Friday, September 19, 2014
Friday, September 12, 2014
Teaching Philosophy, Artist Statement and Resume
Teaching Philosophy by Stephen Robison
My aim is to direct students toward problem solving through creative research and critical discourse. Since there rarely is only one solution, I do not adhere to any single standard of style or content in my teaching; but strive to provide a wide base of information to encourage students to become free thinkers and find their own way of expressing ideas within the media. I urge ceramics majors to expose themselves to other disciplines inside and outside of art to help build on their visual and conceptual framework. Students are also encouraged to do their own research by visiting; artists' studios, museums, shows, the library, and attending workshops, conferences, and other organized field trips. I try and get at least one organized such event to happen each semester, for instance taking a group of students to a NCECA conference.
Teaching ceramics also requires structured assignments based around specific techniques (with formal, esthetic and conceptual outcomes), and technical projects or classes related to kiln building, glaze calculation and materials and effects. Technical projects and classes also need to address the safe use and handling of materials and equipment. I use frequent demonstrations, slide lectures, kiln building and glaze calculation projects, health and safety lectures on equipment and materials, reading assignments on philosophy and techniques, actual objects from my own collection and through museum and studio visits, and textbooks to instill part of that knowledge. I demonstrate techniques within hand building, mold making and throwing and relate the techniques to both contemporary and historical clay work. This opens up avenues to work with anatomical, architectural, natural form and utilitarian concepts. It also allows students the individual freedom to fully express themselves in both the sculptural and utilitarian aspects of ceramics on and off the wheel. Students are taught the technical skills and given the information necessary to form a foundation from which to make their own decisions about esthetics, concept and their preferable technique. In a recent article titled “Teaching After the End”, in the Fall 2005 issue of Art Journal, Daniel Joseph Martinez had been talking with David Levi Strauss about the continuing relevance of Joseph Beuys. He said that Beuys did not say, “ ‘ learn how to cut a piece of wood first.’ He said, ‘have an idea first.’ Once you’ve got an idea, the rest is simple.” I believe this to a degree and feel that with all the skill in the world you can become excellent at the crafting of an object, but without a strong concept you cannot craft an excellent piece. I also believe craft is not always a part of art. The idea of the piece, however, is not always the starting point. And a very important part of teaching which I beg to differ is not “simple” are the techniques that need to be learned. Through the execution of certain skills or techniques, one can develop an idea or concept. I believe that teaching someone how work with the clay on and off the wheel can be a springboard for a student to develop ideas. When they learn how to manipulate a material, they can then understand what can be done with that material. Within this philosophy a work ethic can also be instilled and a student can learn that nothing is more beneficial than the actual act of working with clay.
When students are exposed to what has been done with clay from contemporary artists such as Marilyn Levine’s work and other trompe l’oeil artists to the work of historical pots and sculpture and what is being done presently with installation, utilitarian, figurative and architectonic work, they are then exposed to the full scope of ceramics. They then have the capacity to develop ideas in any direction because they realize there is an unlimited potential with the media from scale to surface to color to concept. That is the initial direction I coax my students towards to find ideas, I do stress the most important question the student needs to ask when making their work is why they are creating it.
Regular sessions encouraging critical dialog about art, craft, philosophy, history, and current issues help students to create their own conceptual basis. Students must learn how to write an artist statement, resume, and learn how to document their work. Advanced students give presentations on contemporary artists that help them to express aesthetic ideas in both the spoken and written world. In this research they are exposed to several media such as Keynote or PowerPoint and most recently Podcasting their work. Advanced students are also expected to have goals set for entering shows and getting exposure to their work outside of academia. In this pursuit the advance student learns documentation, presentation and how to create a digital portfolio and areas on the web where they can archive that portfolio.
I also address professional options. Students are challenged with discussions about what they want to do with their degree; these topics start to enter my lectures around the beginning of the students’ third year. I help them determine what they need to prepare for graduate school application and other options such as residencies, workshops and apprenticeships to further the evolution of their work. When working with MFA students’ goals, I also direct them toward artist residency programs and apprenticeships but also help them put together a clean well-read job application. This kind of mentoring along with my dedication to each student’s development as artists, demonstrates my genuine concern for the future of each individual. I do not, however, have any sort of idealist notion that each individual student is driven enough to make it as a practitioner of the arts within the realm of education or the professional world of art.
I believe that my goal as an educator is to be a conduit of information for students to tap. With that said it is my responsibility to not only keep up on my own research as it pertains to my investigation into ceramics but also possible avenues that may help me direct students down their own road. My research and production of my own work and a constant show record; along with setting an example with a strong work ethic are also definitely major teaching tools. Students need to know that they need to be seriously dedicated and set goals for their careers as artists if they are to be successful.
Artist Statement
Stephen Robison
In my work I focus on vessel formats as platforms for utilitarian, conceptual and spatial investigations. I continue to have a focus on the strictly utilitarian. However, over the last few years one concept that has dominated my work incorporates forms and surfaces related to diatoms and viruses. This work is still meant to function as containers, pouring vessels or drinking vessels, but some of that function may be sacrificed for form and concept. Tactile considerations are still of importance in the utilitarian based work. However, form, surface and concept are my primary focus in this work. The forms and surfaces of some viruses and diatoms have been a great source for abstraction. What viruses can do for or do to our world is fascinating and frightening to me. Genetic virology is not always going to be understood by the viewer, but I don’t find that to be crucial for the work to be appreciated.
My direction in both sculpture and utilitarian ceramics both feed one another. Historical and contemporary use of visual language and utilitarian objects are two main sources for my research. Working within the context of sculpture along with the utility of ceramics allows me to communicate more than purely the use of the object and working outside of purely sculptural considerations I have the addition of utility and an intimate contact between the audience and the piece.
Objects of use and domesticity have a common language, which a large and diverse audience can appreciate and relate to. This may be the initial draw to my work but appreciation of the concepts and esthetics may seep into the viewer after further investigation. The sense of humanity that a well thought out handmade object can obtain is not found in objects that can be purchased at Wall Mart or produced by the machines of industry. Thoughts about the user of objects are often negated for practical reasons such as economic, shipping or durability, and this results in objects that have no life or value of their own but fit very well into our disposable society. Furthermore, the content that use to be in objects of utility has turned to nothing more then trite or kitch reflections of hallmark holiday tributes. I have a firm belief in the connection of the mind to the hand and the hand to the media. Like the lips to a read, technology can not replace or even come close to the sensitivity that the artists has with his or her material. A major intent of mine is to create tactile qualities in these objects that offer an intimate relationship with the user and provide the objects with an inherent value that gives them a life of their own. I cannot do this without my touch playing a part in the creation of the object. Generating a pleasurable and possibly a reflective experience when being used and viewed creates new challenges with each object made. Visual balance by using proportional perspectives, physical balance within the weight and pivot points of the piece along with tactile qualities are issues I address to achieve these goals.
