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You might already know this guy....Shoji Satake

You might already know this guy....Shoji Satake....he's everywhere and seems to be at the center of all things interesting in ceramics. But you might not know the man behind all those important and cool things. In fact, Shoji himself refers to himself as the Lesser known husband of (if you know his wife, you know...i'm gonna leave it out and just say "pretty famous woman potter") But i actually knew Shoji long before I knew Jen. It was the 2012 NCECA Conference, and Shoji was looking for a way to mount an exhibition there at the conference center for the Jingdezhen ceramic exchange program he created. Something about dragons....(it doesn't take much to get me on board for anything related to dragons). Later i found out that he had previously served NCECA as Director-at-Large and parliamentarian. (i swooned a little at his Roberts rules knowledge) and much later, i had the good fortune to see him in action as we served for two years together on the NCECA board. Speaking of NCECA, you may recall the 2016 NCECA KC "rib hunt"...and the subequent year "tree hunt" in portland and so on....that was his brainchild and orchestrated entirely by him. Sure was fun. Shoji was born in Japan, raised in Alaska and now lives and teaches in West Virginia. Somehow, i see all of that culminating in his work. This combination of the delicate celedons and translucent glazes highlighting elements of nature juxtaposed with rougher, rugged, (yet still beautiful) bases, combine the landscape imagery of Japan and Alasak, and all of it seems enveloped in a smokey mountain mist and floral references that definitely make me think of West Virginia. I will also add that Shoji is an incredible foodie. If you ever have the opportunity to do so, dine with him and just let him pick the plates.(i speak from experience!) Get to know this guy and you will will learn all kinds of things, and you will probably also know where all the good stuff is happening.
When he is not actively engaged in the classroom or in his studio, he remains busy planning his next ultimate fly-fishing trip in pursuit of the giant trout or salmon or enjoying spending time with his wife, kids, and dogs. @shojisatake

Merissa Hylton is a multidisciplinary artist from

Merissa Hylton is a multidisciplinary artist from the UK. She studied at London Guildhall University and pursued a career in interior design and architecture. After over a decade in the corporate design world, she decided to return to her own personal art and became a full time artist in 2014. She believes strongly in the power of art as creative therapy, and uses her art to explore her own heritage, identity, and mental health. This comes through strongly in such series as “Celestial Queens” were Merissa paints parts of the female form over a backdrop of the universe, using the light of the stars to create the shadows and highlights of the figures.
Much of Merissa’s work is tied to the female form. It’s beauty, strength, and place in existence. Her paintings (and sometimes her own hair and makeup, which I LOVE) are vibrantly colored, celebrating heritage and being a black woman. Her sculptures, while simple and elegant in design, carry with them a weight that speaks to the struggles experienced by marginalized people. Merissa is also the founder of Black British Visual Artists, an arts and education organization that provides a place for African and Caribbean descended artists in the UK to come together and share their work with the wider art community and young/emerging artists without fear of judgement or prejudice. @merissahyltonart

The last two days, Dave and I (this is Cindy) have

The last two days, Dave and I (this is Cindy) have written about Patti Warashina and Akio Takamori, respectively, so it seems only right that today I write about one of their contemporaries and friends from right here in Lawrence, Roger Shimomura. As i understand it, the trio have been friends for a very long time....possibly since childhood, as Roger hails from Seattle, where Patti still lives and where Akio also made his home. To be fair, Shimomura's complete resume and CV is 73 pages long. I didn't read the whole thing to find out when they all first met. Shimomura moved here to Lawrence in 1969 (before i was born) to begin teaching at KU. He was the first faculty member ever to be designated a University Distinguished professor, among many other accolade, honors and awards bestowed upon him during his career. If you are flipping through the photos and looking for the clay, you won't find it. Shimomura is a 2 dimensional artist who utilizes american pop art style fused with evocotive and powerful social commentary, particularly of Japnes culture, sterotypes and the feelings of being an outsider. I think his work is such a reflection of him, perhaps more even than is common of any artist. He has a very serious demeanor, but then can be quick to smile, and when he does, his whole person smiles. He is approachable, yet at the same time, someone to be revered. He stays very involved in the local community art scene and is a strong supporter of the arts and teaching. For those of you who are local, he also has a house that is as unique and interesting as he is, you might have seen it out on 15th street (Bob Billings now) and Wagon Wheel drive....it's right on the corner, nestled amongst some trees, right on the edge of the hill...sharp industrial steel and concrete contrasting soft green nature. I hope you enjoy this side venture out of ceramics and into the paintings of Roger Shimomura and maybe you can find some inspiration or introspection from viewing it. As always, links to further study is available from the link in our bio!

