she believes really important in her work.
More of Sandra Apperloo‘s whimsical works can be found at both https://thepotteryparade.com/ and https://www.instagram.com/thepotteryparade.
Collin Lynch of Essarai Ceramics crafts custom ceramic mugs, plates, and bowls that are clustered with dazzling crystals.
Riding the fine line between practical object and sculpture, Lynch adorns his creations in 3D rather than the standard 2D illustration or patterning; the conventional dishware silhouettes are elevated with glazed geometric forms protruding from them.
His palette sets the stage for the vibrant layered crystals that seemingly burst from the side of the vessel and extend from its base to the lip. 
Lynch works from his home studio in Albuquerque, New Mexico, where he allows each crystal formation to take shape as it is constructed.
In addition to alluring surface aesthetics, Lynch also finds inspiration in his efforts to “unveil perfection through imperfection, which is where Truth lies.”
Lynch notes that “nature, being the most delicate yet enduring example of this paradox, is where through the rough surfaces and shattered angles, we are reunited with ourselves.”
More of Collin Lynch‘s creative ceramics can be found at https://mymodernmet.com/custom-ceramic-mugs-essarai-ceramics/ and https://www.instagram.com/essarai_ceramics/.
Chris Garofalo grew up in Springfield, Illinois, earned a Bachelor of Fine Arts degree at Saint Mary’s College, Notre Dame, in South Bend, Indiana, and has been living in Chicago since 1980.
Following extensive experience with printmaking and graphic design, Garofalo was introduced to ceramics.
The artist creates ceramic sculptures that draw inspiration from plant and animal forms.
An avid gardener, Garofalo took quickly to the medium, finding gardening and ceramics very similar, especially in smell (the clay and the dirt) and the condition in which both activities leave her hands.
Garofalo’s sculptures blur the distinction between land, sea and air, plant and animal kingdoms.
By applying the principle properties of development, and by ignoring genetic, behavioral, environmental, social and mating restrictions, Garofalo creates a re-imagined evolutionary history of forms at once recognizable and unidentifiable.
Her work is intricate yet delicate, expressive of earthly forms that could have existed had conditions been different.
More of Chris Garofalo’s amazing ceramics can be found at https://www.chrisgarofalo.com/.
A leading ceramist whose inventive forms and painterly use of color won her international renown, Woodman began her career making simple functional pottery.
During the Pattern and Decoration movement in the ’70s, her career gained the momentum it has had ever since.
Woodman’s most famous works include her Pillow Pitchers, in which she crafted a vessel out of a bulbous shape pinched at both ends like a pillow. 
Born in 1965, Carol Long was raised on a farm in Stafford County Kansas.
.Working from a family farm studio in Kansas, Carol reproduces the beauty of her surrounding environment into her pieces using floral and insect motifs, combined with flowing lines, merging into leaf and plant details
Pieces are made by a variety of methods such as throwing, slabwork, extrusions, and hand building, along with pulled handles and attached multiple pieces that are textured with presses, slip trailing, stains and glazes.
Her work continues to evolve as she experiments with new ways of expressing the tiny beautiful intrinsic qualities of nature that we often take for granted.
Originally inspired to be an artist by her mother, she has also received inspiration from her three children, which explains the carefree whimsy evident in her pottery.
More of Carol Long‘s pottery can be found at http://www.carollongpottery.com/.
Athens-based architect Katerina Kamprani‘s redesigns formerly useful everyday objects in her Uncomfortable series.
The goal was to re-design useful objects making them uncomfortable but usable and maintain the semiotics of the original item.
Kamprani calls Uncomfortable “a collection of deliberately inconvenient everyday objects,” adding that “it exists in sketches and 3-D visualizations and has no meaningful purpose.”
Kamprani first started the project for no apparent reason other than she wanted to design something, and making things uncomfortable was challenging and amusing to her.
“My project is very carefully designed to annoy — it feeds from the design of each original object and makes a little joke.”
“I am hoping it is not in the list of ‘another badly designed object’ but in the list of extraordinary deliberately badly designed object(s).”
She is an architect and does the work of a rational engineer by day. By night, she is a design enthusiast, interested both in graphic and product design.
More of Katerina Kamprani‘s wonderfully unique art can be found at http://www.kkstudio.gr/#the-uncomfortable.
Natalya Sots is an artist originally from Pavlodar, Kazakhstan but has lived in Chicago’s suburb of Schaumburg since 2002.
Natalya got started as an artist in high school when she worked at a ceramics factory where she decorated the dishes before they were glazed and fired.
Prior to graduation from college, Natalya started working as an art teacher at a private art school in Pavlodar.
She was given a course in ceramics as the medium to introduce these children to the wonderful world of art, and was asked to develop a program for it.
She developed her technique and style while working on the program for kids.
Natalya’s whimsical ways have turned her love of art into a cornicopia of lucious ceramics, bright and intricate.
From butter dishes to cups and teapots, Natalya Sots colorful creations can be found at http://www.natalyasots.com/
Australian abstract artist Dawn Whitehand starts off her “about” page this way:
I am an Australian artist, making unique mixed media sculptures from clay, found objects and textured materials which are based on organic natural forms.
I have always thought of myself as a traditionalist when it came to Art — Renoir, Rembrandt, Redlin — those people I can understand.
I never really paid attention to Abstract Art until I wandered into Dawn’s world.
Working from my studio on the outskirts of Ballarat at the base of a slumbering volcano, I am very aware of my environment, its constant changing, and its vulnerability. I am also very aware of the current global environmental crisis.
Within this context my art practice attempts to address these issues by making sculptural artworks that attempt to remind, though subliminally, the viewer of their innate connection to the Earth, and our reliance upon it for survival.
And I started to understand. A little. That all art doesn’t have to be literal. That trees don’t have to look like trees, and volcanoes didn’t have to look like volcanoes.
That Art, like Emotions, like Life, is different for everyone. Some just choose to share their unique view through creative arts.
The thrill of interpretation is the same thrill we take with each breath. And that there’s always someone willing to share their breath — and view — with you.
Dawn is a multi-talented spirit. She creates jewelry and pottery and custom-made art sculptures. You can find her art at https://dawnwhitehand.wordpress.com, and contemporary poems, art, and drawings at https://apoemandadrawingaday.wordpress.com/.
Stop by and learn a little bit of Abstract Art for yourself.
Humoring the Goddess 