Global Day of Clay
To celebrate Global Day of Clay (GDOC), seniors from our ceramics department posted images and responses to works they selected from the department’s teaching collection. To see all the works, follow us @kcai_ceramics on instagram. Check out some of the selections below:
Eric Abraham was a ceramic artist and prominent member of his community in Lucas, Kansas. Before his death in 2013, he owned and ran the studio Flying Pigs and helped to establish many artistic outlets in his town. His work ranges from small goblets to large vanities and home installations. I selected this piece because of the absolutely lovely color palette, the use of mixed media, and the graceful form. Abraham uses a sense of whimsy and fantasy to add character to his work. His humor and style are very clear in this piece, titled Easter Bunny Studio as rabbits stand around in hats painting easter eggs.
–Caroline Stran @starving_baroque_artist
Molly Hatch @mollyhatch @mollyhatchstudio is a ceramicist and designer who is a leading example of expanding your personal brand into multiple forms of fabrication. After graduating with her MFA from the University of Colorado at Boulder in 2008, she did several solo and group exhibitions before turning her focus mainly towards design. Molly has designed lines of ceramic ware, paper goods, bed, and bath products, as well as many other items for noted companies such as Anthropologie and Twig New York. As with her personal work, such as this cup and saucer set, Molly makes the majority of her prototypes by hand before sending them in for production, allowing her designs to bring a sense of the handmade while being industrially manufactured. I feel that this cup and saucer set is a perfect example of Molly bridging that gap between commercial and individual. While the forms have a sense of the manufactured, her drawings give proof of the hand.
–Debbie Magyar @dlm2091
Kansas city native @LeahNelsonCeramics tiles caught my interest because of the traditional flash tattoo style imagery, which speaks to the love of tattoos and how they impact and connect the world. The glazes are applied to the surface in a painterly manner by blending and obscuring them into a dreamlike vignette. The design of decaled hands with a fan of cards parallel the gamble taken in the glaze process because the replication of this exact piece would be impossible to achieve. It connects to my studio process and future career through the images and the way I would like to depict color using skin as a canvas.