Ceramic More Art

This is a one of a kind original functional vessel made by southern California artist, Ron Carlson. Its dimensions are 3.75 x 1.5 in (L x H). A certificate of authenticity will follow delivery. Lead free; hand washing highly recommended. Safe for microwave use...

ANDY WARHOL (after) Marilyn Silver, 2010 Porcelain Edition of 49 51 x 51 cm (20.1 x 20.1 in.) Facsimile signature in glaze, numbered on the reverse on label In wooden box, accompanie...

The Mid-Century Modern red vase by Dante Baldelli is an elegant example of the work his studio could produce for the consumer to enhance the décor of th...

Keith Haring (US American, 1958–1990) Title: Untitled Created: 2021 Medium: Fine bone china Dimensions: 26.7 cm diameter (10 1/2 in diameter) Edition of 250: Signed in plate, backsid...

Harding Black San Antonio (1912 - 2004) Huge Heavy Oxblood Vase 1984 Height 17'' At widest 5'' Biography Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of Fine Arts, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, new York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self taught. I find it amazing that anyone could ever accomplish what he did with with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas By concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these pollychromed vessels and he began attempting to create hand built pots. He had very little or no success but a life long of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933 he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip studio in a streetcar behind Witte Museum and began teaching children’s ceramic classes 1937-39 Appointed Superintendent of Ceramic Installation for N Y A /W P A reconstruction project in San Antonio 1943 Moved from streetcar studio to new facilities in the reconstructed Ruiz House on the grounds of the Witte Museum Began firing to stoneware temperatures 1947-54 Exhibited each year in the annual National Ceramic Exhibition, Syracuse Museum of Art 1951 Exhibited at the National Museum of Art, Washington, DC 1952 Toured ceramic centers throughout the United States 1953 “Opening the Door to Copper-Reds” by Harding Black, published in January issue of Ceramics Monthly “Harding Black Profile” published in February issue of Ceramics Monthly 1954 “Iron Spotted Glazes” by Harding Black, published in February issue of Ceramics Monthly 1955 Built present studio at 8212 Broadway, San Antonio Retired from teaching at the Witte Museum 1956 Exhibited at the National Museum of Art, Washington, DC 1961 “Lava Glazes” by Harding Black, published in October issue of Ceramics Monthly 1964 “Harding Black Texas Potter” by Jean R Lange, published in November issue of Ceramics Monthly 1971 The Meyer Family Master Potters of Texas, co-authored by Harding Black and Georgeanna H Greet 1980 Harding Black’s biographical information entered into the archives of the Smithsonian Institution, Washington, D C 1983 Harding Black traveled throughout China 1984 Awarded Glaze Research Grant by Southwest Craft Center, San Antonio 1985 Solo exhibition at the Southwest Crafts Center 1987 Selected as Artist of the Year by the San Antonio Art League 1988 Incarnate Word College, San Antonio, establishes Harding Black Fund to aid ceramics students 1990 “Harding Black Pottery...

Narrow necked low fired saggar vase - works by Tamsin Levene ADDITIONAL INFORMATION: Ceramic on Glass Edition of 1 40 H x 30 W x 30 D cm (15.75 x 11.81 x 11.81 in) ARTIST BIOGRAPHY...

This is a one of a kind original function vessel made by southern California artist, Ron Carlson. Its dimensions are 3.5 x 1.88 x 3.5 in (L x H x D). A certificate of authenticity wi...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In "Outside Your Comfort Zone" Limited Edition of 8 by Henk Jan...

Large ball vase using saggar low firing technique - works by Tamsin Levene ADDITIONAL INFORMATION: Ceramic on Glass Edition of 1 40 H x 40 W x 40 D cm (15.75 x 15.75 x 15.75 in) A...

From the Amphora series that came to be known as the Confetti Decor; a delightfully petite vase featuring cobalt underglaze painting with large crackling that reveals spots of green,...

One of a kind original functional vessel by local San Diego artist, Ron Carlson.

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...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Limited edition of 25 Serene and contemplative, Penguin A captu...

