Ina Kaur

Ina Kaur is a native of New Delhi, India, and currently lives and works in New Orleans, Louisiana. She is an interdisciplinary artist specializing in printmaking and ceramics and serves as Curator of Creative Practice at the Newcomb Art Museum, where she leads community-centered initiatives. Her practice extends beyond the studio into pedagogy and curatorial work, grounded in responsive and socially engaged cultural practices. Kaur has exhibited nationally and internationally and has presented lectures and workshops sharing her research across the United States and abroad. She is the recipient of numerous grants and residencies and continues to expand her practice through material exploration and community engagement.

My studio practice responds to the human condition within entangled social, political, and ecological crises. I navigate layered histories of colonialism, migration, patriarchy, and environmental precarity through my lived experience as an outsider and as a woman. Working across intimate, impressionistic mediums including printmaking, ceramics, and performance, I explore belonging, survival, and the fragile persistence of being. Materials and processes become metaphor, with earth as body and form as testimony. Drawing from postcolonial theory, hydrofeminism, oral histories, and embodied knowledge, I develop a personal vocabulary that resists assigned identities while examining systems of displacement. My work asks how we remain present, here and elsewhere, within unstable landscapes of home, climate, and self.

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Fileve Tlaloc

Fileve Tlaloc (Palmer) is a multigenerational, creole-South African-American multimedia artist and anthropologist. Fileve grew up in New York City and studied art at City University of NY in Harlem where she was able to explore her love of history, culture, and art. Fileve worked as a high school history teacher in East Harlem before pursuing her doctorate at Indiana University - Bloomington. Her dissertation focused on Post-Apartheid Identity of mixed race youth. Her research was supported through funding as a Rotary Ambassadorial Scholarship as well as a Fulbright-Hays Dissertation Fellowship where she used photography as a tool to unpack South African political, cultural, and racial dynamics. Fileve has used her anthropology research to fuel her ceramic work that captures human existence and narratives through representation of the animal bodies and vessels using cultural symbols to reflect collective and individual political relationships. Her work speaks to the emotional and physical condition of human struggles between power and peace, injustice and freedom, and the intersections of race, geography, and nature. Fileve’s creative work has been supported through the New York Council of the Arts grant opportunities and most recently was the inaugural recipient of the Southern Finger Lakes Fellowship provided by the Arts Council of the Southern Finger Lakes.  As a multicultural, multinational, and multiracial person, Fileve journeys into material experimentation linked to indigenous practices to question the malleability of identity, Fileve uses her anthropological training to engage the public through exhibits, artist talks, and teaching social sciences at the University of Pittsburgh in Bradford PA.  Her artistic skills communicate through visual representations that explore the facets of the human experience through the examination between historical moments and memories of the subaltern who are often overlooked. Fileve lives in the Western New York woods cultivating a life of reciprocity that enables her to engage observation of the natural world allowing for constant learning and creating.

The ideology that permeates my work is "Re-indigenization" in an effort to decentralize colonization (decolonization) and align with indigenous values, knowledge, and ways of being (re-indigenization). Based on the symbols, materials at play, and my personal relationships and experiences this philosophy fills the work I create. From adding beadwork to paintings, framing them with animal hides, and juxtaposing contemporary symbols of "Techno sapiens" and the natural world, to recreating ancestral amaZulu ceramic vessels and firing family and historic photographs alongside my doctoral research on to the clay represent a "re-indigenized" practice.

I take an interdisciplinary approach to art and scholarship that blend seamlessly into regular, disciplined practice leading to successful projects. My goal is to broaden people’s understanding of literacy and remind people of the importance of art throughout time in communicating philosophical, historical, and emotional subjects, especially among indigenous people.  The work is at the crossroads between craft, social science, biography, and social justice. It is a call to action; to bring forth the injustices of classifications and legal structures that segregate and oppress human beings. My work aims to dismantle white narcissism and misogyny, show that history and language matter, and that multivocality is essential to humanize all people in the face of exploitation.

