Mutlu Baskaya


  • Başkaya graduated in Ceramics from Hacettepe University in 1992, completed her MA in 1997, and her Ph.D. in 2009. 
  • Başkaya has had 9 solo exhibitions and received 15 national or international awards. 
  • She arranged Raku, Paper Kiln and Egyptian Paste Workshops many times in Turkey and abroad. 
  • A member of the board of directors of the Turkish Ceramic Society, she is also art editor of Seramik Turkiye Magazine. 
  • Başkaya, a founder member of International Ceramic Artist Association in China and she is member of International Academy of Ceramics. 
  • She is coordinator of International Macsabal Woodfiring Symposiums in Korea, China and Turkey. 
  • In 2016 she has curated for Turkish Museum, Ukrainean Museum and Croatian Artist Residence Program at FLICAM Museum in Fuping, Xian, China. 
  • Başkaya has been working as an Associate Professor at Hacettepe University, Faculty of Fine Arts, Department of Ceramics since 1994.

Title: Hope , 2013, raku firing, handmade.
Size: 200x200x200mm

Price in US Dollars: 2000

About this work  

Every object I use in my ceramics is actually a metaphor. Like the ladder that I used as a symbol. I have been building ladders of metal-ceramic combination or ceramic only in different forms for a while. These ladders can be seen to symbolise hope, despair, happiness or unhappiness, according to the audience’s perception. But for me these ladders are a symbol of hope. Although the forms change, the names of my works with stairs are hope.

Shlomit Bauman


  • Shlomit Bauman is Ceramic artist and designer. She deals with the research of the ceramic field by referring too cultural, technological, traditional and methodological aspects. Her work combines varies activities such as art, design, curation and education – as a way of life. 
  • Bauman is a senior lecturer in the Design Faculty, at Holon Institute of Technology, Israel, and is the head curator of Benyamini Contemporary Ceramics Center located in Tel Aviv, Israel. 
  • As a writer, Bauman published regularly in Hebrew and English on different professional platforms. She was part of editorial team on “1280” (ceramic art review in Hebrew), between 2001-2008. 
  • On 2016, Bauman edited the book “Material as Languish – Languish as Material” (Hebrew), published by Benyamini CCC. Education 
  • From 2016 to present she is undertaking her PhD studies in Industrial Design at the Israel Institute of Technology.  In 2010 she obtained her Master of Science (MSc) in Industrial Design from the same institution.  
  • She has won numerous Teaching Excellence awards, and other art prizes.  
  • Bauman has participated in many group exhibitions (local and international) and also had some solo shows.  

Title: Local? A collaboration between Shlomit Bauman and Abed Al-Jabari 

Handmade Pottery and slip-cast works made of Israeli and Palestinian clay. 

Size: 1200 x 1100 x 1100

Price in US Dollars: ?

Photo: Shay Ben Efraim 

About this work  

This work is the result of a collaboration that has lasted for about 20 years in various incarnations, between Abed Al-Jabri, a Palestinian potter from Hebron and I. In this work we combine personal and collective, traditional and contemporary iconography. The work touches on questions of local versus global identity, ownership of knowledge, its preservation and cultural contexts. The work is dealing also with the impossible relationship and collaboration between Israelis and Palestinians that is getting more and more impossible over time. 

Jen Buffy



Artist Statement

As a ceramic sculptor, I like to cultivate an array of visual effects with different pieces. My work focuses  mostly on organic structures and my compositions display contrasting elements in black and white. I


Size: 12 X 5 X 5

Price in US Dollars: 1000

About this work  

Created with black and white porcelain, this tear-drop shaped vase represents the pain the black community has endured for over four-hundred years. For me, the delicate white petals that dance around the piece symbolize the possibility that equality is even questionable. Although the black and white contrast against each other they are responsible to one another in harmoniously complementing each other in creating unity.

Antonella Cimatti



  • Antonella Cimatti was born in Faenza, Italy. 
  • After the Istituto Statale d’Arte “Ballardini” (State School of Ceramics) in Faenza, she went on to obtain a degree with distinction from the Accademia di Belle Arti (Fine Arts Academy) in Bologna. 
  • She taught Design at the Istituto d’Arte (State School of Ceramics) in Faenza from 1979 until 2017. 
  • Cimatti has exhibited in Italy and abroad (China, France, Spain, India, Slovenia, Russia, South Korea, Australia, Taiwan, Japan, USA), winning awards and acknowledgments, the most prestigious being the Silver Prize, at the 4th World Ceramic Biennale 2007 Korea International Competition. 
  • She regularly participates in international workshops and residencies. and is a member of the International Academy of Ceramics. 

Its concept is based on the lightness and immateriality of porcelain and advanced ceramic materials also by means of optical fibre and led light installations.

Artist Statement

  • For artists, being born and raised in Italy, can sometimes mean the weight of our history. Especially living in Faenza, one can certainly feel the influence of our last 1000 years of tradition. And it is precisely for this reason that I decided to leave my local tradition and be innovative. 
  • As a ceramic artist, I have developed some personal techniques, mainly working with porcelain and paper clay. 
  • In the last few years, I have started teaching these techniques in workshops around the world. 
  • A large part of my work is dedicated to installations, I like to play with the spaces in which my pieces are going to be inserted and I like to create a connection with the viewers.

Porcelain paper clay, slip trailing on refractory mould, and blown glass base, glass beads, Murano blown glass flower and gold leaf . Fired electric kiln at 1260° C.
Size: diameter mm 280, h mm 110

Price in US Dollars: 500

About this work 

My objective has been to create a lightness in ceramics – not only regarding weight but also visually. Crespines are finely shaped majolica bowls made in Faenza around the 16th and 17th centuries, and were used in European royal courts as luxury items. I started revisiting these bowls for a new collection of porcelain paper clay objects. 

