Visiting Artists

Since 2006 16 Hands has had the honor of presenting the work of fine craftsmen from around the country in our bi annual studio tour. Each member studio hosts artists introducing the community to new and different talented craftsmen each year. Check out our upcoming visiting artists and view the roster of past guests below.


 Fall 2017 VISITING ARTISTS!


Janel Jacobson

with Ellen Shankin and Brad Warstler

The joy of using pots every day goes hand in hand with loving to make useful pots for others to embrace in their daily lives.  My current work focuses primarily on wheel-throwing using porcelain clay, and occasionally using stoneware clay, to make useful wares such as drinking vessels, bowls, plates and an assortment of pots that can be used in the kitchen for food preparation.  The feel and the smell of the clay, the beauty of the wet pots, the variety of glaze results, and the making of new forms are all a part of why pottery-making is a compelling life pursuit for me.  Knowing that others enjoy using those pots makes it all even better. The porcelain glazing this year explores a bright white glaze, also modified to make pale blue and pale green versions, having a soft, satin-feeling surface that is contrasted by the use of colored clear glazes on the same piece. The stoneware pots are glazed with our studio glazes that my husband, Will Swanson, uses for his pots:  shino, carbon trap, white shino, my old 7-White from my early years, and occasionally a black/temmoku.  The white that I use on the porcelain, and its soft blue and green variations, are also being applied to the stoneware with very interesting and pleasantly touchable results.  Everything is high-fired in a gas reduction-atmosphere kiln.    

The joy of using pots every day goes hand in hand with loving to make useful pots for others to embrace in their daily lives.  My current work focuses primarily on wheel-throwing using porcelain clay, and occasionally using stoneware clay, to make useful wares such as drinking vessels, bowls, plates and an assortment of pots that can be used in the kitchen for food preparation.  The feel and the smell of the clay, the beauty of the wet pots, the variety of glaze results, and the making of new forms are all a part of why pottery-making is a compelling life pursuit for me.  Knowing that others enjoy using those pots makes it all even better.

The porcelain glazing this year explores a bright white glaze, also modified to make pale blue and pale green versions, having a soft, satin-feeling surface that is contrasted by the use of colored clear glazes on the same piece. The stoneware pots are glazed with our studio glazes that my husband, Will Swanson, uses for his pots:  shino, carbon trap, white shino, my old 7-White from my early years, and occasionally a black/temmoku.  The white that I use on the porcelain, and its soft blue and green variations, are also being applied to the stoneware with very interesting and pleasantly touchable results.  Everything is high-fired in a gas reduction-atmosphere kiln.

 

 

Benjie Osborne

with Silvie Granatelli

 Benjie appreciates joinery, color and detail in his furniture. Dovetails, mortise and tenons and lock miters act both as strong joints and carefully considered features.  Benjie seeks out those unique pieces of wood that nature has dyed in unexpected ways.  He carefully selects bright red Paduk, high contrast light yellow and rich black and purple poplar, red orange cherry and ‪deep purple‬ walnut.  Rest assured that each bevel, each proportion, each angle, and each material has been overthought and he has enjoyed every step of the process, except the pricing.

 Benjie appreciates joinery, color and detail in his furniture. Dovetails, mortise and tenons and lock miters act both as strong joints and carefully considered features.  Benjie seeks out those unique pieces of wood that nature has dyed in unexpected ways.  He carefully selects bright red Paduk, high contrast light yellow and rich black and purple poplar, red orange cherry and deep purple walnut.  Rest assured that each bevel, each proportion, each angle, and each material has been overthought and he has enjoyed every step of the process, except the pricing.

 

Josh Manning

with Rick Hensley

I make my pots out of a proto-porcelain that is mostly wheel thrown, sometimes cast, and fired in a gas reduction kiln. There are elements of hand-building, extruding, and mold forming incorporated throughout the body of the work. In general I am more attached to the idea or form of a potential piece; this has led me to using many different methods of making. Inspiration for the work is as varied as life. It comes in many forms and at times completely random. I have a deep routed interest in historical Asian ceramics, namely 12th & 13th century Chinese pottery. I continually find new avenues and elements of working from that era to incorporate into my pieces.  Aside from the formal aspects of those historical works, I also find the concept of place based making and the use of local materials both captivating as well as challenging.  I feel that a better understanding and appreciation of my materials will in the end help to produce a better piece.

I make my pots out of a proto-porcelain that is mostly wheel thrown, sometimes cast, and fired in a gas reduction kiln. There are elements of hand-building, extruding, and mold forming incorporated throughout the body of the work. In general I am more attached to the idea or form of a potential piece; this has led me to using many different methods of making.

