I create ceramic artwork, vessels, sculptures and wall pieces by hand in my studio. My pieces incorporate stoneware, porcelain, found clays, rocks and natural earth materials from nearby the studio. My unique objects have been shown in galleries, design showrooms, fine craft exhibitions and museums around the country.

I have been examining notions of time and memory while referencing architectural structures, urban/rural landscape and ornamentation. I have always been struck by the evidence of subconscious influences and their direct link to identity. The pieces are cast adobe tiles and the surfaces vary from simple worn patterns to multi painted layers. The first layer consists of a white wash scraped or sanded to create a worn appearance. Some of these pieces are left with a raw surface and some incorporate layers of pigment followed by a layer(s) of encaustic medium. This technique emphasizes and decorates the rough surface which asserts the passage of time and the burying and recovery of memories.

I absorb my surroundings through the shapes, objects, and compositions that seemingly ordinary structures and spaces reveal to me. I enjoy the visual encounters that give me pause and respite from tensions in my life. The grid of white window panes against the texture of weathered wooden shingles; the outline of trees set behind colorful, centuries old brick buildings edged with an embankment of jagged rocks; these moments of recognition cause stillness for me and I feel curiosity and calm. My work is a recollection of these spatial encounters; mimicking line, texture, and color. I abstractly materialize particular instances through installations of my sculptural forms and their relationships toone another.

In my studio practice, these encounters are translated into abstract drawings, sculptural ceramic objects, and reinterpretations of drawn imagery. I explore recurring ideas and objects fully, creating different renditions in various materials, dimensions, and complexity. I exhibit these forms with limited context and hope viewers find a moment of pause and intrigue to ponder the objects’ significance and origination.

I remain committed to searching for and observing significant instances that encourage me to contemplate and to continue my explorations in clay.

My work is concerned with the making of meaningful objects. I am fascinated by the burst of energy that finds a new form, and inspired by the calm obsession required to winnow that shape into the most ideal proportions. I then apply color and line to the surface of an object in a playful re-examination of the original idea. This process of invention, perfection and appraisal charges a cup, bowl, or sculpture with a vibration, which can create a positive disruption in usual patterns of living. If I can create and share something unexpected through this exploration, then I feel that my objects can be of use.

The implied expectation of interaction with pottery is deeply ingrained in our culture, making this medium a perfect vehicle for my work. My desire to sculpt comes directly from within the patterns of my work as a potter. I do not think I can do one without the other, for each experiment fuels the next in a studio practice of perpetual motion without conclusion.

I think one of the things I love the most is finding the balance between form and function. I love the challenge of trying to make something beautiful but also works really well. My pots are meant to be used as well as loved. I make bowls to be your favorite bowl because it fits the curve of your palm like no other: grooves for nice grip and clean edges for good pouring. My food-focused pieces are influenced by my love of cooking, and made to become an essential piece of your kitchen. I think my pieces have gentlenessto them, a subtleness that is very inviting. I love the movement that goes into making a pot, the spinning of the wheel, the push and pull of the clay. My pots are simple and clean, a frozen moment captured in my delicate white porcelain shapes.

Julie Hirschfeld lives in Brooklyn and spends most days in the studio making pottery.

This pottery is inspired by the ceramics of antiquity. Art from the civilizations of the Fertile Crescent, which has survived to this day, evokes a desert world — a world which remains largely a mystery. In this hurried life we seek rest and repose — an oasis where refreshment and peace prevail.

These pots are from that place and, it is hoped, radiate a sense of history, of mystery and dignity. They're called OASIS out of an appreciation for integrated living and a guess that we may recover a certain dignity by finding a model in our own past. My love of the desert informs the color choices. The pitted and multicolored surfaces are intentional. May they bring desert textures, colors, quietude — and mystery — to the table.

The clay vessels of Eshelman Pottery order and dignify human life. Clarity is given to simple forms by contrasting glazed and unglazed surfaces. Pure clean glazes render elegant presentation of food and drink.

as an artist, i believe an object tells a story.

my work is inspired by functional objects that have been present throughout history- a cup, a plate, a spoon, a water jug... timeless, clean and simple. traveling in the mediterranean as a child, i became acutely aware of the handmade in the region. its architecture and artifacts awakened an artistic sensibility that has shaped my life & work.

i create sculptural vessels that are, like the human figure, unique and one of a kind, changing from every view point. art pieces that are made to be held and used. objects that aesthetically enhance the everyday moments of life. the vessels are coil hand sculpted, a technique that reaches into antiquity and predates throwing on a wheel. the simplicity of hand building artistically stands out in a world that is striving towards mathematical perfection- where the human imprint of the creative moment is hidden or lost.

for me, the imperfect line, the off-centered object is the art.

My atmospheric fired, ceramic work focuses on nature-related sculptural pieces that are also functional.
Shinrin-yoku, a Japanese term that means “taking in the forest atmosphere”, has been very influential in my clay work.
There is evidence that this type of nature therapy improves both physical and mental health. Through the creation of nature-inspired ceramic work, I hope to elicit a sense of shinrin-yoku and impart a pleasant feeling onto the beholder. When direct and prolonged contact with nature is not accessible, it is my hope that a special woodland art piece will evoke a similar calm spirit.
I strongly believe in hand sculpting each piece to fully reflect the realistic and beautiful imperfections that my main subjects are based upon. With great effort and proficiency, my goal is to create organic impressions and intuitive pieces that portray balance and harmony. When my work reaches the hands of its owner/user, I hope it bestows an insight into the goodness of life.

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Mycelium Root Vessel, 7x11x8, soda fired B-clay, $950

I aim to create objects that will help bring that joy to your life; creating something with an unmistakable character that can be a treat for your home is essential for my work. I wanted to create pieces that complement all styles with an emphasis on organic, elegant, and a bit funky.

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Hand stamped Vases, 10” tall, stoneware porcelain blend, glaze, 24k gold rim

Hand stamped Bowls, various sizes, stoneware porcelain blend, glaze, 24k gold rim

Hand stamped Plates, various sizes, stoneware porcelain blend, glaze, 24k gold rim

My inspiration is found in the kitchen and enhanced by my love of antiques. Hobnail glass and lace are my greatest influences. I love the tactile quality of the dots and how they fit on the pots. While making pottery, I imagine how it would fit in a 1930s farmhouse. Soft, dusty colors, with simple, sturdy forms. Pottery that is decorated and beautiful, but always practical. Many homes during the 1930s did not have much, but often still took pride in a lace table cloth, and a few nice pieces of china or glass. I believe that people don't need much to be content, but do need to surround themselves with quality, meaningful, objects.
One thing I particularly enjoy about antiques is how they subtly record the past. Objects record their story with every stain, scratch, rust, tarnish, and carry that with them. On my pieces the thin surface of terra sigillata allows bits of texture to show through and become the start of the pots story. Over time the terra sigillata surface will patina and as the piece gets used, will continue to record that use. Overall, I work to create functional pottery with a depth that will be revealed over time and use.

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Shot Glasses, 3” tall, earthenware, glaze terra sigillata, $28 each

Berry Bowl, 4x8x8, earthenware, glaze terra sigillata, $74

Match Striker Holder, 2x3x3, earthenware, glaze terra sigillata, $30