Ultimately, I want my utilitarian objects to be used. This objective is for both my virus pieces and my strictly utilitarian work. With work that is firmly based in utility I still want an esthetic to prevail and at times I want conceptual concerns to also be inherent. It is almost more difficult to work within those restraints of a utilitarian piece because they are just that, restraints. Calligraphic work and textiles influence much of my utilitarian work. Using brushwork with slips and terra sigillata and the use of repetitive marks like a stitching pattern are reflective in much of my strictly utilitarian work.
Purely sculptural work for me still has parameters, so there are sort of rules when I work in that direction. I set those rules based not on an already prescribed vocabulary in the vernacular of the ceramic vessel, such as handle spout, foot, body, belly or neck. However parameters are still set by some prescribe formats that I have mentioned. For instance when I work with the landscape format I set a primarily horizontal restriction. In some virus landscapes I have not gone to far out of the horizontal mode. In some that are still in the drawing stage I have worked out more vertical focal points. In an installation I am planning, one of the parameters will be the space it will be contained in. I like the word parameters rather then restrictions, it sounds more like a guideline not a set of exacting rules. In my work I do allow quite a bit of intuition and evolution to occur in the making of the piece, the firing of the piece and or reductive work or additive work after the first firing. Such as sandblasting or the addition of wax or other materials.
As I am explaining the work and the process I refer to it as my work. I do feel it to be my work but it is also not ever solely attributed to me.
The collaborative process is of a constant in my work. I see our role as artists to be a conglomeration of appropriations and that we never reinvent the wheel we only keep it rolling along. To me one thing always leads to another and in that understanding of growth, (in any discipline), growing with a partner or with a team effort has been part of my thought process for some time. From the time when I was working on my BFA and one of my main mentors Charlie Olson and I worked together on some pieces I was hooked on working with people rather than being a solo artist.
My main collaborator is my partner for almost two decades, Kathy Guss. Kathy and I have been on and off again working directly on pieces on paper and in clay. The off times are still rooted in the collaborative spirit, as the thought process and the conceptual concerns are still in part collaborative. And although I show work at times with my solo name it is also in part Kathy's work too. In the last few years we have started working together again hand in hand and not just in name. This has revitalized the work and help the direction to move forward, as Kathy has physically re entered the studio, productivity has risen to allow the growth forward at a more rapid rate. Solid teamwork is always more beneficial to productivity. People often ask what part do you do and what part does Kathy do? This is not really very easy to answer because there are times when I do this and she may do "this" next time. Some work like brush work and glazing has almost always been in my hands, and maybe I do more of the throwing. But we are both at a level of understanding and control with clay on and off the wheel and we don't worry about how to accomplish it, why we are doing it is the main focus.
Some work in the part few years has somewhat stemmed out of the collaborative work but is really solely my work and those pieces are rooted in both the figurative traditions and also in less traditional site specific pieces.
Technical Considerations
Presently I am working with porcelain and stoneware clay bodies. I am using a variety of techniques using slips, under glazes, terra sigillata, glazes and atmospheric effects to achieve my surfaces. I am primarily working with high fire temperatures and using some low temp techniques on top of the high fire surfaces and sometimes using sandblasting to achieve a surface. I have also returned to soda firing and wood firing, having just finished building a new wood kiln and finishing up a new soda kiln. The kiln quite often is the means to the end and using certain types of firing such as soda, salt and wood firing adds subtleties to the surface of the forms. I also have a slight problem with addiction to process and wood firing does have a slight hold on me, but I use the glaze and firing technique that best works with what I want the final outcome of the piece to be.
Building techniques are on and off the wheel. I use throwing, altering forms, slump molding, molds and other additive and subtractive techniques.
STEPHEN ROBISON
Education
Exhibitions
Gallery Representation
Nicklas Gallery, Seattle,
Washington
Akar, Iowa City, Iowa
Appalachian Center for
Crafts Gallery, Smithville, Tennessee
Public Collections
Selected Private Collections
Awards and Grants before joining CWU faculty
Teaching Experience
Professional Experience and Service
Workshops and Lectures Conducted
Curatorial Experience
Curatorial Experience before joining CWU faculty
Feature Articles, Reviews and Publications
“Ceramics 2001”, Ceramics Monthly,
September, review, photos, pp. 68-69
1999
My aim is to direct students toward problem solving through creative research and critical discourse. Since there rarely is only one solution, I do not adhere to any single standard of style or content in my teaching; but strive to provide a wide base of information to encourage students to become free thinkers and find their own way of expressing ideas within the media. I urge ceramics majors to expose themselves to other disciplines inside and outside of art to help build on their visual and conceptual framework. Students are also encouraged to do their own research by visiting; artists' studios, museums, shows, the library, and attending workshops, conferences, and other organized field trips. I try and get at least one organized such event to happen each semester, for instance taking a group of students to a NCECA conference.
Teaching ceramics also requires structured assignments based around specific techniques (with formal, esthetic and conceptual outcomes), and technical projects or classes related to kiln building, glaze calculation and materials and effects. Technical projects and classes also need to address the safe use and handling of materials and equipment. I use frequent demonstrations, slide lectures, kiln building and glaze calculation projects, health and safety lectures on equipment and materials, reading assignments on philosophy and techniques, actual objects from my own collection and through museum and studio visits, and textbooks to instill part of that knowledge. I demonstrate techniques within hand building, mold making and throwing and relate the techniques to both contemporary and historical clay work. This opens up avenues to work with anatomical, architectural, natural form and utilitarian concepts. It also allows students the individual freedom to fully express themselves in both the sculptural and utilitarian aspects of ceramics on and off the wheel. Students are taught the technical skills and given the information necessary to form a foundation from which to make their own decisions about esthetics, concept and their preferable technique. In a recent article titled “Teaching After the End”, in the Fall 2005 issue of Art Journal, Daniel Joseph Martinez had been talking with David Levi Strauss about the continuing relevance of Joseph Beuys. He said that Beuys did not say, “ ‘ learn how to cut a piece of wood first.’ He said, ‘have an idea first.’ Once you’ve got an idea, the rest is simple.” I believe this to a degree and feel that with all the skill in the world you can become excellent at the crafting of an object, but without a strong concept you cannot craft an excellent piece. I also believe craft is not always a part of art. The idea of the piece, however, is not always the starting point. And a very important part of teaching which I beg to differ is not “simple” are the techniques that need to be learned. Through the execution of certain skills or techniques, one can develop an idea or concept. I believe that teaching someone how work with the clay on and off the wheel can be a springboard for a student to develop ideas. When they learn how to manipulate a material, they can then understand what can be done with that material. Within this philosophy a work ethic can also be instilled and a student can learn that nothing is more beneficial than the actual act of working with clay.
