Ceramics For Sale

Page 7 of 13
Linda Casbon, Hector Kriete, Christy Laroy, Cindy Weaver, Kathleen Hill, Gayla Lemke, Gail Rosenquist, Nicki Wood, Annette Kearney, Carl Gray Witkop, Cathy Feiss offering original Ceramics artworks.


Contemporary Art / Ceramics / Previous / Next
Linda Casbon: 'Interior', 2005 Handbuilt Ceramics, Abstract.
, 2005
Abstract - Ceramics
28 x 48 inches (71.1 x 121.9 cm)
Hector Kriete: 'untitled 4', 2006 Other Ceramics, Abstract.  high fire stonewere. ...
, 2006
Abstract - Ceramics
6 x 12 inches (15.2 x 30.5 cm)
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Hector Kriete: 'untitled 2 3', 2006 Other Ceramics, Abstract.  high fire stonewere. ...
Abstract - Ceramics
6 x 12 inches (15.2 x 30.5 cm)
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Hector Kriete: 'untitled 2', 2006 Other Ceramics, Abstract.  high fire stonewere. ...
, 2006
Abstract - Ceramics
6 x 12 inches (15.2 x 30.5 cm)
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Hector Kriete: 'untitled', 2006 Other Ceramics, Abstract.  high fire stonewere. ...
, 2006
Abstract - Ceramics
6 x 12 inches (15.2 x 30.5 cm)
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Christy Laroy: 'Enchanted Expression', 2006 Handbuilt Ceramics, People.  I love how this lady has true expression.  The Romans had conqured the art of realistic sculptur.  I wanted to give my hand at it, but with my own style.  My goal was for her entire body to flow with emotion.  Her face, her stance, and her hands as they...
People - Ceramics
5 x 15 inches (12.7 x 38.1 cm)
Cindy Weaver: 'Porcelain Bowl', 2006 Other Ceramics, Abstract Figurative. This bowl is part of an ongoing series of porclain bowls, both glazed and unglazed. The focus is on pure form. This work is porclain, hand- burnished with terra sigilatta, low- fired and waxed. ...
Abstract Figurative - Ceramics
13 x 10 inches (33.0 x 25.4 cm)
Cindy Weaver: 'Porcelain and Wood Vessel 2', 2006 Other Ceramics, Abstract Figurative.  This is a lidded porcelain vessel, hand burnished with terra sigilatta, pit fired and waxed. ...
Abstract Figurative - Ceramics
6 x 12 inches (15.2 x 30.5 cm)
Kathleen Hill: 'Contained Possibilities III', 2006 Handbuilt Ceramics, Abstract.  Ceramic with acrylic patina ...
Abstract - Ceramics
10 x 23 inches (25.4 x 58.4 cm)
Kathleen Hill: 'Contained Possibilities VIII', 2007 Handbuilt Ceramics, Abstract.  Ceramic with glazes, pit fired ...
Abstract - Ceramics
12 x 13 inches (30.5 x 33.0 cm)
Kathleen Hill: 'Contained Possibilities III', 2005 Handbuilt Ceramics, Undecided.  Ceramic with oxides and wax ...
Undecided - Ceramics
14 x 25 inches (35.6 x 63.5 cm)
Kathleen Hill: 'Glacier Series 10', 2005 Handbuilt Ceramics, Ecological.  Ceramic ...
Ecological - Ceramics
14 x 19 inches (35.6 x 48.3 cm)
Kathleen Hill: 'Lift up your wings    view 2', 2007 Other Ceramics, Abstract.  ceramic sculpture with acrylic patina ...
Abstract - Ceramics
13 x 11 inches (33.0 x 27.9 cm)
Kathleen Hill: 'Lift up your wings    view 1', 2006 Other Ceramics, Abstract.  Ceramic sculpture with acrylic patina. This is part of a series of sculptures inspired by the words of a song about picking up or rebuilding your life afte the storm has passed. ...
Abstract - Ceramics
13 x 11 inches (33.0 x 27.9 cm)
Kathleen Hill: 'Contained Possibilites IV', 2006 Handbuilt Ceramics, Abstract.  Handbuild Ceramic with Acrylic Patina in copper browns with turquoise green accents. This piece is inspired by twisting and interlocking branches often found in trees....
Abstract - Ceramics
8 x 20 inches (20.3 x 50.8 cm)
Gayla Lemke: 'Kona', 2003 Handbuilt Ceramics, Abstract.  Kona is handbuilt, carved ceramic, fired to cone 04.  The piece consists of two stacking parts. ...
, 2003
Abstract - Ceramics
12 x 42 inches (30.5 x 106.7 cm)
Gayla Lemke: 'Kahuna', 2003 Handbuilt Ceramics, Abstract.  Kahuna is handbuilt and carved ceramic, fired to cone 04.  The piece consists of two stacking parts. ...
, 2003
Abstract - Ceramics
12 x 48 inches (30.5 x 121.9 cm)
Gayla Lemke: 'Guardian', 2004 Handbuilt Ceramics, Abstract.  This sculpture is handbuilt and carved ceramic, fired to cone 04.  The piece consists of three stacking parts. ...
, 2004
Abstract - Ceramics
15 x 69 inches (38.1 x 175.3 cm)
Gayla Lemke: 'Rapunzel Never Lived Here', 2005 Handbuilt Ceramics, Architecture.  This piece can be sold as a group of three, or each piece individually.  The houses are handbuilt and carved ceramic, and fired to cone 04.  The roof on each is steel. The price listed is for all 3. ...
Architecture - Ceramics
10 x 39 inches (25.4 x 99.1 cm)
Gail Rosenquist: 'Yin Yang Teapot', 2006 Handbuilt Ceramics, Religious.  Handbuilt teapot  Celeadon Galze with black and white accents. ...