I really like thinking back to the first time I sa

I really like thinking back to the first time I saw a piece from an artist and remembering my initial reactions. Not the thought-out, trained, and carefully edited version, but the immediate visceral response. When I first saw a piece by today’s artist, Patti Warashina, my gut reaction was ‘What's with these really weird dolls?”. Of course I had NO IDEA at that time who she is, or really anything about her at all. I am happy to share a little with you about this amazing artist. Patti Warashina attended the University of Washington, Seattle where she received both her BFA and her MFA. The majority of her teaching career was spent at the University of Washington, Seattle where she retired 1995, Professor Emerita. She served as a board member of the Archie Bray Foundation (2010-2019) and, just this year, became the recipient of the 2020 Smithsonian Visionary Artist Award. Warashina is regarded as one of the driving forces in the West Coast Funk Art movement from the 1960-70s, and her work is in the permanent collections of museums all over the world. Warashina’s work has evolved a lot throughout her 50+ year time as an artist, and I strongly encourage you to go looking for yourself at her work. The thing I like the most Is how individual and expressive each figure is. Whether It is the face of a lady hidden in a car, or a small person climbing around a spiral on the wall, each figure is clearly up to something. They stand or sit, fly or crawl, and have very real feelings about whatever they are doing..no matter how absurd or mundane it may be. In retrospect, I find that Patti Warashina’s work reveals something about ourselves. We go through our lives and the things that we feel strongly about, or the things we choose to do, may look completely absurd to someone else. But our weird little quirks and foibles are an essential part of what makes us human and keeps life interesting.

There is a TON of information available online

There is a TON of information available online about Akio Takamori, and probably a few hundred people who would be more knowledgable and articulate in speaking about his work than I. I am merely a humble admirer. He was a ceramic sculptor, but also well known for his drawings and paintings. He was a graduate of the nearby Kansas City Art Institute and would return to KC to visit often, but in these times, I had never met him, in fact, i had not heard of him until around 2010 or 2011 when I was on the NCECA board with Marge Levy, and Marge would talk about her friends Akio and Patti (Warashina) who both lived up there and what they were going to do for the conference. After one of our days of meetings adjourned, we went to the Seattle Art Museum, where i saw their work on display. That was when i realized Akio was "kind of a big deal" (I also realized how small my world had been to that point). Suddenly, Akio was everywhere, including back in KC for the opening of his show LUST at the Belger Arts Center/RedStar Studios in 2013. That was where i learned about the Japanese erotic art style known as "Shunga" Takamori's exhibition opened with the word SEX (I think i remember that correctly) spelled out by figures staged in rather erotic positions, inside the exhibition were more figure-spelled words such as the title piece, LUST as well as other pieces in this style. Not long after that exhibition, Takamori began his apolgy series, which was his final body of work. Focusing heavily on social and political issues, the narrative of this work clearly makes a statement on what continues to plague our society - injustice and the deep need for genuine apologies, the healing of ages-old rifts, and the need to overcome hatred an recover humanity. The social links in our bio include many sources for images of Takamori's work, and information on his life as an artist. I strongly encourage further exploration into this beautiful, gentle-souled artist

Delicate, detailed, intricately decorated teeny

Delicate, detailed, intricately decorated teeny tiny pots. If you are still looking at the first image and marveling at the beautiful carving and the precise patterns, prepare yourself for the scale as you swipe through the next images. Carla Martinez creates these mind-blowing vessels in the Mata Ortiz village in Mexico. The small birds are sculpted by hand and attached to the small pots. The decorations are applied with a brush made of about 2 or 3 hairs glued to the tip of a pen. I simply can't imagine the skill, patience and focus required to create them. I met Carla in 2016 when she and her husband presented a workshop at the University of Kansas before the NCECA conference in KC. I had met her husband at a conference several years earlier and had heard about her and her tiny pots from him, but I didn't really understand until i saw her making them live in person. It's not just that I was speechless, I was more stunned into silence as i watched motionless (paralyzed?) and mesmerized. What i found most interesting was not just watching her hands, but also, her face clearly showed her concentration, but also her joy in the creation. And her body seemed relaxed and at ease. There was no visible tension, even though i am certain that the muscular control necessary to support such fine motor skill is extreme. As she works, there is a freeness and a calmness to everything around her and it even feels a bit like time is slowing down. I think it's what people might describe as a Zen moment. When I got a chance to talk to her, I already felt a familial connection. I'm not sure if it came from watching her work or hearing about her in advance from Diego, or if it was just that like me, she was tall, but I definitely had an instantaneous feeling of friendship. She is one of the people i most look forward to seeing at NCECA conferences (though living in Mexico with young children means she is not able to come to all of them). The Mata Ortiz village is near the top of the list of places i want to visit once i am an empty nester. I want more time to get to know Carla, her family, her village and their culture and art. @carlamartinezvargas