When students are exposed to what has been done with clay from contemporary artists such as Marilyn Levine’s work and other trompe l’oeil artists to the work of historical pots and sculpture and what is being done presently with installation, utilitarian, figurative and architectonic work, they are then exposed to the full scope of ceramics. They then have the capacity to develop ideas in any direction because they realize there is an unlimited potential with the media from scale to surface to color to concept. That is the initial direction I coax my students towards to find ideas, I do stress the most important question the student needs to ask when making their work is why they are creating it.
Regular sessions encouraging critical dialog about art, craft, philosophy, history, and current issues help students to create their own conceptual basis. Students must learn how to write an artist statement, resume, and learn how to document their work. Advanced students give presentations on contemporary artists that help them to express aesthetic ideas in both the spoken and written world. In this research they are exposed to several media such as Keynote or PowerPoint and most recently Podcasting their work. Advanced students are also expected to have goals set for entering shows and getting exposure to their work outside of academia. In this pursuit the advance student learns documentation, presentation and how to create a digital portfolio and areas on the web where they can archive that portfolio.
I also address professional options. Students are challenged with discussions about what they want to do with their degree; these topics start to enter my lectures around the beginning of the students’ third year. I help them determine what they need to prepare for graduate school application and other options such as residencies, workshops and apprenticeships to further the evolution of their work. When working with MFA students’ goals, I also direct them toward artist residency programs and apprenticeships but also help them put together a clean well-read job application. This kind of mentoring along with my dedication to each student’s development as artists, demonstrates my genuine concern for the future of each individual. I do not, however, have any sort of idealist notion that each individual student is driven enough to make it as a practitioner of the arts within the realm of education or the professional world of art.
I believe that my goal as an educator is to be a conduit of information for students to tap. With that said it is my responsibility to not only keep up on my own research as it pertains to my investigation into ceramics but also possible avenues that may help me direct students down their own road. My research and production of my own work and a constant show record; along with setting an example with a strong work ethic are also definitely major teaching tools. Students need to know that they need to be seriously dedicated and set goals for their careers as artists if they are to be successful.
Artist Statement
Stephen Robison
In my work I focus on vessel formats as platforms for utilitarian, conceptual and spatial investigations. I continue to have a focus on the strictly utilitarian. However, over the last few years one concept that has dominated my work incorporates forms and surfaces related to diatoms and viruses. This work is still meant to function as containers, pouring vessels or drinking vessels, but some of that function may be sacrificed for form and concept. Tactile considerations are still of importance in the utilitarian based work. However, form, surface and concept are my primary focus in this work. The forms and surfaces of some viruses and diatoms have been a great source for abstraction. What viruses can do for or do to our world is fascinating and frightening to me. Genetic virology is not always going to be understood by the viewer, but I don’t find that to be crucial for the work to be appreciated.
My direction in both sculpture and utilitarian ceramics both feed one another. Historical and contemporary use of visual language and utilitarian objects are two main sources for my research. Working within the context of sculpture along with the utility of ceramics allows me to communicate more than purely the use of the object and working outside of purely sculptural considerations I have the addition of utility and an intimate contact between the audience and the piece.
Objects of use and domesticity have a common language, which a large and diverse audience can appreciate and relate to. This may be the initial draw to my work but appreciation of the concepts and esthetics may seep into the viewer after further investigation. The sense of humanity that a well thought out handmade object can obtain is not found in objects that can be purchased at Wall Mart or produced by the machines of industry. Thoughts about the user of objects are often negated for practical reasons such as economic, shipping or durability, and this results in objects that have no life or value of their own but fit very well into our disposable society. Furthermore, the content that use to be in objects of utility has turned to nothing more then trite or kitch reflections of hallmark holiday tributes. I have a firm belief in the connection of the mind to the hand and the hand to the media. Like the lips to a read, technology can not replace or even come close to the sensitivity that the artists has with his or her material. A major intent of mine is to create tactile qualities in these objects that offer an intimate relationship with the user and provide the objects with an inherent value that gives them a life of their own. I cannot do this without my touch playing a part in the creation of the object. Generating a pleasurable and possibly a reflective experience when being used and viewed creates new challenges with each object made. Visual balance by using proportional perspectives, physical balance within the weight and pivot points of the piece along with tactile qualities are issues I address to achieve these goals.
Ultimately, I want my utilitarian objects to be used. This objective is for both my virus pieces and my strictly utilitarian work. With work that is firmly based in utility I still want an esthetic to prevail and at times I want conceptual concerns to also be inherent. It is almost more difficult to work within those restraints of a utilitarian piece because they are just that, restraints. Calligraphic work and textiles influence much of my utilitarian work. Using brushwork with slips and terra sigillata and the use of repetitive marks like a stitching pattern are reflective in much of my strictly utilitarian work.
Purely sculptural work for me still has parameters, so there are sort of rules when I work in that direction. I set those rules based not on an already prescribed vocabulary in the vernacular of the ceramic vessel, such as handle spout, foot, body, belly or neck. However parameters are still set by some prescribe formats that I have mentioned. For instance when I work with the landscape format I set a primarily horizontal restriction. In some virus landscapes I have not gone to far out of the horizontal mode. In some that are still in the drawing stage I have worked out more vertical focal points. In an installation I am planning, one of the parameters will be the space it will be contained in. I like the word parameters rather then restrictions, it sounds more like a guideline not a set of exacting rules. In my work I do allow quite a bit of intuition and evolution to occur in the making of the piece, the firing of the piece and or reductive work or additive work after the first firing. Such as sandblasting or the addition of wax or other materials.
As I am explaining the work and the process I refer to it as my work. I do feel it to be my work but it is also not ever solely attributed to me.