Religious - Ceramics
3 x 6 inches (7.6 x 15.2 cm)
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Gail Rosenquist: 'Ceramic box with glass inlay', 2006 Handbuilt Ceramics, Abstract.   Ceramic box with matte green glaze and glass inlay  ...
Abstract - Ceramics
4 x 4 inches (10.2 x 10.2 cm)
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Gail Rosenquist: 'Dragon Teapot', 2006 Other Ceramics, Fantasy.  Dragon Teapot green glaze with brown accents ...
Fantasy - Ceramics
6 x 6 inches (15.2 x 15.2 cm)
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Nicki Wood: 'Cupcakes', 2006 Handbuilt Ceramics, Food. Each cupcake is for sale.  None are alike.  They look very realistic.  Each is piled hight with icing, color and maybe a cherry. ...
, 2006
Food - Ceramics
3 x 5 inches (7.6 x 12.7 cm)
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Nicki Wood: 'Beyond the Cake Installation', 2006 Handbuilt Ceramics, Figurative. The figure blocked and guarded by decadent cakes is looking towards a wall of
Figurative - Ceramics
7 x 12 feet (2.13 x 3.66 m)
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Nicki Wood: 'I made them myself', 2006 Handbuilt Ceramics, Food. The arms offering the plate of cupcakes could be any female arms.  She offers you a cupcake she made with hope of pleasing you.  Her entire self worth lies in this image. ...
Food - Ceramics
3 x 3 feet (0.91 x 0.91 m)
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Annette Kearney: 'Tile Mural', 2006 Other Ceramics, Architecture. Matisse inspired hand painted tile and mosaic tile mural. ...
, 2006
Architecture - Ceramics
36 x 48 inches (91.4 x 121.9 cm)
Carl Gray Witkop: 'Vase', 2004 Handbuilt Ceramics, Meditation. handbuilt burnished earthenware vessel. No glaze. I fired this as I fire all my work in a way resembling raku, Smoke marks are left from contact with flowers and leaves during firing....
, 2004
Meditation - Ceramics
6 x 8 inches (15.2 x 20.3 cm)
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Cathy Feiss: 'Banksia Grandiflora II', 2004 Handbuilt Ceramics, nature.
nature - Ceramics
18 x 38 inches (45.7 x 96.5 cm)
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Cathy Feiss: 'Radial Brown', 2004 Handbuilt Ceramics, Abstract. Made of up to seven different kinds of unglazed clay.  A basin of leaf or flower- like elements....
Abstract - Ceramics
12 x 9 inches (30.5 x 22.9 cm)
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Cathy Feiss: 'Lamellate White', 2005 Handbuilt Ceramics, Abstract. From series of imaginary pods.  This one has many fins that resonate like a xylophone when tapped with a pencil or metal rod....
Abstract - Ceramics
9 x 10 inches (22.9 x 25.4 cm)
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(Page 7 of 13) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Linda Casbon - In Paul Valery's words, "to see is to forget the name of the thing one sees". My work translates forms into a language of metaphoric associations. It hints at meanings without using literal descriptions. Objects are the visual sounds of this language. When placed together these words form a sentence, a poem, and a kind of narrative with its own internal logic. The pieces look like . . . feel like . . . sound like . . . but cannot be consciously identified or named. With this work I am striving for a sense of unnameable familiarity. Some of the work consists of single objects. I view these pieces as words or emblems. More often the work is a group of objects, or a composition. Ceramic forms are used as a sculptural canvas to draw on, creating interplay between painted shapes and actual shapes. The physical scale and formal qualities of the work reference the body. Current series include: "Pillows" which have a volume reminiscent of lungs and breathing, "Tunnels" and "Blankets" which focus on differences between inside and outside and the idea of transformational space, and "Cages" which utilize structural elements to create form and explore three-dimensional mapping and order versus randomness. The surfaces and ...

    Hector Kriete - I have experimented with all kinds of art mediums like drawing, painting, music and sculpture. But there is just something about ceramics. I believe that it is the one of the oldest types of expression. Ceramics has been around for ever, and been used from developing numbers to writing music. The processes that take place in all different types of firing are extraordinary. They've been developed by hundreds of years, and history can be traced back to the beginning with it. I feel very connected with it even though the world is rapidly changing. ...