Lissa Claassens
South Africa 



  • Lissa studied Social Anthropology and African Languages at the University of Cape Town and studied Ceramic Science at the Witwatersrand Technikon. 
  • She started her professional journey with clay working in the studio potteries of Kolonyama in Lesotho and Mapepe Craft in Henley-on Klip. 
  • Classsens has owned her own craft shop and worked in a non-profit organization giving therapeutic outreach pottery sessions to vulnerable people. 
  • Classsens sculpts figuratively, lately focusing on themes exploring her own childhood in South Africa. 
  • She is also a production wheel thrower and teaches pottery lessons to adults and children in her Hout Bay studio in Cape Town. Making for the film industry has been an exciting new departure. 
  • She is now producing online workshops via private YouTube videos on different techniques. 

Artist Statement

Lissa has been working on a body of work exploring her childhood relationship with various African women, and the powerful impact they had had in her life. Specifically, she wants to pay homage to these women who have put their own families and homes aside to garner a living for themselves while nurturing young white children. The contradictions and pathos are what she wants to explore and capture.

Magdalene Odundo
Size: H370mmxW160mmxD230mm
Price in US Dollars: 360

About this work  

This sculpture depicts Magdalene Odundo giving a demonstration during her 2014 visit to South Africa. I met her over lunch and have the utmost respect and admiration for her and her work. I made the sculpture of her in a rich red terracotta clay with a terrasigillata coating that has also been burnished. I wanted to get the feel of her deep connection with clay, almost as if she and the pot are emerging simultaneously from the earth. I loved her intensity when she worked and also her quiet concentration. I remember the auditorium was so quiet all we could hear was the scraping of the rib on the surface of the clay and her soft footsteps as she circled her pot. It was a moment I will never forget and I wanted to capture that. The piece has been smoke fired.

Sally Curry



  • Sally Curry is a Tasmania based artist.
  • She mainly works in clay. 
  • Her work is informed by her love of story and traditional symbolic mythic figures. 
  • She is represented in Hobart by Handmark Gallery.

Artist Statement

  • The figures I make stand in the lineage of the devotional forms of traditional cultures –  figures upon which you can project your desires and fears, standing on the threshold of the unknown, inviting you to find your own story.
  • From the window of my studio I look upon the Tasmanian coast, watching the sea, the land, the clouds and the stars. Nature too becomes personified in my work.

Title: Black/White/Brown

Size: 36cm x 12.5 x 10.5

Price in US Dollars: 400

About this work 

The colours are playful and decorative, appearing to dance on the surface. The white face and hands could be a mask and gloves. Ambiguity challenges all possible interpretations.

Vinod Daroz



  • Vinod Daroz was born in southern India  and works and lives in Baroda, India.
    He studied sculpture at the Faculty of Fine Arts, M .S. University, completing his post-graduation (MFA) in ceramic sculpture in 1999  
  • Daroz has had more than 13 Solo Shows and many group shows nationally and internationally. 
  • He has attended international residencies, participated in international projects and exhibited in Icheon, South Korea, Yixing as well as Quyang County, Macau, Jingdezhen, Longquan, and Liling, China.  
  • Vinod has received the various awards including a recent Honorable award in the International Traditional Macsabal Competition in Turkey (2020) 
  • His works take pride in many museums and private collections both nationally and internationally. 
  • He is a Member of the International Academy Of Ceramics.

Artist Statement

I am interested in elements from South Indian temple architecture and temple surroundings that reflect an aesthetic steeped in symbolism and decorative elements. I creates floral patterns and phallic forms as symbolic interpretations of male and female sexualities. In certain contexts of classical Indian art, decoration and pattern-making have historically been associated with evoking the Sringara rasa- an expansive classification that relates to expressions of beauty, love (spiritual and romantic) and erotica. 

Title: Garbha griha 

Size: 350mmx350mmx90mm

Price in US Dollars: 1200

About this work

  • In the context of this exhibition, I present the notion of desire in relation to an ideal of a universal oneness that embraces both male and female energies, the Mandala like pattern becoming the symbolic container for this vision. 
  • Garbha gṛha is the sanctum sanctorum, the innermost sanctum of a Hindu temple. It is where the murti (idol or icon) of the primary deity of the temple resides. Literally the word means “womb chamber”, from the Sanskrit words garbha for womb and griha for house. Only ‘priests’ (pujari) are allowed to enter this chamber.

Mandisa Dumezweni
United Kingdom


  • Mandisa Dumezweni is a London based ceramicist, maker, designer and founder of the Stuff and Fings studio. The latter was born out of her love for tinkering with, well, Stuff and Fings.  
  • Having studied ‘Surface Pattern Design’ at Jacob Kramer College in Leeds, years later her clay journey began in 2018 at Cernamic Studios. 
  • In addition to working for many years within the Music Industry, Mandisa was also a freelance clothes stylist, made jewellery, learnt to crochet, recycle kids chairs, draw murals on friends walls and design t-shirts!
  • Due to the Covid-19 pandemic, her artist residency with Andile Dyalvane and Imiso Ceramics has been postponed. She is currently on a one-year mentorship and coaching programme, investigating a new body of work with Dr Wendy Gers. 

Artist Statement

  • As a hand-builder, Mandisa enjoys that no two pieces are ever the same, and thus representative of us as individuals.
  • Playing with textures and shapes, art and design, experimentation and fun are at the core of all things, Stuff and Fings. Mandisa’s work is decorative, sculptural and sometimes functional. She enjoys the absurd, the quirky and pushing to see where her creativity takes her.

