Ochre mid Pentacle III by Julie Nelson

Ochre mid pentacle III by Julie Nelson. One of a kind. Dimensions: W 24 x D 30 x H 22 cm. Materials: ceramic stoneware and porcelain. Artist Julie Nelson...

Ivory pentacle IX by Julie Nelson One of a Kind Dimensions: W 36 x D 38 x H 26 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson use...

Star petal gourd III by Julie Nelson One Of A Kind Dimensions: D 22 x H 26.5 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson uses ...

Charcoal petal gourd I by Julie Nelson One Of A Kind Dimensions: D 28 x H 22 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson uses ...

Ivory Petal Gourd IV by Julie Nelson One Of A Kind Dimensions: D 34 x H 32 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson uses th...

Ochre Hesse Pasteur Vase by Elyse Graham Dimensions: W 20 x D 20 x H 23 cm Materials: Plaster, Resin MOLDED, DYED, AND FINISHED BY HAND IN LA. CUSTOMIZATION AVAILABLE. ALL PIECE...

A ceramic lioness figurine glazed in brown and cream. This mid-century statue will be a fabulous addition to a bookshelf or side table. Created from ce...

Holly Curcio is a ceramics artist from Massachusetts. She earned her MFA in ceramics from Arizona State University and her BFA in ceramics from the University of Massachusetts, Dartmouth. Curcio's abstract 'cloud' form whimsically plays with subtle color, texture and shape and was part of her solo exhibition "Suspending Disbelief," at Harry Wood...

A wonderful, unique, beautifully glazed, quite rare, and special double-faced "Haniwa" pottery sculpture by American California studio pottery master ceramists Stan Bitters whose work was instrumental in shaping the organic modernist movement in the 1960s. Bitters received his Bachelor of Arts degree in painting from the University of California Los Angeles (UCLA) in 1958. He also studied under Peter Voulkos at Otis College. After graduating, he worked for Hans Sumpf as the company's resident artist. During this time he created architectural murals, tiles, birdhouses, planters, and sculptural objects – designs that would earn him recognition later on as a pioneer of the organic modernist craft movement - many still some of the most iconic designs today. Stan Bitters' work was featured as a part of the prestigious California Design series of exhibitions and annuals that chronicled art and design in California from 1954-1976. His works were also featured as part of a group show entitled Golden State of Craft 1960-1985 at the Craft and Folk Art Museum in Los Angeles, CA. This show was part of Pacific Standard Time: Art in L.A. 1945-1980, an unprecedented collaboration of more than 60 museums and other cultural institutions in Southern California, celebrating the birth of the Los Angeles art scene. Bitters' work was also exhibited at Heath Ceramics' Boiler Room...

Iconic pair of Howard Pierce ceramic quail bird figurines/sculptures dating from the 1950s. These are an iconic design. Great color and form. The larger ...

An amazing and unique piece by renowned American pottery and ceramic master Paul Soldner who in the 1950s was Peter Voulkos' first student and who later became famed for developing the technique now known as "American Raku...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...