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Mirabel Ehirim

Mirabel Ehirim is a Nigerian-Canadian ceramic artist and founder of Morph & Matter, a sculptural homeware studio based in Hamilton, Ontario. She works primarily with handbuilt stoneware, creating sculptural ceramics that invite touch, spark curiosity, and bring emotion into everyday spaces. Her practice began during a personal reset in 2024, when she took an introductory pottery class and quickly became drawn to the freedom and process of letting go of control that comes with clay. Mirabel gravitates toward bold shapes, layered textures, and glaze combinations that create contrast, depth, and surprise. Through Morph & Matter, she reimagines everyday objects as sculptural forms that spark curiosity and invite interaction.

Morph & Matter is about creating sculptural ceramics that invite touch, spark conversation, and bring emotion into everyday spaces. Every piece is hand-built and shaped by feel. 

Rather than following rigid plans, I let the clay evolve naturally as I work. I’m drawn to bold forms, layered textures, and experimental glaze combinations that create contrast and depth. Floral influences, organic shapes, and sculptural appliqués often emerge throughout my work.

At the core of my practice is the belief that art should not feel distant or too delicate to engage with. I want people to hold my pieces, use them, and experience them up close.

My work occupies the in-between space: functional yet expressive, personal yet shareable, familiar yet surprising.

Ultimately, Morph & Matter reflects both process and philosophy, work that transforms not only clay, but the way we interact with and experience everyday objects.

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Heidi McKenzie

Heidi McKenzie is a ceramic artist based in Toronto, Canada. She completed her MFA at OCADU in 2014. Heidi is informed by her mixed-race Caribbean/Irish heritage. She uses photography, digital media, and archive to forefront themes of ancestry, race, migration and colonization. Heidi has created in Ireland, Denmark, Hungary, Australia, China and Indonesia. Heidi’s work was recently acquired by the Royal Ontario Museum. Her solo exhibition at the Gardiner Museum, Reclaimed: Indo-Caribbean HerStories (2023) and installation, Girmitya HerStories (2024), at the Indian Ceramics Triennale in Delhi, give voice to Indo-Caribbean women through a feminist lens.

I grew up in Fredericton, New Brunswick, the daughter of an Indo-Trinidadian immigrant who married an Irish-American woman—a brown face in a sea of white. My lived experience propelled me to engage with issues of race, identity, and representation. I work with archive, memory and ancestry. I often integrate muti-media, video, augmented reality and soundscape to enhance the narrative story-telling in my installations. I began working with sepia-toned, iron-oxide rich archival photography on ceramic, rendering my father’s life and telling the stories of his ancestors. I persisted in using ceramic material in the production process, fusing coloured ceramic pigments onto hand-rolled porcelain. 

Following the ideas of cultural theorist Ariella Azoulay, my work engages the socio-political landscape of my ancestors, purposefully shedding light on the under- represented stories of migrant and/or racialized peoples. I have recently begun to reach beyond the ceramics medium, incorporating fabrics, digital collage, cyanotype, mylar, and steel structures into m work. My 2025 solo exhibition in Montreal responds to my destabilization upon learnig of my father’s involvement in Canada’s largest race riots, “The Forgotten Man – Reckoing The Sir George Williams Protests, 1969 . I am in early stages of exploring my mother’s Irish ancestors, the farmers from Northern Ireland who worked the flax fields and came to Canada to work the land post Famine. 

My work asks the viewer to consider, acknowledge, understand, and transmute in our times the historical barriers of class, race and colonialization. Holding space and making place for people of colour matters. Telling my family’s stories matter.

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MaPó Kinnord

MaPó Kinnord grew up in Cleveland, Ohio and received her first training in ceramics through Cleveland’s Quaker-founded alternative high school, the School on Magnolia. She apprenticed with several production potters before receiving her Bachelor of Fine Arts from the Massachusetts College of Art in 1984 and a Master of Fine Arts degree from Ohio State University in 1994. Arriving in New Orleans in 1995, MaPó a Professor of Art at Xavier University. She currently serves on the board of NCECA as GAP director advocating for clay community and as a founding member of Crescent City Clay Connection clay group.

MaPó has taught workshops at Haystack Mountain School of Crafts in Maine and the Penland School of Craft in North Carolina, as well as the Kambe no Sato Arts Center in Matsue, Japan. She has researched the traditional and contemporary art of Ghana and produced video documentation of the traditional pottery, kiln building and ceramic architecture of Northern Ghana, West Africa.

