Time-based

In order of most recently updated:

wall hanging sculpture of a ceramic bird and fabric map

Kirsten Taylor

2021, Terracotta, Monoprinted flocked wallpaper, rhinestones, Fringe

This piece explores the complex nature of identity as a universal concept, examining how identity develops and changes through time as a fluid thing. On a more specific level I want to bring up the politics of the body in relation to the feminine and the masculine as something that is intertwined, existing within a spectrum rather than within a system made up of binaries.
Dimensions: wallpaper is 10' across mirrors are 41"Hx26"W

Jasmine Fetterman

Bite, Performance, Ceramic Objects and Video, Since 2021

Raheleh Filsoofi

2013, Unfired clay, video projection, 4’’ x 66’’ x 102’’

Rachel Eng

cut extincting gallery wall

Ian F. Thomas

Slip-cast porcelain, underglaze, fired in an electric kiln to cone 6, cast foam, wood, audience participation, Size Varies~ 20’ L x 12’ W x 8’ H (feet), 2014, Photo: Kristine Condon

Forrest Sincoff Gard

Adrienne Eliades

Ryan Takaba

This is a sculptural diagram of the bisection of the MT Granite Design Seed Bank. It exhibits the double walled, inner seed capsule that helps to regulate the seed's temperature (which should stay around 50-60 degrees Fahrenheit when buried below permafrost). The Seed Bank Project is a multi-era, multi-disciplinary project meant to span decades, cultures and (hopefully) climate phenomena here on planet earth. Hand-made, double-walled porcelain seed vessels are given out to collaborators, who then fill them with seeds that have precious ecological and culturalsignificance to the region in which they call home. The banks are completely autonomous from human maintenance, meaning theyare specifically designed to control the interior seed capsule’s humidity, light and temperature when buried below permafrostutilizing both ancient and modern technologies. The screw top cap is sealed with beeswax to ensure no moisture or light can reach the seeds. This sustains the seed’s ability to stay viable for as long as its’ DNA will allow.

Rachael Marne Jones

inkjet print on watercolor paper, kaolin, porcelain aged in the forest for 1 month.

Marianne Chénard

June Woest, “At Home in Here”

June Woest

Site Specific, 2013, Recycled red clay, volcanic rock, performer in white, pine charred by recent forest fires, red cord, black adobe, and coal

Kristin Schimik

Casey Whittier

This vessel depicts different elements of an agrarian lifestyle.

Julia Whitney Brown

This piece consists of multiple short performances and involves the pouring of tea on unfired clay cookies as a way to explore cultural and familial loss.

Habiba El-Sayed

Maya Vivas

Rui Sha

Helena Tuudelepp, "The Wall"

Helena Tuudelepp

Marisa Finos, “Vessel IV”

Marisa Finos

2017. Paper porcelain, stoneware and slip. 18”H x 13” x 13”

Cydney Ross

Dan Elborne, “Five Hundred”

Dan Elborne

2016, digital print on archival paper

Neha Kudchadkar

Ceramic and glaze, Dimension: Each colour (1m x 12 cm), 2015

Giorgio di Palma

Clay, glaze, underglaze, flowers. 7.5 in x 3 in x 7.5 in each. Installation view.

Nicole Gugliotti

Charity White, “Main St. and University Ave.”

Charity White

2018, Stoneware, Anthracite Coal, Charcoal, Performer

Bailey Arend

2015, Gold-plated electroformed copper, brass, earthenware, 20x16”

Lauren Kalman

2015, Cone six porcelain, underglaze image transfer, glaze, and leather carrying case. 15” x 10” x 9”

Jeni Hansen Gard

FLO(we){u}R re-performs a World War One terra cotta test bomb factory. The dummies were used to train pilots in aerial bombing by filling these vessels with baking flour and dropping them from planes to see a white spot on the landscape.

Amber Ginsburg

wood panels, paint, porcelain chairs, decals, 10”x 25” 2017

Hope Rovelto

collaboration with Charlie Schneider, unfired stoneware, wood, resin, water, 2011

Nicole Seisler

2011, 6’x12’x14’h, bentonite clay, metal, water, wood, nylon

Linda Swanson

2018, Installation: ceramics, metal, wood, fabric, wool, wire, paint, epoxy, video, 156 x 216 x 216”

Jared Theis

2005-06, 5’ 4”, (The Mattress Factory, Pittsburgh, PA), plasticene, metal armature

Edie Tsong

2011, Archival pigment print, from performance with soundscape

J.J. McCracken

Porcelain, decals, gold luster, 12 x 6 x 22.5” 2016

Dustin Yager

Video projection, ceramic, lace, steel, red thread, 10’ x 9’ x 9’, 2015

Xia Zhang

Ceramic, unfired clay, wire and glaze, 25’ x 32’ x 12’, 2012

David Katz

22”w x 78”h x 37”d (in), Earthenware clay, metal wire 2012

Nayoung Jeong

2014, porcelain, dimensions variable

Lauren Herzak-Bauman

(Collaboration with Tobias Fike), 2013, live performance

Matt Harris

Holly Hanessian, “New Histories: Gadsden Farm Project”

Holly Hanessian

Unfired Porcelain, Traditional Ware Boards, Photography, Site Specific Installation

Nick Geankoplis

David Gallagher

Video Still, 2011, Raw clay, Body paint, Mirror, Cast porcelain modeling tools

Teri Frame

Porcelain, saltwater, reclaimed wood, 20’ diameter, 2006

Naomi J. Falk

Elk, clay, wood, ceramic, 4’x9’x4’, 2006

Shay Church

Branches II, Earthenware, 10 meters high, 2003, Nordic Contemporary Craft

Backa Carin Ivarsdotter

And the River Floweth On, Collaborative exhibition with Shawn Skabelund, shelled corn, mapped video projection, Greiner Art Gallery, Hanover College, Hanover, IN

Tiffany Carbonneau

Because I’ll carry you everywhere, Removed drywall from my studio embedded in the bedroom wall I grew up in, removed wall section from my bedroom, studio (pictured drywall in bedroom, still taken from video), 2011-ongoing

Brian Caponi

Slip-cast porcelain with low-fire glazes and lusters, Installation of multiple small sculptures

Susannah Biondo-Gemmell

Low fire clay, plastic, paper, paint, video projection, 2’ x 4’ x 6’, * see image list

Sarah McNutt

2017, 6ft long x 4ft wide x 2ft high, Waxed Canvas, Wood, Found and Altered Object, Ceramic

James Barker

Panorama of Desire, Unfired earthenware clay, cardboard, carton tape, wood, Installation view, 2013

Chad Curtis