Title: I am joy 

Size: 80m x 330mm x 80mm

Price in US Dollars: 254

About this work  

  • This piece for me was a practice in simplicity and balance, whilst still achieving the fun, joy and freedom with the underglazing.
  • As a people and part of humanity – nurturing, bright, joyous, open, supportive, caring, courageous, holding space for all we need as an individual and a whole. Through all the struggles and scars we shine through brightly.





  • Eiair (b.1992) is an artist based in Bangkok who loves to make delicate things especially from ceramics. He graduated from a Bachelor of Industrial Design in 2015. Feeling the urge to do ceramics, he started creating tiny works that respond to his limited studio space and tools. 
  • Eiair always seeks new experiences, and was an artist in residence and exhibited his works in Taiwan, Philippines, China and the USA. 
  • Now he is focusing on techniques to create more complicated forms of his ceramic works.

Artist Statement

Are tiny lives valued? In our contemporary civilization, smaller creatures seem to lose their value just because they do not fit into our environment. These miniature creatures represent the fragility and delicacy of nature. 

As natural organisms find it hard to live among us, I speak out for them. Their aesthetic inspires me. Hopefully, the value goes back to them.

Size: H20 x W10 x D10 mm

Price in US Dollars: 333

Marisol Grijalva
United Arab Emirates


  • A Latin American artist, born and raised in Quito, Ecuador, I have lived for many years in Paris, London and Dubai. 
  • These stages in my life and my fascination for travel has given my artwork a more global and multicultural approach. 
  • Nevertheless, part of my style has maintained a reflection of my roots and my origin, which can be recognized in the strong colours, rustic touch and earthy mediums I use. 
  • I started my artistic career as a painter and later on I changed my path to sculpting. 
  • My technique is hand building, and I believe in the flow of energy when an artist touches a medium. I have experienced this energy flow personally when working in clay, giving birth to an unique art piece infused by this energy and movement generated during the creation process. 

Artist Statement
My work mainly represents our inner qualities, concentrating especially on strength, resilience, endurance and happiness. I am inspired by humanity with all our differences and beyond stereotypes. 

  • For me, sculpting in clay is an exciting journey that never stops surprising me.
  • My inspiration comes from my life story, born in a third world country and having witnessed the hardship of life has profoundly deepened my capacity to detect hidden emotions and traits that may pass unnoticed by others. 

Title: Bubbles of Happiness 

Size: 450 x 250 x 350

Price in US Dollars: 400

About this work

This clay sculpture is inspired by the innocence of children and their ability to be happy with the most simple things in life.

Stergios Goudinis

  • Stergios Goudinis is a Volos-based studio potter and educator. Born in Volos in 1970, he studied Fine Arts at the School of Fine and Applied Arts in Volos and has completed his studies in Ceramics in Portugal. 
  • As an active educator he has taught classes and workshops all over Greece. 
  • Stergios has exhibited consistently for over 20 years in a variety of venues across the country including 3 solo and many group exhibitions. 
  • He works from his studio in Volos, Greece where he continues a family pottery tradition.

Artist Statement

  • Captivated by the four elements: air, fire, earth and water. I create forms that emulate my passion for nature. I examine, I contemplate, I stand as a silent observer of the race against the time. 
  • The firing of my works is also a metaphoric struggle with nature. It can end with destruction or a kiss of life for my work! This makes me grateful and constantly in awe of the power of nature. 
  • I practice ancient techniques of raku and saggar firing. 

Ceramic sculpture, stoneware clay, saggar-fired
Price in US Dollars: 420  

Charmaine Haines
South Africa 



  • Charmaine Haines was born in 1963 in Grahamstown, South Africa. 
  • In 2010 she was made a Fellow of the Ceramics Southern Africa Association in recognition of her contribution to Ceramics in South Africa. 
  • Her work has been shown on several Biennales including the Internationale Ceramique D’Art Biennale. Vallauris, France; the Johannesburg Biennale ‘’Africa Earth’’ Ceramic exhibition and the Nelson Mandela Metropolitan Art Museum Biennial Exhibition, Port Elizabeth, South Africa. 
  • Exhibitions include a solo exhibition at the Associació Ceramistes de Catalunya Gallery, Barcelona. Spain. 
  • She has also exhibited on prestigious exhibitions in Hong Kong; London and Ouagadougou, Burkina Faso.
  • Haines has undertaken a residency in Skaelskor, Denmark.
  • Her work  is featured in public and private collections in France; South Africa and Denmark.

Artist Statement

Living and working in rural Nieu Bethesda, I continue to explore my ongoing fascination for ancient cultures, African artifacts and Medieval icons. 

The natural Karoo environment plays an integral part in my day to day source of inspiration. It continues to be a place of extremes where the weather has a major influence creating an awareness of both life and death where small things matter. 

Title: Abstract portrait vessel. 

Earthenware. 1100’C Slip casted form with incised design surface using coloured clay slips and oxides.
Size: Height: 370mm

Price in US Dollars: 295

Agnes Husz


  • Agnes Husz (Hungary, 1961) is a ceramic artist based in Japan. 
  • She graduated from the Moholy-Nagy University of Arts and Design in Budapest, 
  • Member of the International Ceramic Academy of Geneva since 2013;
  • Awarded the Hungarian State Honor Ferenczy Noémi Prize in 2015
  • Agnes has participated in numerous international residences. 
  • She has developed a recognizable style influenced by both the East and the West. 

