Judy Jackson

Untitled

2024

Melanie Sherman Cup with Interior II (Hand-Painted, Gold Luster, Stereo, Chair, Flowers) Porcelaneous Stoneware, Underglaze, Glaze, Porcelain Paint, Hand-made Vintage Decals, Gold Lu...

"Medium Yellow Hive", Contemporary, Ceramic, Sculpture, Design, Stoneware, Glaze

This 5.5" x 8.5" ceramic wall sculpture was created by Brian Bosworth. This is a contemporary piece that demonstrates sophisticated glazing techniques and compositional balance. The ...

The Fragile Border (Pink and Red Porcelain Lace), by Jeanne Quinn, 2020 Additional information: Medium: Porcelain, underglaze, pins, vinyl Dimensions: 5 x 128 x 3 in Jeanne Quinn (...

Dust And A Shadow, by Jeanne Quinn, 2021 Additional information: Medium: Porcelain, underglaze, vinyl, paint Dimensions: 54 x 130 x 11 in Jeanne Quinn (American, born 1953, Lemoore...

Dust And A Shadow II, by Jeanne Quinn, 2022 Additional information: Medium: Porcelain, underglaze, vinyl, paint Dimensions: 54 x 130 x 11 in Jeanne Quinn (American, born 1953, Lemo...

Melanie Sherman Bowl with Vintage Chair Earthenware, 24K German Gold Luster, Glaze, Underglaze, China Paints, Vintage Transfers, Multiple Cone 6 Firings, Hand-built 2024 Size: 1.75 ...

ONE WEEK ONLY SALE The rich tones of the stoneware clay come through the soft creamy glaze that drips over the surface like melted vanilla ice cream over red devil cake. There are i...

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 129, plate #236 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

The rich tones of the stoneware clay come through the soft creamy glaze that drips over the surface like melted vanilla ice cream over red devil cake. This beautifully rendered ceramic vessel is perched on little decorative feet that poke out of the body of the piece. Of particular interest and commanding presence are the decorative forms attached to the top and sides. They twisted shapes of bent organic growth and provide endless entertainment for the creative imagination. American Post War and Contemporary Artist, Gawaine Dart...