Maggie Jaszczak
Invited by Sunshine Cobb

OC:  Where is your current studio?
MJ: Penland, NC

OC: How long have you been working in clay?
MJ: About 10 years

OC: Can you share a bit about your education or background?
MJ: I went to a tiny craft school called Kootenay School of the Arts in British Columbia, Canada, for three years, then transferred to Alberta College of Art and Design in Calgary, Alberta to finish my BFA.  In 2013 I completed my MFA in Ceramics from the University of Minnesota in Minneapolis.

OC:  Who is your favorite artist/craftsperson (ceramic or otherwise)?
MJ: My favorite and longest-loved art/artists are Lucie Rie, and the paintings and sculptures of Cy Twombly.  I look a lot at the work of Ursula Von Rydingsvard and Doris Salcedo as well.

OC: Where do you hope to see yourself in 5 years?
MJ: In five years I hope to be settled into a studio and home in Minnesota with my husband and our family of kids, cats, dogs, chickens and goats.


Ben Jordan
Invited by A. Blair Clemo

OC: Where is your current studio (city, state)?
BJ: Pocosin Arts in Columbia North Carolina

OC: How long have you been working in clay?
BJ: I have been working in clay for about a decade.

OC: Can you share a bit about your education or background?
BJ: I was born and raised in Arizona. I studied at Northern Arizona University and got a bachelors degree in Sociology and a bachelors of fine art in ceramics.  Between undergrad and grad school I worked and apprenticed at a ceramic studio in the Netherlands and completed a residency at the Red Lodge Clay Center in 2014. I went on to obtain a Masters in Fine Art in ceramics from Virginia Commonwealth University and am currently a long term resident at Pocosin Arts in North Carolina.

OC: What do you feel is your role as an artist?
BJ: There are several roles that are important for myself as an artist/maker. I feel that our community can be rather insular; it’s easy to get comfortable with a specialized language and a specific dialogue around the work that we make. I think part of our roles as makers is to help the general population, young and old, to better understand what and why we do what we do. In hopes that they can not only better understand and enjoy the work, but also so that they can more fully appreciate and support what and why we do what we do.

I think another important role for artists/makers is to support one another. With the nature of what we do we are often spending so much time alone in the studio. That in conjunction with an often undefined career path and the ebb and flow of self-doubt can become daunting.  With that in mind I think it is especially important that we really work at motivating, supporting and taking care of one another.

To find out more about Ben, please visit his website:


Kaitlyn Getz
Invited by gwendolyn yoppolo

OC: Where is your Studio?
KG: As of a few weeks ago, The Studio for Arts + Works in Carbondale, Colorado (Homebase for the Artstream Nomadic Gallery)

OC: How long have you been working in clay?
KG: Full speed ahead since 2012!

OC: Can you share a little bit about your education and background?
KG: I’m a Columbus, Ohio gal who studied at Ohio University and Penn State University. While at both schools I had the opportunity to study at multiple craft schools and I fell in love with alternative learning( I feel that my education has had equal impacts from both traditional craft methods and the conceptual nature of academia. Most recently, I was at the Haystack Mountain School of Crafts ( in Maine for seven months and I am just bursting with inspiration and excitement about being a craftsperson. Now that I am all settled into my new home in Carbondale, Colorado, I am enjoying the mountains and my studio at SAW( &

OC: What is your favorite thing about the ceramic process?
KG: GLAZE! CHEMISTRY! SCIENCE! I love wrapping my head around the idea that the same calcium that was created from the Big Bang is also the same calcium that makes up my bones and makes up my glazes! It’s all there, it’s all connected.

OC: What do you feel is your role as an artist?
KG: My role here is to leave a mark—on a plate, on the world, on a loved one. To mark my existence and remind my fellow human beings that we are all just that, human, and there is a lot of beauty in that.

To find out more about Kaitlyn, please follow these links:
INSTAGRAM: @___getzy

VISION: BFA Exhibiton at UH

VISION:  BFA Exhibition at The University of Hawaii at Manoa.

by Shawn Spangler

At the end of each spring semester the University of Hawaii’s art gallery hosts the Bachelor of Fine Arts student exhibit.  There the public is invited to view the work these aspiring artists have been laboring over for nearly a year. Most of the process begins during the spring semester in their cluttered studio space of chaotic beauty leading them to finality. The student’s work emerges from this semester with expressive, conceptualized work displaying a focused and compellingly product from their time and effort.