The collaborative process is of a constant in my work. I see our role as artists to be a conglomeration of appropriations and that we never reinvent the wheel we only keep it rolling along. To me one thing always leads to another and in that understanding of growth, (in any discipline), growing with a partner or with a team effort has been part of my thought process for some time. From the time when I was working on my BFA and one of my main mentors Charlie Olson and I worked together on some pieces I was hooked on working with people rather than being a solo artist.
My main collaborator is my partner for almost two decades, Kathy Guss. Kathy and I have been on and off again working directly on pieces on paper and in clay. The off times are still rooted in the collaborative spirit, as the thought process and the conceptual concerns are still in part collaborative. And although I show work at times with my solo name it is also in part Kathy's work too. In the last few years we have started working together again hand in hand and not just in name. This has revitalized the work and help the direction to move forward, as Kathy has physically re entered the studio, productivity has risen to allow the growth forward at a more rapid rate. Solid teamwork is always more beneficial to productivity. People often ask what part do you do and what part does Kathy do? This is not really very easy to answer because there are times when I do this and she may do "this" next time. Some work like brush work and glazing has almost always been in my hands, and maybe I do more of the throwing. But we are both at a level of understanding and control with clay on and off the wheel and we don't worry about how to accomplish it, why we are doing it is the main focus.
Some work in the part few years has somewhat stemmed out of the collaborative work but is really solely my work and those pieces are rooted in both the figurative traditions and also in less traditional site specific pieces.
Technical Considerations
Presently I am working with porcelain and stoneware clay bodies. I am using a variety of techniques using slips, under glazes, terra sigillata, glazes and atmospheric effects to achieve my surfaces. I am primarily working with high fire temperatures and using some low temp techniques on top of the high fire surfaces and sometimes using sandblasting to achieve a surface. I have also returned to soda firing and wood firing, having just finished building a new wood kiln and finishing up a new soda kiln. The kiln quite often is the means to the end and using certain types of firing such as soda, salt and wood firing adds subtleties to the surface of the forms. I also have a slight problem with addiction to process and wood firing does have a slight hold on me, but I use the glaze and firing technique that best works with what I want the final outcome of the piece to be.
Building techniques are on and off the wheel. I use throwing, altering forms, slump molding, molds and other additive and subtractive techniques.
STEPHEN ROBISON
318 S Mt. Daniels Dr
Ellensburg, WA 98926
509 607 9726
robisons@cwu.edu
Education
MFA: 1994;
University of Iowa, Iowa City
MA: 1992; University of Iowa, Iowa City
BFA: 1990;
University of Wisconsin, Whitewater
Exhibitions
2014
August “Guldagergaard, 2nd Euopean Wood Fire Conference Presenters Exhibition”
March “University of North Florida National Juried
Exhibition”, Jacksonville, FL. (juried)
March “Ceramic World Cup Juried Exhibition”, HYART Gallery,
Madison, WI. (juried)
February “Yuma Symposium Exhibition”, Yuma Art Center, Yuma, AZ (juried)
February “International Cup Juried Exhibition”, Clay Studio of
Missoula, Missoula, MT. (juried)
January “On The Surface National Juried Exhibition”, Morean
Arts Center, St. Petersburg, FL. (juried)
2013
May “Gulgong
Masters Exhibition”, Gulgong, Australia (invitational)
December “Northwest Ceramics Invitational”, Trackside Gallery,
Spokane, WA. (invitational)
April “Galloway, Guss, Grava, Robison and Schwartzkopf”,
Gallery One, Ellensburg, WA. (invitational)
February “43th Annual Ceramics Invitational”,
Crossman Gallery, University of Wisconsin, Whitewater, WI. (invitational)
2012
March “Cups and Coffee”, (juried), International Juried Cup Show, Fuel Coffee,
Seattle, WA
March “The Beer Stein”, Elysian Capital Hill, Brew Pub,
Seattle, WA
March “Northwest Wood Fire Kilns”, Pots Gallery, Seattle,
WA
March “100 Wood-Fired Cups”, Curated
by Charles Hindes, Pots Gallery, Seattle, WA
March “West Coast Wood-Fire”, Curated , The Fire
Arts Center in Arcata, Ca
January-
March “From The Ground Up”, Larson
Gallery, Yakima, WA
Feb. “Benefit Art Auction”, (juried), Artist Trust, Seattle, WA
2011
Oct. “Travel
Size: A Ceramic Visit With artaxis.org”, (juried), Southwestern
College Art Gallery, Chula Vista, CA
May “12th Annual Clay Invitational -19 Artists”,
Curated by Steve Gibbs, The Art Spirit Gallery, Coeur d'Alene, ID
2010
Dec. “The Simple Cup”, Curated
by Peter Olsen, Kobo at Higo, Seattle, Washington
Nov. “Un-wedged”, (juried), Pottery Northwest, Seattle,
Washington
June “American Mug”, Curated by Scott Lykens, LTC Gallery, University of Arkansas Monticello, Monticello, Arkansas
June “14th
annual Bray Benefit Auction and Brickyard Bash”, Archie Bray Foundation,
Helena, Montana
Mar. “2010 Yunomi Invitational”, Akar Gallery, Iowa City,
Iowa
Feb-Mar. “40th Annual Ceramics Invitational”,
Crossman Gallery, University of Wisconsin, Whitewater
2009
Dec. “Winter Show”, Greensboro Cultural Center, Greensboro, North
Carolina
Nov.-Dec. “North American Clay”, David Smith and Company, Curated by Peter Olson, Seattle,
Washington
Sep.-Nov. Stephen Robison, Solo Show, LTC Gallery, Curated by Scott Lykens, University of
Arkansas Monticello, Monticello, Arkansas
Show Record
before joining CWU faculty.
