A craftsman’s work evolves with time, new forms arise and old forms become more refined. This research attempts to study the evolution of pots over a designated period of time. The key findings include that the approach to glazing was relatively unchanged by the evolution in the work. However,the refinements that occurred in the work allowed the glazes to impart wonderful characteristics to the forms on which they are used.

I want the viewers of my work to participate with me in a common experience. How I choose to communicate an experience in the work is intended to effect the viewer's level of understanding and participation. Toward this end, an exploration of nontraditional self-portraiture involving the viewer in a relationship with the artist will be used to maintain the visual dialogue imparted through the work. Utilization of recognizable symbols and icons within the work is meant to increase the clarity of my communication enhancing the viewer's involvement in the common experience. Color, as a concern will relate to the increased access and interest of the work to the viewer's experience and understanding.

Chapter I describes the purpose of the project, which was to develop a body of work that exhibits my current thought process. The questions presented to myself consisted of the following: 1. How effective was the expression of my ideas socially and politically after the change to the work? 2. Was the minimal approach a tool that contributes or detracts from this effectiveness? 3. Did an increase in scale successfully act as an element of confrontation? Chapter II describes the inspiration behind the making of my work it also discusses problems encountered with an understanding of the viewer concerning imagery. Chapter III summarizes the methodology behind the execution of the new body of work. It also discusses how simplification of imagery works as a solution to my problems.

This problem in lieu of thesis outlines a body of work that uses technology and pop elements to discover ways to understand what it means to be human. In doing so it expands the interpretation of technology, ontology, and pop, and allowed the artist to find an essential balance between the three. It details the understanding of these borrowed aesthetics and their connection to the creative process.

Ever since I became interested in the world of ceramics, crystalline glazes have been the most fascinating and challenging to me. Even though crystalline glazes are the most difficult and elusive to potters, their spectacular results (when done right) keep me coming back. Over the last year I have developed a crystalline glaze that yields consistent and excellent results. During this period, I have worked with these glazes in the traditional manor, being that they are only applied to smooth porcelain vessels. My proposal will be to attempt crystalline glazes on different surface textures.

I chose to exhibit sculpture and classical style vessels together to encourage discussion about whether ceramics should be considered a fine art medium. I was interested in experimenting with different forms and textures in order to see which combination would captivate the viewing audience the longest. I found that massive textural sculptural forms held the attention of the viewer more so than did the classical smooth surfaced vessels.

The problem involves developing a method that leaves conventional form and form making and moves toward a spontaneous and intuitive approach. The thesis is organized into 3 chapters. The first chapter includes an introduction, statement of the problem and methodology. The second chapter describes the work in eight movements. The third chapter answers questions posed by the problem and includes a summary and conclusion. The findings are that a spontaneous, impulsive, and intuitive approach to the medium, clay, is a productive and artistic method. The medium is responsive and telling of the method and art is produced.

Investigating the behavior, function and appearance of ceramic materials has proven an enduring point of interest throughout my education. In learning about the vast range of the earth-yielded materials and their physical manifestations in states ranging from wet to dry to fired, I have found myself excited and challenged to seek out ways to expand their presentation. My attention has been repeatedly drawn to the class of ceramic materials that frequently get classified as “glaze ingredients.” Understanding the structural and visual qualities of these minerals and compounds was an interest whether I was making tableware, tiles, or sculpture. For the purposes of this paper, I propose to deal expressly with the physical art-making considerations of material and process as they relate to my work in ceramics. By directing my focus as such, I hope to center my work on a concern that became evident to the art world upon the display of Marcel Duchamp’s Fountain: material equals content.

During my career producing functional ceramics, I have followed a very traditional working methodology. As with many functional potters, I have always maintained a high level of productivity. Making many similar pieces allows me to develop an idea and to refine it through the working process. My method for developing a new piece is to first design the form, then to decide upon the desired manipulation of the surface planes and surface, and finally to consider the glazing and decoration to refine this new piece of pottery. I work with the new form systematically attempting to isolate and change specific elements, attempting to make each piece in the series more successful. Finally, changes are made to alter the form and decoration in order to achieve an integration of the new design into the present whole of my work. I make every piece intending that quality and craftsmanship will define each piece as an exceptional piece of pottery. Although my intention is that every piece be exceptional, the percentage of exceptional pots is not that high. In each kiln load, a minority of pieces meets my specific criteria of exceptionality. Although the other pots in each kiln load are of high …

The problem being investigated here is the development of earthenware clay bodies and Egyptian paste formulae which can be combined in the production of decorative ceramic forms, and the development of some forms using these materials. Information presented in this report was obtained through laboratory experiments in which the formulae were developed, tested, and evaluated. Application techniques used are presented in detail, and a range of earthenware and Egyptian paste color formulae are included for the production of this ware. Physical and aesthetic compatibility of the materials is discussed. This highly textural, decorative ceramic ware matures and glazes in a single low-temperature firing, application techniques are simple, and the materials required for its production are found in all well stocked ceramic studios.

