member artists

Eve Behar

Eve Behar has been creating ceramic art since 1991. She has studied and had gallery shows in the U.S., Italy and Canada. Her teapots, serving plates, mugs and cups use a vibrant, colorful palette that can complement a modern or traditional setting.

Eve's ceramics have been described as colorful and lively. Her motifs and images are often drawn from her love of mid-20th century modern art and design.

Adrienne Fierman

I form most of my work by coiling and pinching, the most ancient and intimate of ceramic techniques.  I am intrigued by the elemental quality of clay to appear rough or refined; an object of beauty, however imperfect.  These handbuilt, organic forms convey tranquility and harmony, and are enhanced by primitive smoke, pit and raku firing.  A tension and balance simultaneously exist between a torn, rough edge against a smooth, finished one;  a textured surface overlapping a burnished one;  in raku, metallic glaze touching blackened clay.  My work reflects my love for New Mexico - its colors, light and spirit all inspire me.

Aileen Florell

In my art as well as in my life I seek the beauty in the obvious, the simple. The small seemingly insignificant things sorrounding your day, are fruitful inspirations. I think that is why I like making functional pottery, to beautify daily life. I arrived at pottery only after some time. I studied Chinese and Nordic languages at Stockholm University, which drew me to China. Once there I was fortunate to find an exceptional calligrapher, Chen Xiuqing, under whom I studied for two years. This changed my path. Clay had always held an attraction for me, but through my teacher’s influence I was able to focus on applying shape and form from calligraphy into three dimensional pottery.

Toni Ross

Toni Ross’ interest in shino, a Japanese glaze first used in the Momoyama period (late 16th century) sparked a new path that led her further towards the realm of sculpture. Shino has endless possibilities, infinite variations and is never replicable from piece to piece. Although intended to emulate the fine white glazes of china, depending on application, thickness, humidity and firing process shino ranges from white to orange to brown or black, to matte or shiny, rough or smooth. This leads to a natural collaboration between artist and the elements that never ceases to draw her deeper into exploration of form, surface and time.

Lucinda Piccus

"The first time I saw a crystalline glazed
vessel a few years ago, I was captivated by
the fluidity and magical qualities of crystals
floating beneath the glassy surface of the glaze.

I fell in love with the randomness of crystal formation, especially the way in which they change color and shimmer with changes of light. The crystals remind me of sand dollars and gingko leaves trapped under glass."

Phyllis Spiegel

"I was never formally trained in the arts or crafts but always had a deep appreciation for beautiful hand crafted objects, especially ceramics. When given the opportunity to work with clay, it became an all-consuming part of my life. The more I keep working the more I keep learning and this is what holds my passion for clay. There is always a new idea or a new technique to make my pots better then the last firing."

Joan Walton

Joan Walton lives, works and teaches ceramics in New York. Her work has been exhibited in national and international juried and invitational shows. "My work is inspired by the construction and natural wearing away of objects found on the forest floor or at the shore. It explores ideas about exposure, protection, vulnerability and inaccessibility."

Jonathan Zamet

Jonathan became interested in pottery while studying at Columbia. He started out in an arts and crafts program at Riverside Church. Later he became a studio assistant at Hunter College surrounded by a great clay faculty that included Susan Peterson, John Mason, Karen Karnes and James Makins. He also spent some time in the UK working for an American potter, William Mehornay, whose work is in the Victoria and Albert Museum.