2009
Jan. “20 Below 22 Above, Ceramics Invitational”, Curated by Wil Shynkaruk, Minnesota State University,
Moorhead, Minnesota
2008
Cape Fear Studios Invitational, Fayetteville, NC
“Legacy of Bunny McBride”, Akar Gallery, Iowa City,
Iowa
“10 Cups”, Lill
Street Gallery, Chicago Illinois
“Yunomi”, Akar Gallery, Iowa City, Iowa
“Form and Transformation in Clay”, Fayetteville State
University, Rosenthal Gallery, Fayetteville, North Carolina
“UNCP Faculty Show”, Sandhills Community College,
Southern Pines, North Carolina
2007
“Winter Show”, Greensboro Cultural Center, Greensboro, North
Carolina
“By the Ounce”, (juried),
Louisville, Kentucky
“Contemporary Ceramics Invitational”, The Dairy Barn;
Southeastern Ohio Cultural Arts Center, Athens, Ohio
(Scheduled, March and April)
“The New Aesthetics of Ceramics”, (juried), Huntington University, Huntington, Indiana
“Containment”,
LTC
Gallery, University of Arkansas Monticello, Monticello, Arkansas
“Yunomi”, Akar
Gallery, Iowa City, Iowa
2006
“Solo Show and
Tea Ritual”, NNU Gallery, Nanjing Normal University, Nanjing, China
“Faculty
Exhibition”, A.D. Gallery, Pembroke, North Carolina
“New Hampshire
Institute of Art, Ceramic Biennial”, (juried), New Hampshire
Institute of Art, Manchester, New Hampshire
“20 + 1 Woodfire
Conference Invitational”, NAU Museum of Art, Flagstaff, Arizona
“Watershed
Auction”, New Castle, Maine
“Natural
Wonders”, Lacoste Gallery, Concord, Massachusetts
“Crafts
National”, (juried), Lancaster Museum
of Art, Lancaster, Pennsylvania
“The Jeanne and
Bill Porter Collection of Ceramic Art”, Holter Museum of Art, Helena, Montana
“The Art of The Teapot”, (juried), Kalamazoo
Institute of Arts, Kalamazoo, Michigan
“The Teapot”, LTC Gallery, University of Arkansas
Monticello, Monticello, Arkansas
2005
“Craft Forms”, (juried), Wayne Art
Center, Wayne, Pennsylvania
“Cup: The Intimate Object
IV”, (juried), Charlie
Cummings Clay Studio, Fort Wayne, Indiana
“Holiday Festival”,
Appalachian Center for Crafts, Smithville, Tennessee
“Resident Scholarship Silent
Auction”, The Archie Bray Foundation, Helena, Montana
“Wood Fire Raffle”, Watershed Center for the Ceramic Arts, Newcastle, Maine
“Julius Schmidt and his
Radillac Group”, Chait Gallery, Iowa City Iowa
“Cup in The Hand”, (juried), Architecture
Resource Center”, Andrews University, Berrien Springs, Michigan
“Ceramics 2005”, (juried), Guilford
Handcraft Center, Guilford, Connecticut
“Gas it Up: Salt, Soda and
Slip”, (juried), Baltimore Clayworks, Baltimore, Maryland
2004
“Cup: The Intimate Object
III”, ((juried), Charlie Cummings Clay Studio, Fort Wayne,
Indiana
“Fine Contemporary Crafts”, (juried), Artspace,
Raleigh, North Carolina
“Funk-Tion National”, (juried), Stretch
Gallery, Pineville, North Carolina
“30 x 5”, Akar, Iowa City,
Iowa
“Third Annual Soda / Salt
National”, (juried), The Clay Studio of Missoula, Missoula,
Montana
“Forms and Shapes: The Box”,
Akar Gallery, Iowa City, Iowa
“2004 International Juried
Woodfire Exhibition”, (juried), Cedar Rapids Museum of Art, Cedar Rapids,
Iowa
“4th Annual
National Juried Cup Show”, (juried), Gallery 138, Kent State University, Kent,
Ohio
“Synergism”, (juried), Indiana University,
Bloomington, Indiana
2003
“100 Teapots”, (juried), Baltimore Clay
Works, Baltimore, Maryland
“Cup: The intimate Object
II”, (juried), Charlie
Cummings Gallery, Fort Wayne, Indiana
“MSU Faculty Collects; MSU
Faculty and Their Inspirations”, Montana State University, Helen E. Copeland
Gallery,
Bozeman, Montana
“Cup Exhibition”, Shelburn
Craft Center, Shelburn, Vermont
“Kathleen Guss and Stephen
Robison”, Artworks Gallery, Bozeman, Montana
“Just Bowls”, Artworks
Gallery, Bozeman, Montana
“Karl Borgeson and Friends”, Crossman Gallery; University of Wisconsin, Whitewater
2002
“From the Kitchen to the
Table”, (juried), Artworks Gallery, Bozeman, Montana
“Art for Living”, Artisans
Center of Virginia, Waynesboro, Virginia
“Guss and Robison: New Work”,
Sul Ross State University, Alpine, Texas
“Utilitarian Ceramic
National”, (juried), traveling show
Nicholls State University,
Thibodaux, Louisiana
Southeastern University, Hammond,
Louisiana
Louisiana College, Pineville,
Louisiana
“Prevailing Winds”, (juried), Young and
Constantine Gallery, Wilmington, Vermont
“Hand Crafted”, (juried), Rocky Mount
Arts Center, Rocky Mount, North Carolina
“Materials: Hard and Soft”, (juried), Center for the
Visual Arts, Denton, Texas
2001
“Sul Ross State University
Ceramic Invitational”, Sul Ross State University, Alpine, Texas
“A View of Contemporary
Ceramics”, (juried), Chester Springs Studio, Chester Springs,
Pennsylvania
“Mug Shots 2001”, Artworks Gallery, Bozeman,
Montana
“Guss, Roberts and Robison”,
Baylor University Art Gallery, Waco, Texas
“Feats of Clay”, (juried), Lincoln Arts,
Lincoln, California
“National Juried Cup Show”,
Gallery 138, Kent State University, Kent, Ohio
“Ceramics 2001”, (juried), The Guilford
Handcraft Center, Guilford, Connecticut
“Archie Bray Foundation,
Scholarship Benefit Show”, Helena, Montana
“The Functional Teapot”, Ryan
and Maclean, Helena, Montana
2000
“Peripheral Focus”, Bradford
Gallery, Virginia Commonwealth University, Richmond, Virginia
“Art for Life”, University of
Missouri, Columbia, Missouri
“Invitational Alumni
Exhibition”, Crossman Gallery, University of Wisconsin
“Faculty Exhibition”,
University of Missouri, Columbia, Missouri
“Ceramics for Food”, (juried), Nicholls State
University, Thibodaux, Louisiana
1999
“Inaugural Exhibition”, The Renaissance Center;
Dickson, Tennessee
“Ritual of the Table”, (juried), Odyssey Gallery; Asheville, North Carolina