Porcelain plate (Edition of 3000) This artwork is offered by ClampArt, located in New York City.

“Monumental Chalice” is a stunning rare monumental ceramic chalice by the world re-known Italian potter Guido Gambone. The shape is light and delicate with a comfortable weight. Turq...

Lady is a wonderful hand-made flat ceramic dish realized by the Russian emerging artist, Anastasia Kurakina in 2019. Unique copy. Signed and dated on the back at the center. This i...

Ceramic and powdered steel

Philip Guston (American, b. 1970) Untitled, 2023 Medium: Porcelain plate (fine bone china) Dimensions: 26.7 cm diameter (10 1/2 in) Edition of 250: Printed signature and edition deta...

A minimalist ceramic cone vase by Ü-Keramik (Uebelacker) with rugged vertical striations against a pink and white mottled glaze. Numbered in the base. Form 455/25. Ü Keramik, or Üeb...

Title : Flower Salt & Pepper Materials : wood-fired porcelain Date : 2017 Dimensions : 6.5x7x5.5"

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GREY BLACK AND RED VASE #3 Certified Grey, Black and Red Vase #3. Mata Ortiz, Chihuahua, Mexico.

Morning 2008, painted porcelain bowl, 30х27.5х12 cm ''Morning'' is a visually striking piece of art, combining intricate hand-painted details, a nude female figure, and the bloomin...

Vase blue flower. 2017. Stone mass, h 13 cm, diam. 15.5 cm

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Owl Queen by artist Chris Reilly 9.5” H x 8.5” W x 3” D Owl Queen, raku heart featuring an owl looking forward. The artist expresses a profound connection to nature in his art. And...

The easy to live with brown and blue color theme delights the more conservative eye. The scrafitto carving and textures create liveliness to the shapes including the playful little c...

Created by the artist in 1989, Blonde Vivienne is a screenprint on porcelain measuring 12 ¼ in. (31 cm) in diameter, with the artist’s printed signature both recto and verso, from th...

Unique piece Certificate : seal and signature by Jean-Claude Canonne and on the original certificate Techniques: Engraving, cabochon on lid, reduction firing at 1300°C. This chest i...

Apple topper totem delights the viewer in royal blue with strong color accents. The colums are carved in great detail, yet simplicity prevails. The apple finalizes the design with ir...

Albrecht was half way through his MFA program (ceramics) at the University of Iowa when he was deployed to Iraq (03-04 medic/security work). His work explores the collision of war m...

Hard earthenware vase, matte white with blue-gray accents made to evoke ice and winter. The 1900 EDDA series from Amphora was named after two medieval Icelandic poems of Norse mythology...

Ceramic from Vallauris Workshop "Les Argonautes", Vallauris: Isabelle Ferlay (1917-?) And Frédérique Bourguet (1925-1997) Isabelle Ferlay and Frédérique Bourguet founded their ceramic workshop in Vallauris in 1953, which they named "Les Argonautes", in reference to the famous Greek epic. Isabelle studied painting at the Fine Arts school of Lyon in 1940, then she attended the Fine Arts in Marseille. Finally, she finished her artistic training in Montpellier, at the Fontcarade national school, where she learned ceramics. Françoise dit Frédérique Bourguet studied at the Beaux-Arts in Montpellier until 1945 and it was in Sèvres, in Françoise Bizette's studio, that she trained in the art of ceramics. She created her first workshop in Paris in 1945, which she shared with Valentine Schlegel until 1951. The two women ceramicists then practiced modeling technique. It was in 1953 that she met Isabelle Ferlay and together, they decided to set up a workshop in Vallauris. They produce shaped pieces, sometimes molded, made of earthenware, enamelled in bright colors. In the 1970s they made stoneware cooked over a wood fire. Some ceramists frequented their workshop, notably the very talented Jacques Innocenti and François Raty.

Albrecht was half way through his MFA program (ceramics) at the University of Iowa when he was deployed to Iraq (03-04 medic/security work). His work explores the collision of war m...