Inspiration for the work is as varied as life. It comes in many forms and at times completely random. I have a deep routed interest in historical Asian ceramics, namely 12th & 13th century Chinese pottery. I continually find new avenues and elements of working from that era to incorporate into my pieces.  Aside from the formal aspects of those historical works, I also find the concept of place based making and the use of local materials both captivating as well as challenging.  I feel that a better understanding and appreciation of my materials will in the end help to produce a better piece.

 
 

Joey Sheehan

with Rick Hensley

I began my explorations in clay almost 14 years ago.  I was seduced by the material and the wheel, and the idea that I could create something beautiful and useful at the same time.  My interest then fell into surface and color, using textural porcelain slips and layered glazes to create bright, flowing, and volatile surfaces.  As I have grown and matured in life, my work has followed.  I am still fascinated by glaze and surface, but with a higher understanding of form and flow.  I am deeply influenced by classical shapes and why and how they were made.  I attempt to embrace these studied forms but with a contemporary twist.  In my current method of firing in a large two chamber wood kiln I am exploring the interaction between form and fire;   building a relationship in the piece between the function, surface, and the story of the firing process.  Each pot is made and placed in the kiln conscientiously with an expectation and openness.  A desire for success, and a pupil’s acceptance of result.

I began my explorations in clay almost 14 years ago.  I was seduced by the material and the wheel, and the idea that I could create something beautiful and useful at the same time.  My interest then fell into surface and color, using textural porcelain slips and layered glazes to create bright, flowing, and volatile surfaces.  As I have grown and matured in life, my work has followed.  I am still fascinated by glaze and surface, but with a higher understanding of form and flow.  I am deeply influenced by classical shapes and why and how they were made.  I attempt to embrace these studied forms but with a contemporary twist.  In my current method of firing in a large two chamber wood kiln I am exploring the interaction between form and fire;   building a relationship in the piece between the function, surface, and the story of the firing process.  Each pot is made and placed in the kiln conscientiously with an expectation and openness.  A desire for success, and a pupil’s acceptance of result.

Laura Cooke

with Josh Copus

For me, pottery is a blending of both function and aesthetic. While I am very attuned to form, color, and design, drawing much inspiration from nature, I also pay attention to the way my work feels to hold and how easy it is to use. I want the handles of my mugs and pitchers to have a comfortable grip, for example, and I curve up the edges of my plates slightly so sauces don't run off and peas don't escape.  My pots each display evidence of the process I use to create them. In our society dominated by mass production and faceless corporations, handmade objects introduce human connections that I think we all yearn for. I want to draw the user in to look at the differences in subtle details of my work: the way the lines travel around the pot, the point at which they waver or are sharp and crisp or how the glaze breaks over a curve. I hope that the daily use of my ceramics will remind the user of the slower, handmade, and local aspect that they can choose for their lives.

For me, pottery is a blending of both function and aesthetic. While I am very attuned to form, color, and design, drawing much inspiration from nature, I also pay attention to the way my work feels to hold and how easy it is to use. I want the handles of my mugs and pitchers to have a comfortable grip, for example, and I curve up the edges of my plates slightly so sauces don't run off and peas don't escape. 

My pots each display evidence of the process I use to create them. In our society dominated by mass production and faceless corporations, handmade objects introduce human connections that I think we all yearn for. I want to draw the user in to look at the differences in subtle details of my work: the way the lines travel around the pot, the point at which they waver or are sharp and crisp or how the glaze breaks over a curve. I hope that the daily use of my ceramics will remind the user of the slower, handmade, and local aspect that they can choose for their lives.

 

Spring 2017

Sarah McCarthy

at Rick Hensley & Donna Polseno's

Daily I create with my hands, exploring, experimenting, moving the clay, making a living. In the studio I enjoy the repetition as much as the exploration of new forms and surface designs. I am full of gratitude that creativity continues to move in me daily. Making and using pots to me is learning to see, learning to pause, to share, to see beauty.  My work is exploring the surface balance of a natural patina and vivid color. The natural patina is clay showing its rawness and its depth.    The bright surface colors are influenced by my living and traveling in Latin America and the colorful textiles, fabrics, people, and birds that I have come to know and love. The surface designs are influenced by my daughter’s drawings and the naturalness of children’s art. I teach and work with children weekly because they uplift me and bring me hope. There is something whimsical and pure in children’s perspective and creativity that continues to inspire me.

Daily I create with my hands, exploring, experimenting, moving the clay, making a living. In the studio I enjoy the repetition as much as the exploration of new forms and surface designs. I am full of gratitude that creativity continues to move in me daily. Making and using pots to me is learning to see, learning to pause, to share, to see beauty. 

My work is exploring the surface balance of a natural patina and vivid color. The natural patina is clay showing its rawness and its depth.   

The bright surface colors are influenced by my living and traveling in Latin America and the colorful textiles, fabrics, people, and birds that I have come to know and love.

