In conjunction with the exhibition Preservation: Objects Registering the Past and Future, exhibiting artist Roberto Lugo, will share his process for creating a narrative in his own work. Roberto will lead you through exercises for how you can develop your own narrative and how overglaze application (China Painting) can be used on ceramic objects.
As an artist—a potter, painter, and performance artist—my work is a reflection of the diversity of my life experiences,” says Roberto Lugo, who teaches ceramics. Roberto’s life as an artist began in the Kensington neighborhood of Philadelphia, where he grew up painting graffiti on abandoned buildings, and has taken him as far as painting porcelain china in Hungary. He still calls himself a “ghetto potter,” reflecting on his inner-city origins, but he equates ghetto with the word “resourceful.” “I juxtapose porcelain with graffiti in the hopes that we can start to see how different cultural histories can work together.”
Roberto Lugo attended Kansas City Art Institute, earning his BA in 2012, and went on to the Penn State University School of Visual Arts to earn his MFA in 2014. He is a Ph.D. candidate in Art Education from Penn State, and is now a professor at the Tyler School of Art. He was honored as an Emerging Artist by NCECA in 2015.
Learn how artist and educator, Patrick Coughlin, develops dynamic surfaces using patterns and imagery. Explore techniques for using slips, underglaze and decals to create complex surfaces as well as tips for glazing, firing, and finishing your own work.
Patrick Coughlin received his BFA from Syracuse University and his MFA at the University of Florida. Patrick has been a resident artist at Watershed Center for the Ceramic Arts and Genesee Center for the Arts, and has exhibited work nationally and internationally. He has lead demonstrations and been a visiting artist at many institutions such as the University of Montana, Jacksonville University and Roswell Art Center.
Prior to moving to Philadelphia, Patrick lived and worked in Jingdezhen, the ceramic center of China. As an assistant in the design studio, he worked with local craftsmen in the production of design goods for a global market. Also in China, Patrick assisted in the management of the Education Center, where he facilitated international exchange and instruction.
His work has primarily focused on objects of material culture and their relation to process, heritage and domestic spaces.