Plum Blossom Plate is an original decorative limited edition porcelain plate realized in the 1990s. This charming and very rare plate was produced for H...

Ceramic

A Kiss of Autumn is a hand-made flat ceramic dish realized by the Russian emerging artist, Anastasia Kurakina in 2019. This is a beautiful ceramic dish representing two red, sensu...

This is a one of a kind original functional vessels made by southern California artist, Ron Carlson. Its dimensions are 2.5 x 2.5 x 1.5 in (L x H x D). A certificate of authenticity ...

This is a one of a kind original functional vessel by local San Diego artist, Ron Carlson. This is an oversized teapot depicting American President A...

Light Brown Dog Bowl, by Jeffry Mitchell, 2020 Additional information: Medium: Glazed ceramic Dimensions: 3 x 8 1/4 in About artist: Jeffry Mitchell’s primary medium is ceramic and...

Sublime mirror by French ceramist Mithé Espelt measuring 26 x 21.5 x 1 cm

Here is a rare late 19th Century-early 20th Century painted and stenciled Jewish plate with a Yiddish greeting. A rare piece of Jewish Porcelain from the...

Large Slab Bottle, Stoneware with Nuka and Ochre Glazes Additional information: Medium: Stoneware with nuka and ochre glazes Height 31 cm (12 1/4 in)

Derrick Adams (American, b. 1970) We Came to Party and Plan 38, 2022 Medium: Porcelain plate (fine bone china) Dimensions: 26.7 cm diameter (10 1/2 in) Edition of 250: Printed signat...

Following the release of the first “Upside Down Face Vase”, Parra presents the latest addition to the series. This female counterpart marks the conclusion of these iconic vases. Where the first edition stood out because of its boldness, this bird girl exhibits remarkable elegance and sophistication. Long red flowing hair forms the base of the hand painted ceramic sculpture, with her graceful neck embracing your bouquet of flowers. Dutch illustrator, painter, and animator Piet Parra...

Kunsttöpferei Kandern (1897-1927), Thrown vase with two layers of glaze, between 1914 and 1927, terracotta, marked 'KTK' on the underside and marked as model number '781', 19 cm (hei...

Drop. Small abstract sculpture from porcelain, h 12,5 cm

Ceramic sculpture in glazed stoneware Unique piece Certificate : seal and signature by Jean-Claude Canonne and on the original certificate This sculpture is a very long time of work...

This is a one of a kind original functional vessel made by southern California artist, Ron Carlson. Its dimensions are 3 x 2.5 in (L x H). A certificate of authenticity will follow d...

Albrecht was half way through his MFA program (ceramics) at the University of Iowa when he was deployed to Iraq (03-04 medic/security work). His work explores the collision of war m...

Kuznetsov porcelain - Butter dish duck, porcelain h 13 cm; L 19 cm; W 10 cm Kuznetsov Porcelain Factory in Riga was founded in 1841 as a factory ...

Medium Print Condition Plate is in perfect condition and has only been opened to take pictures. Signature Signed in plate, Signed in plate, Printed signature and edition details on Verso of the plate. Printed Signature on Custom Artist Box. Certificate of authenticity Included (issued by authorized authenticating body) Frame Not included Series Coalition For the Homeless...

