The first chapter of this descriptive paper outlines a problem, proposes a solution and poses three questions for me to answer after completion of research. The problem was to bring an emerging ceramic style into all of my pieces rather than just the few I have mastered. The solution was to create three sets of new forms and make them repeatedly until they boasted the sought-after style. Chapter 2 chronicles the research of creating, morphing, detailing and finally mastering these new forms. Chapter 3 summarizes the experience and answers the three aforementioned questions: (1) What is my personal definition of a successful pot? (2) How does the undulating style affect the functionality of the pot? (3) How does the Campbell tartan glazing complement or detract from the pot's form?

Chapter I describes the purpose of the project, which was to develop a body of work that exhibits all that I am at this point in time. The questions I presented to myself were the following: 1. A successful piece is defined by what parameters? 2. What visual qualities indicate my passion for clay and my enthusiasm for life? Chapter II lists and explains the five parameters of a successful piece, which are composition, firing, mark making, color contrast, and movement. Furthermore there is an explanation on how these parameters visually display my passion for clay and my enthusiasm for life. Chapter III is a summary concluding that by discovering my five parameters of a successful piece I now understand the elements that I am searching for in my work. My work will grow from this understanding as long as I have the same passion for clay and enthusiasm for life.

Through my art I seek to communicate the continuing cycle of change that unites all life forms. I had to find methods of presentation and surface that would enhance my sculptural statements that I had begun to address. Utilizing salt, wood and low temperature sagger firing, resulted in softer, more natural appearing surfaces. These surfaces complimented and completed the organic forms with which I was working. The problems encountered in presentation were rectified by alternately contrasting the surfaces of the presentation with the surfaces of the pieces, while utilizing forms that echoed the natural forms of the pieces. The opposite approach also worked well, using natural presentation materials to create a sense of unity, and geometric bases for contrast. These methods resulted in an increased sense of energy, unity and completion in the work presented.

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.

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.

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.

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 nature of clay's physical attributes and the application of these characteristics to an expression of gestural movement in utilitarian ceramics.

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.

The purpose of this investigation is to explore the possibilities of manipulating clay in three distinct ways to effectively show that clay objects were at one time moist and pliable. The techniques used are faceting while wet, manipulating a variety of additions, applying different glazing techniques, and three separate firing methods. In addressing the problem, the following concerns were considered: (a) Which of the pieces made best expresses my aesthetic concerns? (b) Which firing method, oxidation, reduction or atmospheric, best illustrates these concerns? (c) Which glazing technique was most successful? In an attempt to explore and solve these problems, a series of twenty pieces were produced. A visual record of slides showing individual pieces were made to demonstrate the differences and similarities between firing methods.

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 …

Art work ( Circle pedestals created using CNC Router) in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023.

Art work (Hanging Cups, Flower Vases, Mugs, and Cups shown) in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023.

Art work in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023. The tall, elegant Delphinium Cup stands at attention. A single row of rings flares out around the belly of the cup, accentuating the narrow stem beneath. A scallop design is echoed throughout the vessel, from the lip of the cup to the foot. Each regimented undulation highlights the femininity of the form by its association with flower petals. A deep pool of glaze is found within the crevice above the rings' attachment, accentuating the ornamentation. On the lip of the vessel, there is a lighter break in color, showcasing the effects of gravity as it pulls the glaze down the surface. When using this cup, the hand wraps around the narrow stem, nestling beneath the ornamental belt. Each ring brushes against the holder's knuckles, a reminder of their malleability and playful nature. The luxurious design implies a vessel to be appreciated occasionally on a special day.

Art work ( Shelf created using CNC Router) in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023.

Art work ( Shelf created using CNC Router) in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023.

Art work (Cups suspended from the ceiling) in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023.

Art work in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023. Defying gravity, the intricate walls of Flower Vase stand frozen. The thin walls and delicate floral network create an aura of vulnerability as they stand exposed. The glossy sheen of the glaze highlights every arch and curve, and the deepening pool of its color accentuates every connection and texture. The floral network encases the vessel that sits inside, its matte surface allowing the woven components to stand out. Every connection point made by the maker is left on display, balancing the ornament of the object with the beauty and order of the flowers within the vase.

Art work (Pedestal created using CNC Router) in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023.

Art work in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023.

Art work (installetion) in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023.

Art work ( Hanging Cup: 16"x12"x12" and Tapestry: 21"x 21"x 3") in ceramic and cone 10 porcelain by artist Segrest, Courtney, as part of 2023 MFA exhibition entitled: "Inside, Outside, Under" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, Texas, from April 26 - April 29, 2023. From a distance, the ordered structure on Hanging Cup?s exterior consumes it. Upon closer inspection, the silhouette of a vessel becomes apparent within the chaotic mass of rings. Extending the hand around the top of the vessel and lifting it produces a soft tinkling as the woven system shifts. It stretches upward as it is lifted, the interlinking rings growing and spreading wider apart, creating windows to peer through to the interior. After it is fully expanded, an opening is revealed at the bottom. Sliding the arm underneath this exterior system causes the weaving to respond and fall, like a veil, over the top of the arm. Every movement of the fingers or arm is responded to with the shifting of interlinking rings. The ever-present tinkle of the high-fired ceramic fills the air creating a heightened sensory interaction drawing the holder's attention. The hand forms around the undulating walls of …

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.