This year thirty-five students exhibited their work collectively in the BFA show VISION.   The exhibition intertwines contemporary modes of presentation with site specifics in a gallery that was constructed by the Department of Art specifically for this exhibition.  Each student is allotted a space within the gallery to compose their ideas and concepts while encouraging viewers to uncover the process behind their work. The opening event begins with the annual awards ceremony and reception where over 500 attendees gather to view the completion of the BFA capstone class. The exhibition includes artists from drawing glass, fiber, printmaking, photography, sculpture, painting, and ceramics.

Every BFA student in the class is provided with their own studio space for the duration of their BFA semester while they develop their projects. This course is constructed with the goal of fostering creative thinking and problem solving skills, coupled with initiative, and discipline, aspiring to a high standard of professionalism and studio practice. The class represents the articulation of a personal vision: the result of a rigorous investigation of one’s self and work. Aided by faculty advisors, the students are pushed toward individual research and continuous revisions a proposal to strengthen the concept and final product.

Two or three professors who specialize in a range of media areas teach the B.F.A. class. This gives students the opportunity to receive critiques from a wide variety of perspectives as well as from their peers. Interaction and constructive criticism is fully encouraged from the commencement of the class until its end.

There were many engaging and compelling work exhibited in VISION.  I am highlighting a few students work I found compelling.


Michael Connolly


INTENSUS INCONTRA is a place where chaos ensues, and with its core acting as a reflective portal where the viewer can see themselves from an external perspective. The flames move and flow towards the center, illuminating a reflection of one’s self. The elements of fire and clay correlate in a magnitude of ways. I am drawn to the strong similarities—­the physical characteristics of strength, force, energy, heat, and the aesthetic beauty—that these elements represent.

Momi Green


Making has a unique way of mirroring, if not emulating life.  This body of work is a reflection of my interpretations of the club and party culture, focusing on the habitual glamorization and even glorification of the oppressed female persona.  As a millennial I have directed my gaze and research around the urban phrase “trap culture.”  This phrase refers to the drug-dealing street ghetto mafia of the early 1990’s.  The term “trap” creates a narrative that portrays women as wonting and eager for a salacious lifestyle of a “Trap Queen.”  Some of today’s trap culture can be discovered here in Honolulu, in the after-hours club scene where, similar to a origin of drug dealing and violence, this lowbrow art-trending scene continues the narrative that romanticizes women’s roles despite the fact that they are dismissed, oppressed and objectified.  The intention of my installation is to present the subjugation of women viewed through social clubs and party and play communities.


Genji Lamansky



As a veteran of Operation Iraqi Freedom, [break]
I am among many who suffer [break]
from the ill effects of going to war.  [break]
Fighting alongside my brothers and sisters [break]
the events that I have been a part of, [break]
and witnessed, will be forever in my mind. [break]
Through social media and mass media, [break]
the civilian may get a glimpse [break]
of the nightmares in war. [break]
I am trying to bring to light the realities of PTS (D) [break]
faces to the statistics, and the struggles we face every day.



Some thoughts on Workshopping

"Potters have a great opportunity to balance use and meaning, and I was happy to see that many potters in my class were hungry to hone skill to both ends. Reflecting on this, I am encouraged to challenge myself and try a new kind of workshop, one that will equally emphasize what work means, not just how it’s made (new to me that is, lots of more seasoned workshoppers already do this)."

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Bill Strickland's Vision

"As an inner city kid in Pittsburgh during the decline of the steel industry, Bill Strickland’s future was turned around by the mentorship of potter and teacher, Frank Ross.  The story of Mr. Strickland’s life from the moment he saw Frank Ross turning a pot on the potter’s wheel is one of hope, change and human decency.  With the start of a new year, what better time than to share the thoughts of a MacArthur “Genius Fellow”, a true visionary, someone I deeply admire and respect."

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