Making

I believe making work should come from the heart first, then the body and head. My hands work in coordination with the act of listening. I ask questions of myself as I work and my hands answer. I am so grateful that clay has been the major vehicle of my life’s journey.  

Teaching

My goal as a teacher is to connect the skills that students are acquiring in the classroom to their aspirations for a happy life. I often compare the classroom to a gym where they are working out the muscles of their mind and character.  The level of their engagement is equal to the amount of abilities (through practice and effort) earned in the “workout”. I ask students to review their relationship to the act of working and struggle. Work can be joyful, exhilarating, encouraging and a friendship building process. It is through what we take on each day that we find and build a sense of purpose and happiness.

Art is a self-expressive topic. Understanding and making art is a practice of creative seeing, thinking and action. The process is designed to open the heart and mind to possibilities.

My greatest strength as a teacher is my love for the act of creating. I teach by example. In the studio, students see how I work. They see how I embrace problem solving like an addictive computer game. Each demonstration is a responsive act of being in the moment where intuitive and methodical practices come together. My goal is to have each student unlock hidden gifts, find new strengthens, engage opportunities to share, and reach new levels of self-awareness. 

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Yesha Panchal

Yesha Panchal was born in Gujarat, India, and currently living in Loganville, GA. She earned her BFA with a concentration in ceramics at Georgia State University in Atlanta, GA. She is currently a Ceramics Studio Manager at the Hudgens Center for Art in Duluth, GA, an organizer of the Clay to Table, serves on the board of NCECA, and a maker. Her article “Working Potter” and work were published in “Thoughts on Collaboration” in the June/July/August 2022 issue of Ceramics Monthly and the Korean magazine Monthly Ceramic Art (월간도예).

My work calls attention to the beauty of nature that often goes unnoticed, particularly petals, stems, plants, and other elements of nature which continuously fuel my inspiration. When surrounded by nature, I find the sense of belonging that I search for as an immigrant in a foreign land. I use underglaze trailing and painting techniques on ceramics to illustrate exaggerated forms, colors, and textures that are derived from my experience of being in nature. By letting my imagination guide the use of plants and petals in my work, I hope to bring that joy into others' everyday rituals. As one explores the intimate details of my work, I would like to emphasize that I intend to encourage viewers to observe the minute details of all aspects of our surroundings and appreciate the significance of our co-existence.

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Melisa | MWY Pottery

Melisa of MWY Pottery (she/her) is a cancer doctor, National Institutes of Health (NIH)-funded researcher, and ceramic artist in the San Francisco Bay Area. She was born in Malaysia and grew up in Southern California. While Melisa only started her pottery journey in 2023 as a 40th birthday present to herself, she’s been creative her whole life—sewing tiny clothes for her knockoff Barbies and exploring different forms of craft while trying not to burn her fingertips with hot glue. Melisa completed her BA in Human Biology, medical degree, internal medicine residency, medical oncology fellowship, and Master's Degree in Clinical Research in the San Francisco Bay Area (that's 14 years of education/training but who's counting). 

Melisa's ceramics have been exhibited by the Charlie Cummings Gallery, Palo Alto Art Center, Sausalito Center for the Arts, The Drawing Room, and Woman Made Gallery. She is a member of the Asian American Women Artists Association and has been interviewed about her approach to pottery as a side saunterer (which is like a side hustler, but without the hustle) on The Maker’s Playbook Podcast. In 2025, Melisa celebrated and featured immigrant ceramic artists in the US in her weekly Score and Slip series on Instagram.

As a cancer doctor and researcher, I have witnessed the healing powers of modern medicine. As a ceramic artist, I have witnessed the same for art. As censorship and oppression have entered science in the US, clay has become my freedom. Freedom to create unencumbered. Freedom to speak unafraid (actually, I’m doing this scared). And freedom to resist.

Through handbuilt resistance art made in the San Francisco Bay Area, I write truths into stone(ware) so they cannot be erased. As a Chinese immigrant, I use my art and relative privilege to support immigrant rights, inclusion, and liberty and justice for all, not some. My fruit flutter bowls honor migrant farm workers and Palestinian families. My resistance frames and spiral mugs share messages of strength, purpose, and dissent. Through my “Uncensored” flutter bowl series, I handwrite words that are currently banned in federal research grants in gold luster to remind us all of their value.