The surface designs are influenced by my daughter’s drawings and the naturalness of children’s art. I teach and work with children weekly because they uplift me and bring me hope. There is something whimsical and pure in children’s perspective and creativity that continues to inspire me.

 

Joey Sheehan

at Josh Copus'

I make pots in a small studio on the French Broad River in Asheville.  My pots speak to the historical nature of function and beauty found evident in many cultures.  The forms I make are deeply influenced by tradition but with a contemporary twist on surface and texture.  Each pot is hand made with high fire North Carolina stoneware clays, porcelain slips, and over seventeen different glazes.  My pots are fired in my two chamber wood kiln at my home in Madison County, with wasted wood from various local sources.  Pots in the front chamber are naturally coated with wood ash and flame during the firing for unique flashing and individual surface.  The second chamber is filled with glaze ware and heated to cone ten in a reduced atmosphere by the escaping heat and flame from the front chamber.  My entire firing last for two full days.  

I make pots in a small studio on the French Broad River in Asheville.  My pots speak to the historical nature of function and beauty found evident in many cultures.  The forms I make are deeply influenced by tradition but with a contemporary twist on surface and texture.  Each pot is hand made with high fire North Carolina stoneware clays, porcelain slips, and over seventeen different glazes.  My pots are fired in my two chamber wood kiln at my home in Madison County, with wasted wood from various local sources.  Pots in the front chamber are naturally coated with wood ash and flame during the firing for unique flashing and individual surface.  The second chamber is filled with glaze ware and heated to cone ten in a reduced atmosphere by the escaping heat and flame from the front chamber.  My entire firing last for two full days.  

Ashley Buchanan

at David Eichelberger & Elisa DiFeo's

My work focuses on image, pattern and decoration in order to reference ornamentation and historical jewelry. As a maker, it is my intention to challenge the conventions of handmade jewelry through the use of inexpensive materials and new approaches to design and surface decoration.   By combining the handmade with the industrial and the digital, I aim to produce pieces that speak to the past, present and future of Craft while maintaining familiar identity between the viewer/wearer and the object.

My work focuses on image, pattern and decoration in order to reference ornamentation and historical jewelry. As a maker, it is my intention to challenge the conventions of handmade jewelry through the use of inexpensive materials and new approaches to design and surface decoration.  

By combining the handmade with the industrial and the digital, I aim to produce pieces that speak to the past, present and future of Craft while maintaining familiar identity between the viewer/wearer and the object.

 

Maggie Jaszczak

at Ellen Shankin & Brad Warstler's

I make hand-built earthenware vessels that draw on the quiet, minimal forms of basic function, such as basins, troughs and baskets.  Surfaces emphasize the subtleties of material, process and firing as the primary decorative elements – dragged grog, finger marks, the layering of slips and terra sigillata, and the dulled whites and blacks that come from reduction firing at a low temperature.  Smaller pieces like plates, cups, mugs and bowls are wheel-thrown, then scraped and pared down in form and reduction fired.  Most recently I have been pulling from my long love of textiles to add pattern and color to this smaller work. 

I make hand-built earthenware vessels that draw on the quiet, minimal forms of basic function, such as basins, troughs and baskets.  Surfaces emphasize the subtleties of material, process and firing as the primary decorative elements – dragged grog, finger marks, the layering of slips and terra sigillata, and the dulled whites and blacks that come from reduction firing at a low temperature. 

Smaller pieces like plates, cups, mugs and bowls are wheel-thrown, then scraped and pared down in form and reduction fired.  Most recently I have been pulling from my long love of textiles to add pattern and color to this smaller work. 

Dan Finnegan

at Rick Hensley & Donna Polseno's

Making pottery is a lifestyle choice as much as it is a career choice…it is an integrated way of living, where work and play and everyday life all dissolve into each other and that suits me. It also allows for a great deal of variety: not only do I make pots, but I teach workshops, exhibit, write a blog and promote a show.         My own pleasure in making pots is made all the better by the pleasure that they bring to others. The opportunity to meet and talk with my customers brings me great satisfaction.      I enjoy the aesthetic challenges of making pots as well as the physical labor that being a potter and firing with wood entails. It is important to me that my work be finely crafted and made to a very high standard. I love the architectural qualities of clay, the permanence of stoneware, and the sweet magic that occurs when good pots, good food and good people come together!

Making pottery is a lifestyle choice as much as it is a career choice…it is an integrated way of living, where work and play and everyday life all dissolve into each other and that suits me. It also allows for a great deal of variety: not only do I make pots, but I teach workshops, exhibit, write a blog and promote a show.    

    My own pleasure in making pots is made all the better by the pleasure that they bring to others. The opportunity to meet and talk with my customers brings me great satisfaction.

