In this 2-day workshop, Adam Field and Doug Peltzman demonstrate methods of working that have lead them to create distinct, yet complimentary, bodies of work. Both Adam and Doug share a love for pattern and history while incorporating completely different sources, techniques and materials into their pots. Field demonstrates his methods of wheel-throwing porcelain vessels and carving intricate pattern on a variety of forms. Peltzman shares his techniques for throwing and building with porcelain along with his ideas about designing pots with specific glazes in mind. Field’s generous discussions about his time as a potter's apprentice in Korea, personal aesthetics, and promotion and marketing strategies for the studio potter are certain to encourage individual discovery, growth, and development of fresh ideas. Peltzman shares stories about his life and work from his early years wood-firing to his current exploration with electric firing. He also discusses his unique perspective on working as a studio potter and what it takes to make a living. There is also informative discussions geared toward finding inspiration through personal exploration of one’s own practice, both in and out of the studio. You gain the skills and confidence necessary to explore form, texture, line, and color as a way to blend ideas and concepts with tactile discovery. This workshop includes time to get hands-on with trying out some of the techniques that Adam and Doug are demonstrating.
Born and raised in Colorado, Adam Field earned his BA in Art from Fort Lewis College. For two years he immersed himself in the culturally rich art scene of the San Francisco bay area, where he began his full time studio practice. From there, he relocated to Maui, where he established a thriving studio business. He spent most of 2008 in Icheon, South Korea, studying traditional Korean pottery making techniques under 6th generation Onggi master Kim Il Mahn. In 2013 he created and debuted HIDE-N-SEEKAH at the NCECA conference in Houston, TX. After maintaining his studio in Durango, CO for 5 years, Adam recently moved to Helena, MT where he is currently a long-term artist in residence at The Archie Bray Foundation. His works are included in private collections and kitchen cabinets internationally.
Doug Peltzman is a full time studio potter in the Hudson Valley area of New York. After several formative years studying painting, Doug came to earn his Bachelor of Fine Arts in Ceramics at SUNY New Paltz in 2005. From 2006-2008 he served as the ceramic area technician and adjunct instructor at the University of Hartford. In 2010, he received his Master of Fine Arts degree in Ceramics from Penn State. Most recently, he had the honor of presenting and demonstrating at the Arrowmont School of Arts and Crafts for the Utilitarian Clay Symposium. Doug is actively exhibiting his work, as well as teaching workshops both locally and nationally. His work has been featured in many national publications and can be found in homes and kitchens across the country.
Please contact Josie Bockelman, Director of Education, at firstname.lastname@example.org or 215-925-3453 x.23 if you have any questions or need hotel recommendations.
Instructors: Rebecca Hutchinson, Graham Hay & Jerry Bennett
A unique collaboration featuring three leading international paperclay artists; this hands-on workshop provides an opportunity for you to explore and experience new approaches to sculptural forms and functional pottery using paper clay and other innovative materials. Together with the instructor’s distinctive perspectives, experiences and techniques, you explore paper clay as a sculptural medium using innovative construction techniques.
Demonstrations include clay preparation, building techniques for using paper clay (Weaving, dipping absorbent materials, working over armatures, building with paper sandwiched paperclay, slip trailing, working with hard construction utilizing hot wax and stencils for resist,) firing and non-firing options, problem solving related to repair work, rapid working with clay, reducing shrinkage and many other sculptural considerations; all to achieve qualities of translucency, weightlessness and sculptural and experimental building ease.
Participants are encouraged to develop individual ideas and conceptual directions. The workshop is balanced between demonstrations, special topics presentations and studio construction time. This material and experimental approach is aesthetically unique and versatile for artists of all ages and feasible within classrooms and studios of all levels and resources. You receive clay materials and handouts that will provide valuable information about clay and glaze formulas, suppliers, practical applications for clay formulas, both fired and non-fired.
Nerikomi is an ancient Japanese decorative technique that uses colored clay to make intricate designs directly in the clay, rather than decorating on the surface of the pot. Patterned rolls, or “canes” are formed by stacking different colored clays together. Cross-section slices of these canes are applied to slabs of clay, making decorative clay “fabric.” Working with colored clay in this way is all about patterning-- making colorful designs- flowers, geometrics, checkerboards, stripes etc. and integrating this design into the body of the pot. Learn the basic nerikomi process: coloring clay, making nerikomi rolls and fabric, and using the fabric to construct elegant and sturdy porcelain forms in this demonstration based workshop.
"I have been making pots all my life- when having full-time demanding jobs, when teaching and raising kids, when my full-time pottery income was $12,000 a year and I felt rich. Pottery has been the golden thread weaving throughout my life."
Nell taught ceramics at SUNY Binghamton, New York, and was a resident at The Clay Studio in Philadelphia. During the early 1990’s Nell lived in Tokyo, Japan, and taught ceramics at Seisen International School. Nell exhibits nationally, most recently at Strictly Functional 2014. After moving back to Pennsylvania, Nell opened Milkhouse Studio, in Phoenixville. www.nellhazinski.com
Slip casting may be used as an alternative to press molding for tile making using the same, or similar, molds. So why would someone choose slip casting over press molding? In this workshop you discuss and learn first hand how open face molds are made for slip casting tile and why they may be the right choice for certain imagery or work styles. Along with a demonstration of plaster mold making and methods to produce a castable positive, Lisa shows how to build and add imagery to tile using casting slip as well as how to work into the mold itself to refine imagery and add detail. You also review the entire process from slip to glaze firing, including the use of custom earthenware temperature glazes, color slips and underglazes, firing programs, and how to increase surface interest. Students may finish their castable image and produce their individual plaster molds outside of this class.
Lisa Muller has been developing her current body of work for ten years. First inspired by the work of Henry Mercer of Doylestown PA, she has developed an imagery rich style combining mythology and history with humor. Narrative in nature, Ms Muller’s work centers around observing the ordinary and at times blithely comments on relationships and other snares of adult life. She earned an MFA from Tyler School of Art in Philadelphia for ceramics, and has taught numerous classes and workshops for a range of age groups. Ms. Muller exhibits regularly in regional and national shows and has created numerous public installations for a variety of venues including the Philadelphia International Flower Show, the North Dakota Museum of Art, and the town of Phoenixville. She currently lives and works in Pottstown PA. Learn more at www.lisamullerstudio.com.