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Tomo Ingalls

Tomo Ingalls is a Japanese clay and performance artist based in Medicine Hat, Alberta, Canada. Initially trained as a potter, she worked as a production potter before pursuing her graduate studies at the Alberta University of the Arts. Her embodied knowledge of making through movement continues to resonate throughout her sculptural practice. Since completing her MFA, her work has been exhibited in Canada, the United States, and Greece. She has participated in residencies at Medalta, the Vermont Studio Center, the Anderson Ranch Art Center, and the Haystack Mountain School of Crafts. In 2023, she was named an NCECA Multicultural Fellow.  

The discipline of my early training in repetitive making processes instilled an embodied understanding of form and material that continues to ground my practice. Working across sculpture and performance, I cast parts of my body to explore the marks it inherently carries, traces inherited from ancestors and etched by repeated actions over time.

Drawing from my experiences as an immigrant, mother, daughter, and partner, I investigate how identity shifts in response to physical structures, environments, and interpersonal dynamics. My goal is to use clay’s malleability, instability, and capacity for transformation to examine how the body and identity are shaped, fractured, and re-formed by cultural, structural, and emotional forces. Through this process, I aim to invite reflection on vulnerability, resilience, and the body’s continual negotiation within shifting environments.

By cutting, multiplying, and reassembling clay body parts, I transform familiar bodily forms into abstract structures that embody destruction, transformation, and regeneration. The impermanence of the material mirrors the fluidity of identity, allowing each work to exist in a state of becoming rather than a state of permanence.

My installations often integrate furniture, mixed-media video, and live performance, creating immersive environments where the body and material interact in real time. Clay’s physical properties, its ability to yield, crack, dry, and collapse, become metaphors for the instability of identity and the ways we adapt to or resist the conditions that shape us. Through these works, I seek to provoke questions about how the body navigates structural, cultural, and emotional landscapes.

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Zainabu Usman Yusuf

Zainabu Usman Yusuf is a Nigerian clay artist and emerging potter whose work explores the connection between culture, identity, and contemporary ceramics. Through her platform clayandculture.ng, she draws from Arewa pottery traditions and reimagines them with modern forms and sgraffito decoration.

Since beginning her pottery journey, Zainabu has developed a personal style that blends functional and decorative vessels inspired by heritage, memory, and everyday life. Pieces like Butan Shayi and Zanen Tukwane honor Northern Nigerian craft traditions while expressing her evolving vision for African ceramics.

She sees clay as a language of storytelling, healing, and transformation, She believes our hands can be used for so many things—they hold no limit.

Alongside her studio practice, Zainabu is dedicated to community engagement. She has co-facilitated youth pottery workshops and participated in Art Exhibition, where she introduced children and visitors to the pottery wheel and creative clay processes.

Driven by cultural preservation and innovation, she works to connect traditional knowledge with new design ideas, contributing to the growing story of Nigerian and African pottery in the modern world.

I work with clay to honor the stories, traditions, and lived experiences that shape my identity as a Northern Nigerian potter. My practice blends cultural memory with contemporary design, allowing me to explore how everyday vessels can carry history, meaning, and emotion.

Through wheel throwing, hand-building, sgraffito carving, and experimental forms, I create pieces that reflect my environment and my connection to heritage. Clay gives me a language of expression. It grounds me, teaches me, and reminds me that the human hand is a powerful tool for both making and remembering.

My goal is to contribute to the evolving story of African ceramics by preserving traditional knowledge while imagining new possibilities for clay in the modern world.

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Mariko Okubo

Mariko Okubo is a Kyoto-based ceramic artist recognized for her quiet and expressive figurative sculptures that give tangible form to subtle emotional and psychological states.

She began her ceramic practice in Taipei in 2011 and founded her Kyoto studio “Green Time” in 2016. Her work has been exhibited in museums, galleries, and art fairs across Japan, Asia, the United States, and China.

Okubo’s work draws from personal reflection while engaging with universally resonant themes such as tenderness, emotional depth, and everyday inner narratives. She has participated in international residencies including Watershed Ceramics (USA), Clayarch Gimhae Museum (Korea), and Taoxichuan Art Center (China), and has been invited to lead workshops both in Japan and abroad, expanding her cross-cultural engagement through figurative ceramics.