“Earthly Treasures”, (juried), Pewabic Pottery; Detroit, Michigan
“Candlesticks”, (juried), Native Soil Gallery, Chicago,
Illinois
Alumni Ceramic Exhibition, University of Iowa, Alumni
Center Gallery, Iowa City, Iowa
"Baskets", (juried), Native Soil, American Pottery Traditions, Evanston,
Illinois
“Archie Bray Foundation Benefit Auction", Archie
Bray Foundation, Helena, Montana
"The Mark of The Maker", Appalachian Center
for Crafts, Smithville, Tennessee
Faculty Exhibition, Leu Art Gallery, Belmont
University, Nashville, Tennessee
“The Kennedy Douglass Center for the Arts National
Ceramic Competition”, (juried),
Florence, Alabama
"Lets Dance", (juried), Andrews University, Berrien Springs, Michigan
1998
"Artforms", (juried), Tennessee Arts Commission Gallery, Nashville, Tennessee
"Crossroads in Clay", (juried), Middletown Fine Arts Center; Middletown, Ohio
"Best of Tennessee Crafts", (juried), traveling show
The Parthenon Gallery; Nashville, Tennessee,
The Carroll Reece Museum, ETSU, Johnson City,
Tennessee,
The Clarksville Museum; Clarksville, Tennessee,
The McMinn Living Heritage Museum; Athens, Tennessee,
The University Museum; UT-Martin, Martin, Tennessee,
The Creative Arts Guild; Dalton, Georgia
"Belmont University Faculty Art Exhibition",
Leu Art Gallery; Nashville, Tennessee
“Resident Artist Exhibition”, Tennessee Technological
University, Appalachian Center for Crafts; Smithville, Tennessee
"28th Annual Ceramics Invitational Exhibition,
Featuring Wood Fired Ceramics", Crossman Art Gallery; University of
Wisconsin, Whitewater
"Dinner Works", (juried), Louisville Visual Art Association; Water Tower Gallery;
Louisville, Kentucky
1997
"Wood fired Invitational", University of
Missouri; Columbia, Missouri
"The Box", (juried), Bonna-Keanne Gallery; Portland, Oregon
"Anything That Pours", Tennessee
Technological University, Appalachian Center for Crafts; Smithville, Tennessee
"The Clay Cup", (juried), Southern Illinois University; Carbondale, Illinois
“Resident Artist Exhibition”, Tennessee Technological
University, Appalachian Center for Crafts; Smithville, Tennessee
“All Fired Up”, (juried),
Boise State University; Boise, Idaho
“The 87th Annual Water Tower Show”, (juried), Louisville, Kentucky
1996
“The Festive Table”, Tennessee Technological
University, Appalachian Center for Crafts; Smithville, Tennessee
“Holiday Exhibition”, Pewabic Pottery; Detroit,
Michigan
“4th Annual Strictly Functional Pottery National”, (juried), Market House Craft Center; Ephrata,
Pennsylvania
1995
“Holiday Exhibition”, Pewabic Pottery; Detroit,
Michigan
“Steeped in Clay”, (juried), Art Space; Lima, Ohio
“Teapot Invitational”, Cone Ten Gallery; New Orleans,
Louisiana
“Summer Exhibition”, Kavish Gallery; Ketchum, Idaho
“Resident Artist Exhibition”, Archie Bray Foundation;
Helena, Montana
“Woodstack Exhibition”, University of Montana;
Missoula, Montana
“Bray Clay”, MJL Impressions; Minneapolis, Minnesota
“Minnesota Hot Dish”, (juried), Northern Clay Center; St. Paul, Minnesota
"Eight in Clay", Bebe Kazar Gallery;
Whitefish, Montana
1994
“ABF Resident Show”, Myrna Loy Center; Helena, Montana
“2nd Annual Strictly Functional Pottery National”, (juried), Market House Craft Center; Ephrata,
Pennsylvania
“Functional Ceramics- 25th Invitational Exhibit”,
Crossman Gallery; University of Wisconsin, Whitewater
1993
“MFA Thesis Exhibition”, University of Iowa Museum of
Art; Iowa City, Iowa
“Four Off the Wall”, Clapp Gallery; University
of Iowa, Iowa City
“Haystack Assistants Show”, Haystack Mountain School of
Crafts; Deer Isle, Maine
“Eclectic Nature”, Eve Drewelowe Gallery; University of
Iowa, Iowa City, Iowa
1992
“Muscatine Art Center Biennial”, (juried), Muscatine, Iowa
“Silver: New Forms and Expressions III “,(juried), traveling show
Union Art Gallery; Louisiana State University; Baton
Rouge, Louisiana
Newport Art Museum; Newport, Rhode Island,
Walter Anderson Museum of Art; Ocean Springs, Maryland,
National Ornamental Museum; Memphis, Tennessee,
Fortunoff; New York, New York
Newport
Art Museum; Newport, Rhode Island
“Teapots and Tequila Cups”, Eve Drewlowe Gallery;
University of Iowa, Iowa City
“The Influence of Chunghi Choo”, Waterloo Museum of
Art; Waterloo, Iowa
1988
"Metals Exhibition”, (juried), Southern Illinois University; Carbondale, Illinois
1987
“Midwest Metals Exhibition”, (juried), University of Wisconsin, La Crosse
“Metaphors”, (juried),
Cudahy Gallery; Milwaukee Museum of Art; Milwaukee, Wisconsin
Gallery Representation
Nicklas Gallery, Seattle,
Washington
Akar, Iowa City, Iowa
Appalachian Center for
Crafts Gallery, Smithville, Tennessee
Public Collections
Nanjing Normal University,
Nanjing China
The Sparta Teapot Museum,
Sparta, North Carolina
The Sawtooth Art Center,
Winston-Salem, North Carolina
Baylor University, Museum of
Art, Waco Texas
University of Iowa, Museum of
Art, Iowa City, Iowa
University of Wisconsin,
Crossman Gallery, Whitewater, Wisconsin
Selected Private Collections
Sonny and Gloria Kamm, Los
Angeles, California
Daniel Jacobs, Richmond
Virginia
Janet Mansfield, Sydney,
Australia
Emmy Lou Harris, Nashville,
Tennessee
Koko Taylor, Chicago, Illinois
Robert Taunt, Helena, Montana
Janet Koplos, New York, New
York
Gary Portnoy, New York, New
York
Awards and Grants
2011
G.A.P Grant, (Grants for Artist
Projects), Artist Trust
CAH Summer Research Grant
2010
Nov. Honorable Mention, “Un-wedged”, Juried Exhibition, Pottery Northwest, Seattle, Washington
Awards and Grants before joining CWU faculty
2008
Travel Grant, Teaching and Learning Center,
UNC, Pembroke, North Carolina
2007
