Breakfast Special

Kristen Kieffer Breakfast settings for two and serving

My toast rack, egg cups & caddy, butter dish, and place settings for two
for
Breakfast styled by me at our dining room table.

I received the invitation to participate in a show titled Breakfast (online and in Philly at The Clay Studio 11/7 – 1/4) in April from fellow potter Bryan Hopkins. Each potter was to make their interpretation of a toast rack, egg cups, butter dish or jam jar, plus two plates and cups. I immediately set to work on drawings, particularly of toast racks, knowing I wanted to use wire instead of clay for the dividers. (Indeed, I spent a three-hour flight to a workshop drawing toast racks!)

Kristen Kieffer sketchbook, toast rack drawings

My sketchbook drawings of toast rack ideas.

Kristen Kieffer Toast Rack II

Toast rack in Aqua, Drape-molded (from my design) and altered porcelain with carved,
slip-sponge, underglaze, slip-trail, and Mishima deco, cone 7 oxidation
with multiple glazes, and steel wire.

For the month of May, I was a Visiting Artist at the Archie Bray Foundation in Helena, MT, and spent a chunk of my studio time developing the serving prototypes for this show, as well as making my egg cups and caddies, which I glaze-fired and completed at my home studio.

Kristen Kieffer Egg cups and Caddy

Egg cups & Caddy in Frost, Wheel-thrown, altered and built porcelain with carved, slip-sponge, underglaze, and slip-trail deco, cone 7 oxidation with multiple glazes, and steel wire.

Kristen Kieffer Butter Dish, Periwinkle

Butter dish in Periwinkle, Hand-built porcelain with slip-sponge, underglaze, slip-trail,
and Mishima deco, cone 7 oxidation with multiple glazes.

I don’t often make sets, but do enjoy playing with what defines one. With the pieces for this show, I didn’t want all one glaze color (I used a color family of five), nor identical elements that “match.” Every piece has sky blue underglaze (the stripes and dots of ceramic color I brush on before the first firing because I want it to be layered under my slip-trailing); my swirled slip-sponge pattern (the subtle background texture); and my slip-trail dots and ‘leaf swirl’ pattern. While I played with variations of stripes and polka dots on each piece, as well as how I laid out my leaf swirl, they all share the same style and attention to detail that makes them feel related as a whole, yet able to be mixed and matched or stand strongly alone. (The Yellow Pear cup would just as easily pair with the Spring green plate, for example.)

Kristen Kieffer Breakfast setting yellow pear

Deluxe clover cup & Plate (medium) in Yellow Pear, Wheel-thrown and altered porcelain
with slip-sponge, underglaze, and slip-trail deco, cone 7 oxidation.

Kristen Kieffer Breakfast setting green

Deluxe clover cup & Plate (medium) in Spring Green, Wheel-thrown and altered porcelain
with slip-sponge, underglaze, and slip-trail deco, cone 7 oxidation.

Breakfast opens online and in Philly at The Clay Studio on Friday, November 7 and continues through January 4, 2015, and includes sets by Blair Clemo, Lindsay Oesteritter, Lisa Orr, Meredith Host, Roberto Lugo, Emily Schroeder Willis, and Bryan Hopkins as well as myself.

This was a quite a challenge for me with months of planning and testing yielding one-of-a-kind results. I’m delighted with the final pieces and hope you’ll check the show, in-person if you can, and online for all. Thank you for ‘egging’ me on, Bryan!

Kristen Kieffer Breakfast set (above)

First Place!

Kristen Kieffer-Grande Jar, Zanesville Prize First Place I Kristen Kieffer Grande Jar, Zanesville Prize First Place II

Grande Covered Jar (Allium pattern), Wheel-thrown and altered porcelain with slip-sponge, underglaze, and slip-trail deco, cone 7 oxidation. 16″ h x 8″ w x 8″ d

I’m THRILLED to share that I received First Place in the first Zanesville Prize for Contemporary Ceramics for this Grande JarThere were over 1400 submissions competing for the $30K total in prize money with only 97 works chosen for the exhibition held at Seiler’s Gallery in Zanesville, OH. Big huge thank yous to jurors Brad Schwieger, Sherman Hall, and Angelica Pozo, and the Muskingum County Community Foundation for this great honor. I am Over The Moon!

Zanesville Prize for Contemporary Ceramics, 2014 exhibition

Museum Purchase

Flower vessel (Corset series), Lilac pattern

I’m so thrilled to share that this large (18″ h) piece of mine, which was juried into the 19th San Angelo National Ceramic Competition by Garth Clark and Mark Del Vecchio (who also awarded it a Merit Award), has been purchased by the San Angelo Museum of Fine Arts in TX for their permanent collection! Very much a delightful, triple honor. This is the third museum to purchase my work for its collection. The other two are the New Taipei City Yingge Ceramics Museum in Taipei, Taiwan and the Fort Wayne Museum of Art in Fort Wayne, IN.

Lovely Intangibles

  
  

It’s the title I chose for my solo show at Plinth Gallery in Denver. I had jotted down the phrase months ago, but didn’t note the context. I believe I heard it on NPR in reference to something else, but it originated from the delightful 1947 film Miracle on 34th Street:

Look Doris, someday you’re going to find that your way of facing this realistic world just doesn’t work. And when you do, don’t overlook those lovely intangibles. You’ll discover those are the only things that are worthwhile.
~ John Payne as Fred Gailey

The “lovely intangibles” are something I think about when I’m working in my studio and reference about my pots when I teach: the importance of detail (different from decoration), which I define as anything from a slip-trail accent to the ribbed line that delineates a curve. Each of the aesthetic, technical and functional components that make up the whole of a pot —those big and little things that need to be there for me as the maker— may not be definable or even identifiable to the viewer, but if one or more is missing, the whole is no longer the same or as strong. I like the idea that it’s those lovely, imperceptible or even elusive intangibles that are crucial in the completion of a beautiful and useful object. We may not be aware of them when they are there, but somehow we are when they’re not.

The “important” details pictured, first row: 1. The negative space of a pitcher handle and crisp line that defines the handle itself. 2. The stripes that pop the stamped bunny silhouette, and slip-trailed tail. 3. The top flowing line of a cup handle that leads directly into the lip, and the lines the define the glossy interior and satin exterior. Second row: 4. The red stripes that wrap around and define planes and curves. 5. The cut-aways from a jar foot that create shadows and punctuate the softly squared corners of the body. 6. The thrown, altered and ribbed curves of a large pear jar.