Artist Statement

I am immersed in the mystery of the creation process that is repeated again and again. Major themes in my work include spirals, ripples, dance, the eye, and the galaxy. Stretching out the clay by hand, flinging it up into the air, and slapping it down on a board. Beauty is not my goal. Like a painter with a brush, I draw in space with strips. My forms, made from rustic long strips, are reflections on never-ending movement of the world, and the cycle of the cosmos.

Title: Microcosmos (Functional sculpture)
Size: H11.0 x W15.0 x D15.0 cm
Price in US Dollars: 160 

Lili John


  • Lili John is a ceramist and mixed-media artist based in Devon, UK.
  • She studied antique porcelain restoration in the late 1980s in London, but she did not develop her pottery practice at that time. 
  • After a corporate career and motherhood, Lili began working in clothing design in 2009 and she returned to her first love of ceramics when she relocated to Devon in 2014. 
  • Since then, she has exhibited her work in Devon and she sells her pieces internationally.

Artist Statement

  • Inspired by her dual heritage, that being of Welsh and Ghanaian, Lili John was brought up in the valleys of South Wales after being adopted as a baby into a white family. 
  • The artist’s exploration of her place in the world is always visible in her work. 
  • Fluidity, organic forms rich in texture and vibrant colours distinguish her artwork from other artists.

Title: We need to have a conversation
Size: height is 12.5 cm by 8 cm width/depth at widest part
Price in US Dollars: 75

About your work

  • This small vessel, made with both black clay and white porcelain, is highlighted with cooper gilding. It was hand-built using various techniques and fired to a stoneware temperature. 
  • I created the vessel recently, as a discussion piece, during a time when I was being subjected to racial abuse by individuals who are part of a world renowned NGO. It’s difficult to describe in detail here what happened. I knew I needed to create something beautiful which was representative of both my struggle and hope, so I channelled my positive energy into creating something of value, beauty and full of hope for the future.

Loren Kaplan


I have been a practicing professional ceramic artist and teacher since the early 90’s and I moved from South Africa to Canada in 2013. I studied a BA Fine Art majoring in photography at the University of the Witwatersrand. 

My work has included one off pieces, specialized ranges of homeware, porcelain lighting, corporate, private and public commissions, site specific design and installation, corporate and social workshops, mentorship classes and training for emerging artists.

Artist Statement

In my work I have attempted to integrate symbolic, visual, tactile and spiritual values, blending form, function and meaning. My work includes one-off pieces that are made by coiling and hand building, which are then carved, sculpted or engraved with intricate patterns and symbols that combine the geometric and organic. I make vessels because containers are about potential: defined spaces of emptiness making room for something to be held.

Size: Image 1: 55 cm h X 20 d Image 2: 32cm h X 40 d Image 3: mixed, tallest 26 cm h

Price in US Dollars: ?

About this work  The pieces I have selected have been parts of ranges where I have tried to express a simplicity of form. Removing extraneous detail, the vessels are quiet and contemplative.

Sandra Ledingham



  • Ledingham’s formal studies include a BA in Sociology & Fine Arts and ceramic studies at the University of Regina, Canada. Her informal education has been informed by residing in Paris, France as well as pivotal travels in Japan, Central America, New Zealand, Europe and residing part time in the Yucatan of Mexico. 
  • She has taught Ceramics & Design at Concordia University, Portland, Oregon; the University of Saskatchewan, and Saskatchewan Institute of Applied Science & Technology. 
  • Recently, she has completed a collaboration in Yucatan Mexico with local Mayan potters entitled ‘Kukulkan’. 
  • Ledingham has received various international  accolades including the Taiwan International Ceramic Biennale of 2020.
  • She has participated in residencies & international collaborations in Saint Quentin la Poterie, France and New Zealand. 
  • In 2012 Sandra was commissioned to create a permanent sculpture in Saskatchewan’s Legislature in Regina entitled ‘Multis E Gentibus Vires’ ( Strengths of Many Peoples).

Artist Statement

Ledingham’s work explores the history of clay’s humble usage, whether ancient cuneiform tablets, monuments or humble pots. As a worker of ‘objects in space’ she is lured by a love of architecture. Formalism with its pure elements drives her interest in form. Her architectural wall series speak not only to the latter but to the human condition. Pivotal to these walls are the coded punctures via binary, braille or Morse codes, suggesting to the viewer an interior space, and adding a fundamental layer of message & mystery. 

Title: ‘Humanity’ 

Material: Clay, glazes and brass pins in the form of braille code

Size: 16″ H x 23″ W x 12″ D

Price in US Dollars: 2300

About this work  

  • Walls for all their simplicity carry an infinity of meaning and message. In ruinous form they provide us with the traces of our oldest civilizations. They have been built as monoliths for ritual purposes as in the case of Stonehenge or as architectural monuments to great peoples: the pyramids of Egypt, the Maya of Central America and the temples of Greece. We have walls of architectural constructs that speak to Modernism in all its glory. Walls also keep people separated: from the Berlin Wall to the Great Wall of China. 
  • We also build mental walls – to keep things in, and to keep things out. 
  • And we have walls in public spaces where voices speak their messages, and respond to the writing on the wall. Walls facilitate opportunities for all voices that are marginalized, allowing their activism to be heard.

Hennie Meyer 

South Africa


  • Hennie Meyer is an acclaimed South African ceramist who works predominantly in earthenware, creating highly individual pieces. 
  • He enjoys the challenge of making composite shapes, multiples fascinate him and he experiments continually with the expressive qualities of clay and glaze. His balance of strong form with highly detailed surfaces creates aesthetically pleasing vessels in his recognisable signature style. 
  • Hennie studied ceramics in Australia and South Africa. 
  • He exhibits extensively, both locally and overseas. 
  • His work has been included in numerous local and International public and private collections. 
  • Hennie works and teaches from his home studio in Durbanville, Cape Town.