Artist Statement from the MFA Exhibition: "I create figurative sculptures that explore the anxieties and rituals of acceptance. These sculptures embody ambiguous, self-referential narratives that act as a resolution between myself and my anxieties. My work is primarily ceramic because clay is an extremely intuitive medium, allowing me to explore the figure from both an emotional aesthetic and an anatomical scrutiny. I am also interested in multiplicity and its visual relation to habits and rituals. Repetition can be a very calming activity, but it can cause adverse effects as well. I am interested in that fine line between compulsive and compulsory."

Artist Statement from the MFA Exhibition: "In my artwork I explore my concept of home in relation to my memories growing up in the border cities of Juarez, Chihuahua and El Paso, Texas. Being a young immigrant, the only constants in my life were my sense of home and the common landscape on both sides of the border. In order to create a connection of that time and place, I investigate materials that are symbolic to my Mexican heritage and my life in the United States through the combination of traditional handwork and digital fabrication. I utilize various materials such as clay and corn husks, unifying them through the formal elements of value, line, and shape. My work becomes abstracted to symbolize the passage of time and the way in which our memories are imperfect representations of events."

Artist Statement from the MFA Exhibition: "I did everything right. I counted my carbs, meal prepped, and joined the high school volleyball team (For exercise of course. Heaven forbid it be for fun). All growing up, I always assumed that things would get so much easier when I stepped into adulthood. I would be comfortable in my body. Spoiler Alert, that didn’t happen. Before this starts to sound like a Judy Blume novel, let me explain. A shot of apple cider vinegar, 13 vitamins, gluten free diet, and portion control. These are all aspects of my routine that I dread but they keep me going. The concept of routine as composition really resonated with me when I first made these dietary changes. Much like repeated elements in a composition, repeated elements in my routine are what keep me going, help me function, and make me a successful composition (or human, whatever you want to call it). So why do I get bogged down by the objects that are supposed to be helping me? As a woman who has been on some sort of diet since age 12, it was difficult to come to terms with the fact that your body …

Juan Barroso's artwork depicts Mexican labor and the immigrant experience at the border. With the current political administration enforcing policies that dehumanize and force immigrants into the shadows, recognizing an immigrant’s humanity is vital. As the son of immigrant parents, he pays homage to his people and the dignity of their labor. He mixes 2- dimensional imagery, influenced by personal narratives, with 3-dimensional functional forms. Using a small watercolor brush, he paints his images with thousands of dots in a timeconsuming and labor-intensive process that becomes an act of devotion.

Brief Artist Statement by Naomi Peterson as part of a 2021 MFA Exhibition, entitled "liminal_ties” in the Cora Stafford Gallery on the campus of the University of North Texas from April 12-22, 2021.

Brief Artist Statement by Benjamin Statser as part of a 2021 MFA Exhibition, entitled "Objects of Desire” in the Paul Voertman Gallery on the campus of the University of North Texas on April 14-21, 2021.

I combine maternal feminist experiences with hand-built ceramic vessels to create functional ritual objects. Pregnancy, childbirth, and motherhood transformed me. I am not just “mother" but also “artist” and “woman:” this multiplicity is intersubjectivity. I reconciled my conflicting priorities through my art with authentic testimony, memorialization, and activism. Rich red earthenware is clothed with rhythmic, radial pinch marks and stylized floral illustrations. Pottery has a strong association with the body, combining naturally with corporeal forms. My installation and performance pieces use the pot's function as a conceptual vehicle. Perhaps a little solemn reflection kneeling before Vessel of the Female Spirit or listening by Fountain will make my viewers better stewards of their selves, the mothers in their lives, and this precious planet.

I have a desire to make functional objects and seek self-fulfillment through strong craftsmanship. I craft ceramic objects intuitively with an emphasis on the materiality of vessels. I strive to blend expressions of the natural world and the domestic space into functional ceramic wares. My work is a collaboration of material exploration and glaze research. In my practice, I am searching for a balance of human design, nature, and beauty of material. Clay is a seductively tactile medium. I am constantly challenging myself to highlight this characteristic within the finished pieces. Each ceramic piece is full of intentionality and become a record of time. The medium displays a record of moments of impressions and interaction between maker and material. Through the lense of functional ceramics, I create work that is an intersection of maker, object and user within a domestic space.

My ceramic works utilize a heightened sensory perception to encourage a prolonged engagement with the handcrafted objects. With an emphasis on repetition, I create individual rings from clay coils and interlink them in complex, radial configurations to produce a malleable, geometric network designed to respond to the user's movements. The work revolves around dichotomies: hard/soft, delicate/strong, inspired by clay's chemical alterations in the firing. Each malleable pattern preserves the fluid movement the pliable clay begins with. Overall, the abundance of ornament elevates the object, transforming an everyday object into something intended for special occasions or moments for the self.