Ceramicist and brush maker Troy Bungart isn’t out to compete with $5 mass-market bargain brushes.
“I am not making that brush. Those people have nailed it. There’s no reason to do that,” says Bungart, of Three Rivers, Mich. “Our tools should be beautiful. I want something that feels beautiful when I’m working, otherwise it’s weird if you think about it. Here I am trying to make something beautiful with the cheapest material.”
Chris Mayse likes what he likes.
That doesn’t necessarily mean Mayse likes the industrious effort it takes to complete the desired finished product or that the pieces he enjoys making the most remain his favorites in the end.
“I constantly feel like I’m pulled in two different directions when it comes to the work that I like to make and the work that I like to see,” says Mayse.
Pamela Timmons is the first to tell you she came to ceramics in a rather utilitarian, sensible way: She was a horticulturalist who ran out of vases.
“I tend to get in and jump in over my head before I know it. I just started doing that and it worked,” admits Timmons about her start in clay.
Within minutes of student June Mabarak spotting the visitor touring the education studio, she engages her in conversation and eagerly offers one of her handmade gnomes. The visitor from Washington state carefully selects a ceramic talisman and gushes graciously, announcing how she will tell friends back home how nice everyone in Detroit is.
Give your Eastern Market Flower Day cache a beautiful home with a ceramic planter by Annie E. Dennis, the featured artist of Pewabic’s Inaugural Kiln Pad Pop-Up Exhibition, 1-4 p.m. Sunday, May 21.
The final installment in a series of posts highlighting artists from Dysfunctional, curated by Roberto Lugo, on display at Pewabic through May 14, 2017.
These are the fourth and fifth artists in a series of posts highlighting DYSFUNCTIONAL, curated by Roberto Lugo, on display at Pewabic through May 14, 2017.
Scott Weaver wanted to do something special for Pewabic Pottery and for Detroit, to honor where he got his start and the city’s current vibe of revitalization.
“The domestic object as souvenir” is how Margaret Kinkeade sums up her work, which often reflects upon the nature of collections.
In Betty’s Delight, Brown, Red and White, Arrangement No. 1, Kinkeade translates fiber art quilt patterns and the concept of transmitting familial traditions, well wishes and meaningful heritage patterns into an arrangement of 40-some 6 x 6 inch mid-range stoneware, red stoneware and porcelain with underglaze plates with which visitors interacted at the exhibit’s opening.