Artist Statement

I seriously play with clay, but I also play with clay seriously. For me the process of actively making and interacting with the clay creates new, original and exciting ideas. Ceramics is a passion and an obsession. My primary inspiration comes from the clay itself, the entire creative process and finally the firing. My fascination with multiples and the negative spaces created by three dimensional pieces have resulted in several large scale installations. This fascination culminated in the successful 2014 World Design Capital project, Ukusela eKapa. Working with clay allows me to think.

Title: Portrait of an unknown man.
Size: 7.5cmX7.5cmX7.5cm
Price in US Dollars: ?

Martha Pachon Rodriguez




  • Martha Pachón Rodríguez commenced ceramics in the late eighties.. She studied Fine Arts at the Surcolombiana University in Colombia and graduated in Ceramics. For ten years, she has worked as an Art Teacher at the Superior Institute INEM and as a Ceramic Teacher at the Surcolombiana University. 
  • Martha subsequently specialized in Porcelain and Stoneware at the “Instituto d’Arte per la Ceramica” in Faenza, Italy. Simultaneously, she developed conceptual porcelain work. 
  • Her work has exhibited in Italy, Belgium, France, Spain, Germany, Switzerland, Egypt, Netherlands and the United States. 
  • She has received numerous prizes in various international ceramics competitions, participated in various international symposia and art residencies. 
  • Since 2016, she has been Art Director of FACC Faenza Art Ceramic Cente, Italy. 
  • She is a member of IAC International Academy of Ceramics. 
  • Her work is found in public and private collections including the International Ceramic Museum in Faenza, Italy; FLICAM – Fule International Ceramic Art Museum in Fuping, China; Spezano Castel-International Industrial and artistic ceramic collection, Italy; the International Ceramic Museum of Gifu, Japan and the Contemporary Ceramic Museum of Alcora, Spain 

Artist Statement

My current work consists of three lines: sculptures, installations and jewellery. For me, creating art is a process that represents a journey with sacred dimensions. 

Title: Mediterraneo, Sea Urchin Series

Size: 80 x 150 x 150

Price in US Dollars: 370

About this work

The work on this exhibition is inspired by the creatures of the seabed. It evokes finesse, movement and colour, using complex and ancient Asian techniques of pigmented porcelain. This work blends human eroticism with references to the natural world.

Danijela Pičuljan


Bio Born in Zagreb, Croatia in 1967. 

Member of IAC and HZSU/Croatian Association of Independent Artists 

She has participated at numerous international exhibitions and symposiums. Realize 10 solo exhibitions. Artist residence in China, Hungary and Spain Prizes: Special Award at 5th International Triennial of Silicate Arts, Kecskemet, Hungary

Artist Statement:

Title: Trapped Material
White and black hand built porcelain with fiberglass and organic materials, gold, multiple firings

Size: 170x300x250 mm

Price in US Dollars: 2500

About this work  

Although today’s society strives to be open and promote equal rights, I, as a woman do not have a sense of complete freedom to manage my life in a way like I really would like to. I have to respect the norms and roles assigned to a woman, otherwise I’m not a good mother, a good wife, or a good colleague. That’s why I feel like I’m in a kind of prison, even though it seems like shiny and golden on the outside, I’m trapped.

Francesca Pieraccini

Social Media / Website:


  • Pieraccini is a multimedia artist, who came to ceramics at the age of 39, and graduated in 2009.
  • She has exhibited her drawings in Russia, Ukraine and the United Arab Emirates. 
  • In 2018 she was chosen for VIVI Art Adoption in Cortona Italy and in 2019 she was short-listed for ‘Ceramics In Love’, Turin.
  • Between 2019 and 2020 her artistic research was shown at the RAKFAF Festival of Fine Arts, Sheik Saud Bin Saqr Al Quasimi Foundation.
  • She was artist in residence at the Il Bisonte Printmaking Foundation and has been selected for the 3rd World Congress of Transdisciplinary Art, 2020, in Mexico.

Artist Statement

As all research languages, ceramics, is made of very small steps and matures content that is not always planned. It requires to be nourished incessantly. And only over time it shows the incredible results of dedication and the fruit of the encounter between hands and the sky (Heart + brain). B-Human, with its evolutions 2.0, 4.0 8.0, is the ceramic translation of the poem that personally traces the encounter with the decadent component well-described by Z. Baumann, about the 4.0 generation, which implements hyper connectivity but which at the same time codifies needs and commodifies them, empties them …. destructs the social tissues according to the consumption and hyper control of sensitive data ( Paradoxically removing the sense of security and nurturing fear). The artistic poetics that I translate on ceramic tries,— penetrating in clay, with my hands– to transfer the reflection to the object I create, in order to propose visions and pre-visions not focused in -anthropocentric models of healthy re-generation but on respect for all cycles of life. B-Human is a play word of Bee-Human, meaning not only humanity, but also Bee versus Human. The phrase I love more is: “I want a world of responsible dreamers: everything you think is done with your own hands. And everything i abstract is designed to overcome the obstacle of birth with your possibilities…. Combined with the ability to be visionaries, dreamers responsible for a future without waste. Because in ceramic, as in life nothing is thrown away but becomes a baggage “. No trick. No hurry. Slowness, failures, successes, experiments, empiricism .. Good circular practices.


About this work  the piece I donate is the Big sphere in the middle. 

*** Is she only donating one piece? If yes, I will withdraw the work from the exhibition as the photo shows 3 works. 

Size: 17 cm diameter

Price in US Dollars: 700

Andra Piftor


I’m a part-time potter making small batches of quirky ceramics inspired by botany and anatomy.