     I enjoy the aesthetic challenges of making pots as well as the physical labor that being a potter and firing with wood entails. It is important to me that my work be finely crafted and made to a very high standard. I love the architectural qualities of clay, the permanence of stoneware, and the sweet magic that occurs when good pots, good food and good people come together!

 

Lotta Helleberg

at Silvie Granatelli's

The intricacy and resilience of nature, is the core inspiration for my work. For more than a decade, I have experimented with printmaking, and most recently focused on eco-printing, relief processes, and local plant-based dyes to render works that both document and celebrate my immediate surroundings. The resulting impressions are incorporated into art quilts, textile collages, artist books, and other objects.  I strive to capture the sense of awe and contentment experienced when we take the time to observe minute elements in our path, be it an unfurling fern frond, a broken butterfly wing, or a translucent seedpod. By paying attention to the beauty around us we will find it easier to appreciate—and want to protect—the environment as a whole. 

The intricacy and resilience of nature, is the core inspiration for my work. For more than a decade, I have experimented with printmaking, and most recently focused on eco-printing, relief processes, and local plant-based dyes to render works that both document and celebrate my immediate surroundings. The resulting impressions are incorporated into art quilts, textile collages, artist books, and other objects. 

I strive to capture the sense of awe and contentment experienced when we take the time to observe minute elements in our path, be it an unfurling fern frond, a broken butterfly wing, or a translucent seedpod. By paying attention to the beauty around us we will find it easier to appreciate—and want to protect—the environment as a whole. 

Tom Jaszczak

at Ellen Shankin & Brad Warstler's

Tom is a current Resident Artist at the Penland School of Craft in Penland, NC, and shows his work throughout the US.  His functional forms are thoughtful and unique, with a particular ability to find a special place in any home.

Tom is a current Resident Artist at the Penland School of Craft in Penland, NC, and shows his work throughout the US.  His functional forms are thoughtful and unique, with a particular ability to find a special place in any home.

 

 

Fall 2016

Susan Icove

susan-icove.jpg

Website: www.icovelighting.com

Gay Smith

 

Spring 2016

Agnes Seebass

Shanti Yard


Fall 2015

Naomi Daglisht and  
Michael Hunt

Website: www.bandanapottery.com/

Alice Walker

 
 

 

Ed Hinkley

ed-hinkley.jpg

Website: www.edhinkley.com/

Catherine White

 
 

Hona Leigh Knudsen

Dan Finnegan

 

Don Davis

Website: www.dondavisceramicart.com

Gail Kendall

 

 

 

 

 

 

 

 

 

 
 

 

Laurie Shaman

laurie-shaman.jpg

Website: www.laurieshaman.com/

Amber Mahler

 
 

Sarah Rachel Brown

Ron Sutterer


Other Visting Artists throught the years

Kyle Carpenter - www.carpenterpottery.com

Stacy Snyder - www.stacysnyder.com

James Edwards Barnes

Wendy Werstlein - www.wrennpottery.com

Seth Guzovsky

Andrea Denniston - www.andreadenniston.com

Hona Knudsen

Josh Manning - www.parlourpottery.com

Teagan Dobkin  - www.tittlemillinery.com

Joey Sheehan - www.meltingmountainpottery.com

John Ellenbogen and Rebecca Plummer - www.barkinspiderpottery.com

Laurie Shaman - www.laurieshaman.com

Richard Radman - vimeo.com/31069907

Suze Lindsay - www.forkmountainpottery.com

Kent McLaughlin

Chris Gryder

Sandi Pierantozzi

Neil Patterson

Sarah McCarthy

Julie Covington

Bryce Brisco 

Nick Joerling

Nant Rothwell - www.nanrothwellpottery.com

Susan Hill - www.suanhilldesign.com

Michael Kline - www.michaellinepottery.blogspot.com

Michael Panciera

Melissa Weiss - www.melissaweisspottery.com

David Eichelberger

Kevin Hluch - web.mac.com/hluch_arts/HluchArts

Margaret Hluch - web.mac.com/hluch_arts/HluchArts

Don Lewis

Alice Walker - www.alicewalkerbatik.com

Marc Maiorana - www.irondesigncompany.com

Josh Manning

Janet Niewald

Benjie Osborne - www.thiswasatree.com

Karin Solberg

Eric Knoche - www.ericknoche.com

Gay Smith - www.gertrudegrahamsmith.com

Jim Wolnosky

Renee Brooks

Posey Bacopoulos - www.poseybacopoulos.com

Genvieve Ricard 

Will Swanson - www.willswanson.com

Davin Butterfield

Shawn Ireland 

Mark Shapiro

Sam Taylor

Marlene Jack

Ellen Braaten

Glenda George

Gibby Waitzkin

David Crane

Bernadette Curran

Pietor Elia Maddalena - www.lameridiana.fi.it

Cheryl Sweeney