Vase with silver glaze 2017. Stone mass, 19x23,5x15,5 cm

Harding Black San Antonio (1912 - 2004) Huge Heavy Crackle Vase 1985 Height 14'' Across Widest 8" Biography Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of Fine Arts, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, new York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self taught. I find it amazing that anyone could ever accomplish what he did with with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas By concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these pollychromed vessels and he began attempting to create hand built pots. He had very little or no success but a life long of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933 he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip studio in a streetcar behind Witte Museum and began teaching children’s ceramic classes 1937-39 Appointed Superintendent of Ceramic Installation for N Y A /W P A reconstruction project in San Antonio 1943 Moved from streetcar studio to new facilities in the reconstructed Ruiz House on the grounds of the Witte Museum Began firing to stoneware temperatures 1947-54 Exhibited each year in the annual National Ceramic Exhibition, Syracuse Museum of Art 1951 Exhibited at the National Museum of Art, Washington, DC 1952 Toured ceramic centers throughout the United States 1953 “Opening the Door to Copper-Reds” by Harding Black, published in January issue of Ceramics Monthly “Harding Black Profile” published in February issue of Ceramics Monthly 1954 “Iron Spotted Glazes” by Harding Black, published in February issue of Ceramics Monthly 1955 Built present studio at 8212 Broadway, San Antonio Retired from teaching at the Witte Museum 1956 Exhibited at the National Museum of Art, Washington, DC 1961 “Lava Glazes” by Harding Black, published in October issue of Ceramics Monthly 1964 “Harding Black Texas Potter” by Jean R Lange, published in November issue of Ceramics Monthly 1971 The Meyer Family Master Potters of Texas, co-authored by Harding Black and Georgeanna H Greet 1980 Harding Black’s biographical information entered into the archives of the Smithsonian Institution, Washington, D C 1983 Harding Black traveled throughout China 1984 Awarded Glaze Research Grant by Southwest Craft Center, San Antonio 1985 Solo exhibition at the Southwest Crafts Center 1987 Selected as Artist of the Year by the San Antonio Art League 1988 Incarnate Word College, San Antonio, establishes Harding Black Fund to aid ceramics students 1990 “Harding Black Pottery...

Standing atop a textured, frothy pastel sea, a classic green Art Nouveau maiden stands cradled by figural waves with an offering of a lily pad. An excellent example of the "ivory por...

"AR 30 - Face in a star" white earthenware clay with decoration in engobes, boring-rod engraved under glaze and blue, green, red and white ground ceramic platter by artist Pablo Pica...

A large Aldermaston Pottery Bowl, Earthenware by Aldermaston Pottery, 1997 Circa Additional information: Medium: Earthenware with painted ruby lustre over tin-glaze Diameter 36 cm (...

Bubble vase, White stoneware, h 16 cm; d 28 cm The Bubble Vase is a stunning piece crafted from white stoneware, showcasing a beautiful combination of elegance and organic forms. The vase features a unique bubble-like texture. The irregular and organic shape of the vase enhances its artistic appeal, providing an intriguing contrast to more traditional and symmetrical vase forms. The white color of the stoneware lends a sense of purity and simplicity to the vase, making it versatile and complementary to various interior styles and color schemes. It can effortlessly blend into modern, minimalist spaces or add a crisp and fresh accent to more vibrant and eclectic decor. Inese Margevica (1960) Education: 2004 – LU, master's degree of educational sciences in art pedagogy; 2001 – LMA, Master of Arts degree; 1990 – LMA, Department of Applied Decorative Arts; 1981 – Riga Applied Arts Secondary School; 1977 – Riga 5th secondary school; Professional unions: 1992 – Artists' Union of Latvia; 1991 – ceramics association "Logs" Personal exhibitions: 2006 – "Black and white", in "Apsida" gallery, Riga; 2005 – "Touch", in the "Apsida" gallery in Riga; 2003 – "Black and white stories", in Satakunta Museum, Pori (Finland); 2003 – "Black and white stories", in the gallery "Apsīda" in Riga; 2000 – "Ceļabiedri", in the gallery "Apsīda" in Riga; 1998 – "Gaisma", Unibank branch in Riga; 1996 – "Feast over water", in the gallery "Jāņas sēta" in Riga; 1994 – "Ornamentalism and figuralism", in the gallery "Kolonna" in Riga; 1993 – "Chamots", in Reiterna House in Riga; Exhibitions: 2006 – Exhibition dedicated to the Assembly of the International Academy of Ceramics "Clay is everywhere" at the Museum of Decorative Arts and Design in Riga; 2006 – International mini-ceramics exhibition at the Riga Porcelain...

White Musical plate 2011, porcelain, 13x17 cm inside in the plate small pearls, which make a pleasant sound reminiscent of the sound of the sea, when you move the plate