Research Grant, Provosts Office, UNC,
Pembroke, North Carolina
2006
Digital Academy Grant, UNC, Pembroke, North
Carolina
Travel Grant, Teaching and Learning Center,
UNC, Pembroke, North Carolina
2005
Teaching and Learning Center Grant, UNC, Pembroke, North Carolina
2004
Foundation Grant, NCMC, Petoskey, Michigan
2003
Excellence in Teaching Award, NCMC, Petoskey, Michigan
2002
First Place, Art for Living, Artisan’s Center of Virginia, Waynesboro,
Virginia
2001
Purchase Award, “Feats of
Clay”, Lincoln Arts, Lincoln, California
“National Juried Cup Show”, 3rd
place, Gallery 138, Kent State University, Kent, Ohio
Third Place, “Ceramics 2001”,
The Guilford Handcraft Center, Guilford, Connecticut
1998
Second Place, "The Chef John Folse Utilitarian Ceramics
Competition", Ameen Art Gallery; Nicholls State University; Thibodaux,
Louisiana
1987
Purchase Award, “Metaphors”, Cudahy Gallery; Milwaukee
Museum of Art; Milwaukee, Wisconsin
Merit Award, “Midwest Metals Exhibition”, University
of Wisconsin, La Crosse
Teaching Experience
2009- Present: Assistant Professor in Ceramics, Central
Washington University, Ellensburg, Washington
2004-2009: Assistant Professor in Ceramics, University
of North Carolina at Pembroke
Spring of 2008: Visiting Professor in Beijing, Xian,
Jingdezhen, and Nanjing
2006 Oct.-Nov: Visiting Professor, Nanjing Normal
University, Nanjing, China
2006: Visiting Professor, Nanjing Art Institute,
Nanjing, China
2002-2004: Assistant Professor in Ceramics, Sculpture,
Metalsmithing and Drawing, North Central Michigan College, Petoskey, Michigan
2000-2002:
Visiting Assistant Professor in Ceramics; Department of Crafts, School
of Art, Virginia Commonwealth University; Richmond, Virginia
1999-2000:
Visiting Assistant Professor in Ceramics and 3-D Design; School of Art,
The University of Missouri; Columbia, Missouri
1997-1999:
Instructor in Ceramics; School of Art, Belmont University; Nashville,
Tennessee
1996 - 1999:
Instructor in Ceramics; Tennessee Technological University, Appalachian
Center for Crafts; Smithville, Tennessee
1994-1996:
Instructor in Ceramics; Archie Bray Foundation; Helena, Montana
1994-1995:
Instructor in Painting and Drawing; Helena Fine Arts Center; Helena,
Montana
1992-1994:
Adjunct Instructor in Ceramics; University of Iowa, Iowa City
1990: Adjunct
Instructor; Metals; University of Iowa, Iowa City
Professional Experience and Service
March 2010- Ongoing, Moderator for the Education Forum at CeramicDaily.org http://ceramicartsdaily.org/community/index.php?/forum/25-education/page__s__c4c6fa418dfde7088a48b415eaf44fcb
April
2010-March 2011 Member of NCECA Host
Committee, Seattle, Washington
July 2010: Visiting Artist for Wood Firing, LH Project, Joseph,
Oregon
Mar. 2010: 44th National Council on Education for the
Ceramic Arts, Professor for Critique Sessions.
Professional
Experience before joining CWU faculty
2007: Video Screenings, One
video of Mrs. Zhou Gui Zhen who has just been given the honor of being a
National Living Treasure in China and another video on Mr. Zhu Jiang Long.
Video screening will take place at the National Council on Education for the
Ceramic Arts in March of 2007 in Louisville KY.
2006: “20th Anniversary Invited Artist,
Watershed Center for the Ceramic Arts, Newcastle Maine
2003: “Artists
Invite Artists”; Watershed Center for the Ceramic Arts, Newcastle, Maine
1996-1999:
Resident Artist in Ceramics; Tennessee Technological University,
Appalachian Center for Crafts; Smithville, Tennessee
1994 - 1996:
Resident Artist in Ceramics; Archie Bray Foundation; Helena, Montana
1994-1995:
Studio Technician; Archie bray Foundation; Helena, Montana
1991-1994:
Teaching Assistant and Kiln Technician; University of Iowa, Iowa City
1993: Studio
Assistant; Ceramics; Haystack Mountain School of Crafts; Deer Isle, Maine
1992: Studio
Assistant; Ceramics; Penland School of Crafts; Penland, North Carolina
1991-1992:
Studio Assistant; Arrowmont School of Arts and Crafts; Gatlinburg,
Tennessee
Workshops and Lectures Conducted
2014: Guldagergaard, 2nd Euopean Wood Fire Conference, Moderator on New Wood firers panel
2013: Gulgong Conference, Lecture and demonstrations. Gulgong, Australia
2013: Yumma Symposium Lecture
Sept. 2010: Lecture on Professional Development, Montana State
University, Bozeman, Montana
Aug. 2010: Workshop and Slide Lecture,
Gallery One Ceramics Studio, Ellensburg Washington
2008: Big Screen, A Virtual Workshop, 42nd National
Council on Education for the Ceramic Arts Conference, Pittsburgh, Pennsylvania
2008: Creating an Image Database, UNC Teaching and
Learning with Technologies Conference, Raleigh, North Carolina
2008:
Lecture and Workshop, Collin College, Plano, Texas
2007:
Lecture and Workshop, San Jose State University, San Jose, California
2007: Lecture and Workshop, El Diablo Valley College,
Pleasant Hill, California
2007: “Yixing Clay and Tea Traditions”, 41st
National Council on Education for the Ceramic Arts Conference, Louisville,
Kentucky
2007: Podcasting in Teaching, Digital Soup and Sandwich
Lecture Series, University of North Carolina, Pembroke
2006: Lecture on my work and teaching philosophy,
Nanjing Normal University, Nanjing, China
2006: Lecture on my work and contemporary American
ceramics, Nanjing Art Institute, Nanjing, China
2006: “Addiction to Flash and Ash”, 20+1 Woodfire
Conference, Northern Arizona University, Flagstaff, Arizona
2006: Ceramics, Spring Hill Middle School, Wagram,
North Carolina
2005: “Clay is Under You”, Jack Britt High School,
Fayetteville, North Carolina
2005: “Handbuilt, Thrown, Soda, Wood and Sigillata”,