Artist Statement:

Title: Lungs

Size: 350x 200x 80 mm each

Price in US Dollars: 200

About this work  

Lungs are two wall planters made out of white clay and painted with layers of blue underglaze, and decorated with gold lustre. They represent a world where we can all breathe.

Deniz Pireci

Social Media / Website:


  • Deniz Pireci was born in İstanbul from where she currently lives and works.. 
  • In 2006 she obtained her Master’s Degree in Ceramics and Glass at the Marmara University Fine Arts Institute. 
  • Pireci has contributed to over then 100 local and international exhibitions and biennials.
  • She has had 10 solo shows, and some of the her works are on display at; Eczacibasi – VitrA Ceramic Art Studio, Korea Museum of WOCEF and Taviloglu, Ozyegin, Tuyap, Ekav Foundation and many other institutions and private collections.

Artist Statement

Working with porcelain, is in short, making fruits of garden of Eden by the fire of hell. An endless poem emerges out of the togetherness of different materials. I was kneaded with porcelain since the day I was conscious; I and porcelain shaped each other. The relationship between us is like an indescribable stormy love story. This is means being inside of the alchemical transformation carrying man beyond ordinary reality, allowing it be transformed into another matter.

Title: Reproducer 


Price in US Dollars: ?

About this work 

  • Considering myself as a “multiplier” in this series, I decided to alienate the ancient, classic ceramic forms from itself with a new perspective. 
  • I tried to create a partnership with our history and today, through imitations-copies excluded with the function of “Multiplier” and a variety of ceramic manipulations.

Ken Yutdanai Sripaiboon


Ken Yutdanai Sripaiboon was born in Bangkok. He graduated with a Bachelor’s Degree in Industrial Design from King Mongkut’s Institute of Technology Ladkrabang, Bangkok. He has had 3 solo exhibitions and participated in more than 20 group exhibitions. In 2019, Ken won the Bronze award of the 8th China Changchun International Ceramics Symposium and the 1st Yatai Lotus Mountain Prize, International Ceramics Contest. Ken Yutdanai ceramics works are created by the force of sadness. 

He was diagnosed with epilepsy a while ago. This disease has no cure. Even though it isn’t necessarily a life-threatening disease, it leaves sufferers lacking confidence, especially in public spaces.

Ken Yutdanai understands that sadness and darkness can guide you towards happiness and light if you learn to live together in harmony with this affliction. 

Artist Statement: 

If you do not know the darkest side of your heart, you will never know the brightest side of your heart, either. 

In the past 10 years, I have tried to describe my fear of epileptic seizures through my sculptures and paintings. I have created a character called “Gud-Yim” (which translates as Bite-Smile) to tell the story as well as to record my story. Working with Gud-Yim changed my attitude towards epilepsy. I have learnt how to live with it and let go, even though the sadness and darkness will never fully disappear. 

Gud-Yim has a straightforward shape to represent a simple and uncomplicated happiness. Its mouth and fingers represent the darkness, discomfort and lack of confidence that epilepsy brings. 

I do not control every aspect of my art practice. For example, the colours in my watercolour painting bleed and overlap with other colours. For my ceramic sculpture, I purposely don’t test the glaze or sometimes mixed two chemicals that do not usually go well together. The results of both samples may not be perfect, but they are most certainly meaningful. My attitude has reflects a life with epilepsy. In imperfection, there is beauty, and with imperfections, there are no mistakes. 

Title: Dear Darkness
Size: 9 x 9 x 10 cm each

Price in US Dollars: 700 (for 10 or each)

About this work  

I created Dear Darkness in order to raise awareness of epilepsy and for people to understand and see the life and work which was created by the force of sadness. I made a limited series of 100 vessels in 1 month, and donate 10 pieces, numbers 11-20. 

During the production, I was pushed for time. I painted in the morning and threw containers in the afternoon. It forced me to serious. When I made them I felt relaxed and enjoyed the process, and when all was finished, I was happy and didn’t think about the result. 

Clarify donation image

Cassandra Miller
United States


Artist Statement

Title: Mama, I can’t breathe


Price in US Dollars: 150

About this work  

  • As a mother of a black man, the fear I feel when my son goes out In this country is overwhelming and panic-inducing. All of my fears were realized in that video. When I saw the George Floyd video, one of the things that broke my soul in half was hearing him call for his mother. I created this piece of a rib cage breaking and contorting, with George Floyd’s words “Mama, I can’t breathe.” 
  • This work was therapeutic to me and served to express my rage and grief, to show that we all want to be respected, and that black men deserve so much more than our society allows at the moment.
  • For this coiled pot I used recycled clay and various texturizing and glazing techniques. 

Victoria Pitel


Artist Statement

Price in US Dollars: 1055

About your work:

James Seet
Social Media / Website:


James is just passionate about making art!

Artist Statement

In the quest for eternal change as an artist, I find it essential to tell stories. 

The dramas of life that may begin with something obscure to the infinite complexity that tickles the emotion. It’s a visual representation of a dialogue I am after, a theatrical performance to the eyes that behold!

Title: The City of Dreams 

Size: 43cm x 21cm x 25cm

Price in US Dollars: 1500

About this work  

  • This piece is from a series of work called ‘Daydreamers’ which talks about dreams and freedom to live the life imagined whether they are big or as small as daily cravings. I’ve made this piece after a documentary I saw on life in Africa. 
  • I’ve applied a thin layer of slip from a different body of clay on the surface, and natural cracks appeared. They are a metaphor for life’s journey – the hardships and toils of everyday life – and seeking a better life in the city.


