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.

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.

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.

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.

The body of work created during this exploration indicates that painting approach can actively integrate with the clay element. The main point is the surface manipulation during this process. There are four factors relate to this manipulation: timing, action, style, and size. Overall, the painting approach can be modified to create a truly active relationship with clay element. The final touch by the fire and glazing techniques reflect paintings approach may be used in a variety way to decorate the clay element without any limits. Moreover, the painting approach need not be subordinate to the clay element. It can be used not only to complement the clay, but also to enhance any given clay pieces no matter what the shape is.

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.

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.

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

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 …

Work of art in Charred corn husks by artist Karla Garcia part of a 2019 MFA Exhibition, entitled "Uncertain Ground."

Work of art in stoneware, underglaze, acrylic, resin by artist Teresa Larrabee as part of her 2019 MFA Portfolio.

Work of art in stoneware, slip, underglaze, wool, beads by artist Teresa Larrabee as part of her 2019 MFA Portfolio.

Work of art in stoneware, cone 7 oxidation by artist Lyndee Deal as part of a 2019 MFA Exhibition, entitled "Live With It!"

Work of art in MDF, pine, paper (Paper mache of museum visitor responses on paper) by artist Karla Garcia part of a 2019 MFA Exhibition, entitled "Uncertain Ground."