Shiyuan Xu is a young sculptural artist born and r

Shiyuan Xu is a young sculptural artist born and raised in China. The daughter of 2 middle school teachers, her education was a high priority for her parents who wished her to excellence, respectability and wealth through a good, steady career. It was surprising, therefor, when Shiyuan chose to become an artist, and a shock that she decided to pursue this path in the U.S. But Xu’s passion for clay became so deep seeded that she wanted to prove to her parents and friends that she could make it and be “ok”.
Shiyan’s work is primarily inspired by micro organisms. Both the lines and structure of her sculptures, as well as her process of building each piece. By firing sections of a sculpture and then adding on and re-firing, then creating layers of textured glaze surfaces, her work seems to grow as organically as the cells and seeds that inspire it. Some pieces may be fired up to 10 times. Shiyan also brings her culture and traditional Chinese values into her work through her meticulous craftsmanship and use of the traditional Chinese blue and white color scheme.
“Beauty is the entry point of my work,” she says, “and I hope to pass down an awareness of the intricacy and fragility of the hidden world. Those micro life forms are fragile yet strong, simple yet complex. The power of the micro-world is particularly evident in the current Covid-19 pandemic. One microscopic virus has completely altered the way we will live for the foreseeable future.” @shiyuanxu129

I first met today’s artist in 2011 when he start

I first met today’s artist in 2011 when he started the year-long program as artist in residence at the Lawrence Arts Center. In addition to the heart of an artist, Allen Chen brought with him a fire for teaching and the soul of an explorer. Born in Taiwan, Chen immigrated to California in 1991. He received his BFA in Spatial Arts from San Jose State University in 2005, and his MFA in Studio Arts from Notre Dame in 2009. In addition to Lawrence, Chen completed residencies at the Red Lodge Clay Center and the Mendocino Art Center. He has taught classes and workshops all over the United States and is currently an Associate Professor of Ceramics at the University of Southern Mississippi. Chen’s sculpture takes a unique look at the relationship between object and metaphor. He constructs his elements with slip and paper clay dipped over steel rods, assembled into structures, and then and fired. When I first saw his work, it reminded me of DNA strands or skeletal structures, and although I truly appreciated the technical skill, I really didn’t ‘get it’. Over the course of the year, I got to know him better. Each time we would talk about a firing technique or the kilns, I could see his eyes light up as he took in the new information. Chen takes great joy in exploring new concepts and learning more about the world around him. He passes that joy on through his work by showing us the connection between the inner, personal space, and the outer world. It was at his solo residency show that I finally understood it. Each element is a metaphor for an idea, place, or moment in time. The work is a vessel that represents those things, but the real magic comes when these moments are seen together as an installation. As we view and interact with the work, a narrative forms. We see how each piece relates to the one before and after. Then we notice how they also connect with the ones across the room…and the shadows cast on the walls and floor. With each piece, Allen Chen offers a new part of the story. He shares with us his journey but reminds us that we are all on a journey of our own that twists and turns and connects with the people around us.