Social Media / Website:


Born in China, I grow up in Italy and am currently based in Norway. 

My pottery is a summary of this ‘bastard’ cultural exposure. It started as a extracurricular class in Middle school, but I never had the time and space to develop this passion with clay further, until I moved to Oslo where I re-started my pottery adventure by joining a shared studio. 

Currently, I am a full time Design consultant, but I would say that my mind and heart is instead a full time pottery dreamer, and this mix happens to work surprisingly well together.

Artist Statement

The result of my diverse cultural background is an often atypical production in small batches, exploring techniques, expressivity and materiality. I am interested in creating a conversation with the clay as entity, and engage with it as a medium to speak to others on a deeper and visceral level. Because without emotions, pottery is just meaningless hardened dirt.


Size: 140x120x140

Price in US Dollars: 125

About this work  

  • The handle that was originally designed for this teapot broke off while I was glazing it. The point where the handle snapped left a small piece attached to the lower half of the teapot body. This little left-over piece became the starting point for designing a new metal handle, that clips onto the former spout, and folds around the body of the teapot. 
  • In my Instagram I talked about how the BLM movement shook me deeply and redefined my own behaviour towards racism, and how what happens every day is simply not acceptable. 
  • I wish I had more finances to donate and support the organisations that are fighting in the front line of the cause. Unfortunately as a graduating student still relying economically on my parents, I simply have not much to give. But my hands can build and make. This is the reason why I decided to donate this teapot to the cause. 
  • Everybody has a story to tell and pottery is not different. Without the break and the loss there wouldn’t be change, and the past should be used to empower and build a better future. 
  • This teapot is special and has become a symbol of these times for me. The story continues.

Karla Garcia
United States


  • Karla García is a Mexican born, American-based artist that creates installations and sculptures with clay, found objects, and other symbolic materials to her Mexican heritage and migration. 
  • She completed an MFA degree in Ceramics and a Museum Education Certificate from the University of North Texas in May of 2019. 
  • García has recently attended an artist residency led by Curator and Scholar, Wendy Gers Ph.D. at the International Artist Residency Exchange Studio in St. Raphael, France. 
  • García was awarded the Top Prize at the Sixth Annual Artspace 111 Regional Exhibition. 
  • She was selected as a visiting artist at the Dallas Museum of Art and exhibited at the 2019 Latin American Fine Art Competition in New York. 
  • García currently lives and works in the Dallas/Fort Worth area in Texas.

Artist Statement 

  • Migration is oftentimes a necessity for a better life. As individuals we carry the memories of our homes, friendships and our own unique stories. This body of work is a continuation of my previous explorations of migration and memory. 
  • My work is rooted in desert landscapes of the cities I grew up in Mexico and the United States. Cacti plants are translated into abstracted sculptures made with terracotta clay. The ambiguous sculptural forms, between plant and stone, vary in scale, and represent memories that have been eroded by time. 
  • My current research project was initiated during an artist residency in St. Raphael, France. Eroded terracotta shards of roof tiles were collected on local Mediterranean beaches. They poetically evoke lost histories and I wondered about the origins of the homes they came from and imagined what their histories may have been? These eroded shards are beautiful found objects whose amorphous forms dialogue with my sculptural objects evoking questions of transit, lost habitats, peregrination, journeys through time and space.
  • I am influenced by works that speak of the human condition through their material choices such as the installations by Damian Ortega, Teresa Margolles, Doris Salcedo, Gabriel Orozco, Joseph Beuys, and Margarita Cabrera. 
  • Through my exploration of materials and migration, I hope that the audience finds moments of introspection about our shared land that connects rather than separates us.

Title of the three photos

Size: Digital Photograph
Price in US Dollars: 45 

About this work  

  • My current research of Home and Land Project is a clay-based exploration of cacti forms inspired by the desert landscape and is focused on the human condition through the lens of migration and identity politics. 
  • The handmade sculptures are currently unfired and fragile. 
  • I use terracotta clay to create naturalistic cacti forms inspired by the way physical or environmental obstacles alter their growth patterns. When these sculptures are installed at home and photographed, they create a surreal desert landscape of unfired clay cacti. 
  • The symbol of the cactus is not only part of the Latin American cultural history iconography, but is also a metaphor for our ability to survive conflict and difficulties.

Kara Wood – no form filled out. 




Born in Russia in 1973, I grew up in an artistic family. I started regular ceramic classes at the age of 12. At 19 I had first solo show. By 20 I developed a unique whimsical miniature ceramic style. I went graduated from my University studies of Russian language and Literature, worked as news reporter and content writer, and hosted a few TV programs at the local TV Company. In 2003 I moved to Auroville, India. Since 2009 I have focused entirely on ceramics. Along with my mother, Anna Morozova, I created the ‘White Peacock’ Clay Club – a space for children and adults to learn ceramics. From 2015, I have participated in multiple exhibitions, residencies and symposia. I recently abandoned miniature art for larger-scaled works, mostly developing upon architectural themes. I live, work and teach ceramics in Auroville, South India. 

Artist Statement

In clay practice, I am trying to move into the deepest core of human being which is open to the Divine. Slowly, the pieces become simpler, loose most of their details, speak less and speak low, almost whispering. Since I started working with porcelain 6 years ago, I am constantly surprised with its capacity to transmit human thoughts and feelings. I believe that it’s the best material to talk about the fragility and beauty of everything we value in life. The whiteness and translucency and even the sound it makes are all part of the Divine. 