Sawtooth Art Center, Winston Salem, North Carolina
2004: “Soda Firing”, one-week workshop, Tennessee
Technological University, Appalachian Center for Crafts, Smithville, Tennessee
2004: “Boxes Flasks and Teapots”, one-week workshop,
Greenville Museum, Greenville, South Carolina
2003: “Surface
Work”, Vermont State Craft Center, Frog Hollow Craft School, Manchester,
Vermont
2003: Ceramics
Workshop, VSA Spring Arts Festival, Charlevoix and Emmet County Schools, NCMC,
Petoskey, Michigan
2003: Arts in
the Schools, Lincoln Elementary, Petoskey, Michigan
2002: Three day
work shop, Kent State University, Kent, Ohio
2002: “ Diatoms and Virus Form Influence”; Central
Michigan University, Mount Pleasant, Michigan
2002: Hi Fire
Sigillata, two-day workshop, Sul Ross
State University, Alpine, Texas
2002: Hi Fire
Sigillata, two-day workshop, Utah State University, Logan, Utah
2002: Hi Fire
Sigillata, two-day workshop, Atlantic Beach Pottery, Jacksonville, Florida
2001: Sit and
Spin, Stand and Turn; one-week workshop, Tennessee Technological University,
Appalachian Center for Crafts, Smithville, Tennessee
1999:
Traditional and Non-traditional Tile Setting, two-day workshop,
Furniture Society Conference, Appalachian Center for Crafts, Smithville,
Tennessee
1999: "The Contemporary and Historical Use of
Ceramics in Architecture and Furniture", Furniture Society Conference,
Appalachian Center for Crafts, Smithville, Tennessee
1999: Utilitarian
Pots, four-day workshop, Austin Peay University, Clarkesville, Tennessee
1999: Slips,
Surface, Slabs, and Turning; one-week workshop, Tennessee Technological
University, Appalachian Center for Crafts, Smithville, Tennessee
1996 - 1999:
Sixth Grade Clay Workshops; Tennessee Technological University,
Appalachian Center for Crafts; Smithville, Tennessee
1998: Slips,
Surface, Slabs, and Turning; two-day workshop, University of Wisconsin, Green
Bay, Wisconsin
1998:
“Curatorial Education”, lecture, University of Wisconsin, Green Bay,
Wisconsin
1998: Thrown and
Hand built Forms; one-week workshop, Tennessee Technological University,
Appalachian Center for Crafts; Smithville, Tennessee
1997: Tea Pots;
one-week workshop, Tennessee Technological University, Appalachian Center for
Crafts; Smithville, Tennessee
1997: Soda
Firing; one-week workshop, Tennessee Technological University; Appalachian
Center for Crafts; Smithville, Tennessee
1997: Winter
Wood-Firing; Tennessee Technological University, Appalachian Center for Crafts;
Smithville, Tennessee
1997: Exploring
the Teapot; one-week workshop, Tennessee Technological University, Appalachian
Center for Crafts; Smithville, Tennessee
1996: Raku
Workshop; one-week workshop, Tennessee Technological University, Appalachian
Center for Crafts; Smithville, Tennessee
1996: Week of
Mud; one-week workshop, University of Wisconsin; Whitewater, Wisconsin
1995: “Soda
Firing”; Archie Bray Foundation; Helena, Montana
1994: Slide
Lecture; Holter Museum; Helena, Montana
1993: Summer Ceramics Workshop for High School
Students; Four-week workshop, University of Iowa, Iowa City, Iowa
Curatorial Experience
March 2012 “Atmospheric”, Sarah Spurgeon Gallery, Art Department,
Central Washington University
Feb.
2010 “Ceramic Abstractions,
Formalist Approaches to the Media”, AD Gallery, UNC, Pembroke, North Carolina
Curatorial Experience before joining CWU faculty
2007
“Pitcher This, 40 Potters from California to Maine”, AD
Gallery, UNC, Pembroke, North Carolina
“East Meets West, 29 Artists From Nanjing Normal
University”, AD Gallery, UNC, Pembroke, North Carolina
1998
"Put a Lid on It, A Show About Containment"
(traveling show)
Tennessee Technological University, Appalachian Center
for Crafts; Smithville, Tennessee
Belmont University; Leu Art Gallery; Nashville,
Tennessee
University of Wisconsin, Green Bay; Lawton Gallery;
Green Bay, Wisconsin
University of Wisconsin, Whitewater; Crossman Gallery;
Whitewater, Wisconsin
Belmont
University; Leu Art Gallery; Nashville, Tennessee
1997
"Anything That Pours" Tennessee Technological
University, Appalachian Center for Crafts; Smithville, Tennessee
Feature Articles, Reviews and Publications
2014
“Wood-fired Ceramics: 100 Contemporary Artists”, By
Amedeo Salamoni with Forward by Jack Troy, Schiffer Publishing
2013
“500 Teapots Volume 2”, by
Jim Lawton, Lark Books
2006
“500 Pitchers”, Terry Guess, Lark Books
2005
“500 Cups”, Suzanne
Tourtillott, Lark Books
“500 Brooches”, Marthe Le
Van, Lark Books
2004
“Soda / Salt National 2004”, Ceramics
Monthly, September
2002
“500 Teapots”, by Kathy
Triplett, Lark Books
2001
“Ceramics 2001”, Ceramics Monthly,
September, review, photos, pp. 68-69
1999
“Robison and Guss”, by Ward
Doubet, Clay Times, Cover Article July/August Issue, photos, pp. 10-13
1998
"A Partnership in Clay", by Clive Clintonson,
Ceramics Monthly, September, feature article, photos, pp. 64-67
1996
"Steeped in Clay", Ceramics Monthly, March, review, photos, pp.
46
Authored Publications
2009
Authored Publications before joining CWU faculty
2007
“Yixing Teapot Techniques”, Video Screening at NCECA
conference, Louisville, Kentucky
2005
“Collection Obsession”, Ceramics Art and
Perception, March 2005 Issue #59
2001
“Bede Clarke’s Investment in
Teaching and Art”, Ceramics Art and Perception, Issue #43
1999
“Hoggama Experience, The
Building and Firing of a Well Designed Wood kiln”, Ceramics Technical, photos, Issue
8
1998
"Put a Lid On It", Ceramics
Monthly, photos, November, pp. 44-45
"Anything That
Pours", Ceramics Monthly, photos, January, pp. 48-50
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