    Cindy Weaver - I gather both inspiration and natural materials from the Atlantic and Pacific coastal regions, as well as the areas around Taos and Santa Fe New Mexico. I would characterize my pottery as being organically inspired and calming to the senses. They reflect my feelings about the experience of personal growth; physical, mental and spiritual. I use asymmetric balance as an expression of the challenges of our lives, a reminder that we can keep our center and grow more uniquely beautiful as our own life story unfolds. My technique typically involves either throwing and altering, or pinch work. In the process of experimenting with different clay bodies, I discovered an affinity for porcelain. I have a strong attachment to nature, so although I occasionally work with oxides, glazes and underglazes, it is my often my choice to finish a piece by burnishing with terra sigillata. Depending on the particular series being created, the work may be smoked after the burnishing or it may be left white and finally buffed with archival wax. I have achieved my goal when my vessels take on a personality of their own. I allow the forms to develop a story or personality, an almost human evolvement. ...

    Kathleen Hill - Artist Statement I choose to work with clay because it is receptive to unlimited combinations of texture, form and structure. I've always been fascinated with the textures, forms and colors in the world around me. Clay allows me to recreate and manipulate the various forms and textures that I choose to incorporate in my art work. Flower petals, eroded landscapes, reefs, corrugated roadbeds, bark, the curve of a tree limb and other natural objects inspire a tactile language I use to create art works that are visceral; amorphic; asymmetrical. I want the finished work to have elements of the familiar but not clearly reference any particular item. All living things go through a multitude of changes and survive a number of challenging events. Clay allows me to show or suggest a history or series of layers of events .. that reflects the process of change. This is a recurring theme in my work that recognizes the fundamental reality of change as a part of all living processes. While I often have a specific phrase or title in mind when creating a specific piece, I am curious to hear what others see in my work. The viewer brings their own experiences ...

    Gayla Lemke - I have always been intrigued by primitive art...especially art from the South Pacific...body painting...tattoos...wood carving...stone carving...the universal symbols contained therein that connect. I find that my own "doodles" reflect similar imagery. This body of work stems from the drawings that flow from me when not thinking, as well as the influence from looking at and studying primitive/oceanic art. The forms themselves are allowed to take shape as they are built. The surface carving follows the same path in development. My work tells a story, be it literal or symbolic. This personal narrative has been influenced by exposure to the various cultures and histories of the places I have lived and visited. The sculptures are hand built with slabs and coils from a heavily grogged clay. At the leather hard stage they are carved with a variety of tools. After being bisque fired, a black stain is applied and they are again fired to cone 04. The sculptures of houses contain the above elements, but became more personally influenced by current events in my life. I recently built a studio and the structure of doing construction comes through in these pieces. The red metal...

    Nicki Wood - My work is a personal narrative. I am laying it out like a diary for all to read. My work is a personal narrative using the female figure and the use of objects as metaphor. Although Gender specific, the objects are chosen because they have a history or profound social personality of their own. What is intentionally being represented is a time and place of regret and emptiness and the moment of this realization. Within this moment of realization, exists an attraction and at the same time a repulsion of femine stereotypes, sweets and the link between the two. ...

    Annette Kearney - I am a painter and a painter ceramist. My paintings are abstract and are currently in encaustics and mixed media. My work in ceramics involves handpainted tile and tile mosaics in both majolica glazes and underglazes. My tile installations are used by both residential and architectural clients throughout the United States. ...

    Carl Gray Witkop - Beauty created by natural forces is sublime, sometimes so intense, sometimes hidden. I allow fire to finish my pots to include natural beauty in my creations. I handbuild pots by the coil method then burnish them with a smooth stone. There is no glaze. Other than some color in the clay slips, all the color results from the firing. I remove the pots red hot from the kiln, then finish the firing in a pit. The hot pots contact various fuels such as sawdust, hair, flowers, or weeds, which leave smoke stains and areas which are reduced or oxidized. ...

    Cathy Feiss - In my artwork, I am interested in expressing what I can't express easily in words. When I was younger, I was very interested in poetry and I feel that my interest in the visual arts comes from the same source, involving the construction of a kind of visual poem. Much of my work process is intuitive, or possesses intuitive elements within a rational framework. I am most interested in conveying a sense of energy, emotion, or an idea, through a form that may also have a planned and methodical basis. Multi-Group (Grass) and (Sand), grew out of the desire to convey the sense of something being born or emerging from something protective. In this series, a smaller element gradually emerges from a larger form, protruding out of a womb-like or protective surrounding. These pieces could also represent a kind of regeneration or growth from one form to another, or something sprouting in nature. Recently, I finished a series inspired by real and imaginary pods and plants. These works show the intricate morphology of organic forms. The pieces in the series are based on a fuzzy Australian plant with external fin-like seed pods (Banksia Grandiflora II), flower...