Three years ago, I discovered Anagama firing method from my friend Indrani Cassime. Anagama has become my second love. I feel that it transforms the architectural stoneware objects into silent and still witnesses of all the world, and condenses a thousand years into one single moment. One becomes calm and quiet in presence of Anagama fired pieces. 

Title: Apricot House

Anagama fired stoneware, glazes, 2020. Woodfired work from before the pandemic .
Size: 30 x 10 x 12 cm
Price in US Dollars: 500

Makoto Hatori



Born in 1947 in Japan. Apprenticed under a master potter of traditional ceramics in 1968. Then, earned a degree in sculpture at Nihon University College of Art and went on to study technology at the Gifu Prefectural Institute of Ceramics. By 1975, established own studio in Namegata, Ibaraki prefecture (a region in eastern Japan), worked until 2006. In 2008, decided to move to Moriya and started the new studio. Since 1978, he has participated in numerous exhibitions in Japan, Italy, Great Britain, New Zealand, Egypt, Belgium, Germany, Lithuania, U.S.A., Croatia, South Africa, Australia, Taiwan, Estonia, Korea, Spain, Hungary, Slovenia, Romania, Turkey, and Latvia. In 1992, taught ceramic art at Manchester Polytechnic (Manchester Metropolitan University) Department of Art and Design. He has participated in numerous residencies and symposia across the globe and currently, works as a studio artist.

Artist Statement:

On “Other-ness” in Artistic Creation 

Producing moulded art involves facing the reality of other-ness in the relationship between the material and the artist. The material embodies other-ness to the artist, and vice versa. The task of confirming this mutual other-ness grows out of the tension between these two entities, who/which long to touch their partner’s other-ness, but only proceeds within discrete and gentle time and space. Time and space promotes and softens their “interaction” (and thus creativity). Herein lies the essence of artistic creation. The artist, in the face of the material, should nullify his/her self and should restrain from extending it: his or her self should not go beyond the boundaries of passive sympathy (or co-existence) with the material. The creator should not request the material to recognise him/her. The task of confirming mutual other-ness, which constitutes the process and essence of artistic creation, will be lost otherwise. Put differently, the artist should not project his/her pre-existing images on to the material in haste… 

Moulded art comes from the interaction between these two entities who display other-ness to each other: it is the process of recognising other-ness in others. The relationship between the material and the artist is not fixed here. As mentioned above, it is rather pliable. To avoid the risk of excessive specification (taking distance from the difficulty of facing the other by projecting the pre-existing images on to the materials in haste) has much in common with recognising other-ness in others by slowly getting used to diversity and variation in time and space in modern society. As such, the act of artistic creation is social, and political. 

Note: In traditional Japanese non-glazed ceramic art, the creator – the potter — is required to follow the dictation of the material; “a-creation,” so to speak. The potter’s work becomes metaphysical, when s/he faces the material as embodying other-ness rather than regards it as material to be processed. Facing the material as the other is observed in traditional Japanese craftwork in general. This attitude is based on the understanding that each and every earthly existence owns its own soul which can be beyond their understanding. This attitude is observed in original Shinto, which emphasis respect for the other-ness of the world.

Size: Approximately 200x130x120_
Price in US Dollars: 500  
About this work  

Makoto Hatori’s work combines the centuries-old ceramic heritage of pottery used in Japan and infuses it with modern techniques. The artist seeks to produce ceramics that are meant to be thought-provoking works of art and not simply functional pieces meant for practical purposes.

Robi Sclafani


Robi Sclafani is a working mom that moonlights as a ceramic artist and after school ceramics instructor. Her home studio in Eugene, Oregon, Moon Phase Ceramics, produces unique hand-crafted piece. 

Artist Statement

I’m endlessly inspired by primitive and indigenous pottery. By following my heart and intuition, I continue to find connection to my roots through ceramic art.

Title: Sacred Heart pocket.
Hand built & hand carved vase, stained with iron oxide. 

Size: 5 x 3 1/2 inches
Price in US Dollars: 48  

About this work  

Air plants, dried flowers, feathers, etc. can be placed in the pocket. There’s a hole in the back for hanging.

Gari Louridas
Your Email Address: garilouridas@icloud.com
Your Address: Benoni, South Africa
Bio Authenticity has become a cornerstone in Gari Louridas’ life. Five years into her addiction recovery journey, Gari discovered clay, and it has become the anchor which reminds her that we don’t have to be perfect to be loved. In 2017 Gari opened her own home-based studio in Benoni, on Gauteng’s East Rand, where she continues to experiment with ways to best express her artistic vision. In 2018 she enrolled and was accepted for the Gauteng Regional Ceramics Exhibition. In 2019 she won the prestigious Van Tuyl Kiln Award for the Best Organic Form at the Gauteng Regional Ceramics Exhibition. Shortly thereafter she was placed on the shortlist for the Innibos Craft Award, and again in 2020. Fascinated with the fragility of porcelain, Gari knits together her love of clay and natural fibres.
Artist Statement: Gari Louridas is an award winning, South African ceramicist, whose organic forms remind us of the fragility of the human experience. Her woven, cocoon-like creations are an invitation to embrace the texture of touch, warmth of connection and spark of wit that identify us as the glorious biological creations we are. Her embryonic vessels echo the light and shadow contained in our individual and collective psyche; and stand as a barricade against the algorithms and cold screens that currently control us. Gari’s work draws on the thread of commonality that knits together her lineage and the ancient craft of clay.
Photos of your work: 1 attachments
Where are you submitting your ceramics?: Just the Exhibition
About this work  Organic Sculptural Forms – Fibre to Porcelain Knitted Vessels fired in an Electric kiln
Size: +/- 130mm x 90mm per piece x 3
Price in US Dollars: 185