In our field, when you hear terms like VISIONARY

In our field, when you hear terms like VISIONARY...LUMINARY...INFLUENCER...CATALYST...LEADER Ayumi Horie should come to mind immediately. Almost two decades ago, her work entered the spotlight. Since then, her acclaim as a potter has skyrockets. Her functional work features drawings of animals. The skill and craftsmanship coupled with the aesthetics and artisanship, and the fact that the little creatures are just plain irresistable placed her and her work in high demand. Workshops, accolades, and well-deserved attention followed. For most potters, this is the dream. For Ayumi, it seems to have been a springboard for more. Ayumi sets an example in so many ways, but first and foremost is that she uses whatever attention she garners to lift other voices, worthy causes, and shed that light on all things that need more attention. I said LUMINARY above, but I think also MIRROR or REFLECTION is also appropriate, because she rnot only reflects the light shined up on her, she also reflects to the world that which she wants/needs us all to see. In addition to her own heavily followed instagram account, she also spent 5 years working on an instagram-based project called Pots in Action, which features beautiful handmade pottery in use, drawing nationwide attention (outside of our field) to the value of using handmade pottery and supporting makers. She is now engaged in a fundraising mission to make this project indexed and searchable. Social engagement, activisim and fundraising are definitely not foreign to Ayumi. Obamaware, Portland Brick, Handmade for Japan, and her latest project, The Democratic Cup (links to all in our bio) have all demonstrated incredible impact on a variety of societies. Ayumi is without a doubt one of the most sought-after minds/spirits in our world. Everybody wants her on their non-profit boards or to work on their project/idea, Everybody wants her to teach a workshop in their place, Everybody wants an Ayumi cup or plate or bowl, Everybody waits to see what magic she will make next. Last note: she has one of the absolute best websites I have ever seen. @potsinaction @ayumihorie (credits & links in bio)

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If you haven't already heard of Steven Young Le

If you haven't already heard of Steven Young Lee, you have probably at least seen his work. He is known for creating elegant, ornate, detailed and precisely decorated vases which he then rips apart, folds, bends, puddles, or breaks in some way. The asian forms and motifs he uses indicate a clear knowledge and understanding of both the history and the techniques of making fine china....and then the departure from that is incredibly powerful. When i first saw his work several years ago, i found myself trying, in my mind, to unbend the fallen vessel, heal the rip, seal the chasm. I wanted to see the perfection of the piece prior to its demise. I was uncomfortable. I was a little sad. I felt a bit like a first year pottery student who is working on the wheel on the largest piece they have yet done, and it's GOOD, and then...one drip of water too much, one pull too hard or too fast, one platelet of clay out of place and it collapses. So what does this intentional collapse represent? "I enjoy challenging preconceptions of identity and systems of belief leaving the viewer to construct the context and/or narrative of the object based on their own perspective and experience.” All I could think of was how much time was spent on this piece...the throwing, the decoration, and then WHY WOULD YOU DESTROY THAT, STEVEN? Not sure what that says about my "own perspective and experience". His work definitely evokes a strong emotional response. (Fortunately for me, Steve has a body of work that contains all of the serenity, history, and beauty, but without the "flaws & imperfections" that cause me angst. (I am even fortunate enough to own one!) I enjoyed researching Steve a bit more for this instagram spotlight. Much "productuctivity time" was lost as I went down the rabbit hole of his website, discovering new to me bodies of work, such as his "Made in China" series, which celebrated the year of the rabbit, and his painted pots...Steve's beautiful form coupled with automotive paints (who wouldn't want a pot in Prowler Yellow or Mercedes Blue...or of course, my favorite, Candi Red) And my favorite, the cup panels, which remind me of my dad. @stevenylee

Stephanie H. Shih is a first generation Asian Amer

Stephanie H. Shih is a first generation Asian American who uses her skills in ceramic art to connect with other first gen. Asian Americans. She does this by recreating asian pantry staples in clay with meticulous attention to detail. Matching colors, sculpting to scale, and doing her best to replicate labels and packaging. In her installations she pairs these sculptures with other traditional Asian household items and creates small areas of typical Asian American homes, like the entry way where bags of groceries are set down to remove shoes and don house slippers. Her work has been featured by NPR, the LA Times, The New Yorker and The Guardian.
From across the room you likely wouldn’t realize you were looking at clay sculptures, but on closer inspection you can see the brush strokes, finger prints, and hand painted features that are still surprisingly true to their objects of inspiration. Stephanie has a beautiful way of describing the look of her work. “The process of recreating the Chinatown grocery stores of my youth has itself become part of my work: crowdsourcing food memories from other first-generation Asian Americans, researching the packaging variations that have since been updated, and replicating labels with abundant fishing scenes from an oyster sauce I’ve used hundreds of times but never really looked at. The result is a pantry from the ‘80s——filled with fingerprinted surfaces and shakily painted labels——that looks at once familiar and hazy, like an old memory.”
@stephaniehshih

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