I work with clay to give form to things that cannot be seen—memories, emotions, and the small traces of experience that remain even without words. Clay gently holds these quiet moments and allows them to become visible.

The figures I create are not modeled after specific individuals.

They grow out of a sense that parts of myself are intertwined with the natural elements around us—the air, the wind, the movement of time—and slowly emerge into form.

Moments of kindness, a sudden sense of longing, a quiet prayer for someone I love…

These feelings often rise while I’m shaping the clay. I follow their rhythm, letting the figure develop at its own pace. Each piece becomes a small vessel connecting my inner world with the one we all share.

Showing my work in Japan, Taiwan, Korea, China, and the United States has taught me that emotional experience is deeply universal.

I hope my sculptures offer a moment of warmth and a quiet sense of connection for those who encounter them.

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Ashley Rivers | The Nature of Fire

Ashley Rivers is a Contemporary Multidisciplinary Artist living in Gulfport, Florida. Creating unique works of art relating to the natural world and our bodies, Ashley draws inspiration from the earth, our human identities, biology, and ecology. With a background in sculpture and ceramics, her work is centered around the connection we as individuals feel and have towards nature and ourselves.

Ashley Rivers received her Bachelors of Fine Arts, with a concentration in Ceramics/Sculpture, from the University of South Florida. She is a mixed-raced, female artist whose work cultivates a range of mixed methods and imagery, and aims to embrace strength, wellness, and the phenomena of the physical world collectively.

Ashley Rivers has participated in, and curated, numerous exhibitions and large projects within Florida and the Tampa Bay Area. She has received several awards and grants including the 2021 St. Petersburg Arts Alliance Individual Artist Grant, the 2022 Creative Pinellas Emerging Artist Grant, and she was the first recipient of the 2022 Senator Darryl Rouson Artist Grant. She has had artworks exhibited at the African Heritage Cultural Arts Center in Miami during 2022 Art BASEL, won the 2023 Gasparilla of the Arts Emerging Artist Award, won the 2023 Halo Arts Project Fellowship, received the 2024/2025 Arts Impact Fund for Visual Arts from Creative Pinellas, and was one of the Cycle 4 Recipients for the 2024 Gobioff Foundation Microgrants.

I make works from my soul — works that engage with feelings, nature, and emotions. I offer intimate moments inspired by the natural world and our bodies, allowing each viewer a chance at self-reflection and individualized thought about the phenomena of the physical world. My work depicts stages of a journey relating to the natural world and the impact of human activity on its condition- or nature’s impact on us. I start with a simple impulse, and it develops and transforms into something multilayered and indefinable.

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Susannah Israel

Activist from birth, Susannah Israel (she/we/us) is an artist, writer and educator on a mission for truth. Israel was born in NY City and raised by a painter and a writer in the Civil Rights era. She studied ceramics with Byron Temple on scholarship to Pratt Art Institute,1972 and earned a B.A. in Art and Chemistry,1987 and M.F.A. in Ceramics, 2000 at San Francisco State University. Her gritty yet passionate view of humanity is drawn from city life.  Her sculptures confront assumptions about race, gender and culture. While teaching at Laney College (2001-2018), Israel  advocated fiercely for all students, taking on advising, writing curriculum and serving as chair, even though she was an adjunct with no insurance. She began writing art reviews in 2000 to support and showcase the talent often excluded by galleries and museums. Israel lives and works in her east Oakland studio and is currently writing her third Afrofuturism novel.

I am a storyteller: I tell stories with words, and I tell stories with clay. Terracotta is my chosen material for the rich color of the natural surface, and I am influenced by red clay traditions from Mexico, the Visayas, Japan and Italy. These images focus on a sited piece, "We are the body, the boat and the water," a story in terracotta about my long life in clay, using three liminal experiences as a resident artist across three decades. The rising waves are a visual metaphor, intended to show how what we do shapes who and what we become. The entire piece is about the importance of communities like the Color Network fellowship. My work is termed expressive and abstracted; I use the figure to respond to themes and issues, which I consider to be the role of sculptors across time and around the world.

(website)

Julie Moon

Julie Moon is a Toronto-based ceramic artist. Her practice is deeply connected to the intuitive process of making, allowing subconscious thoughts and geometries to manifest. Ceramics, with its unique ability to capture intricate details and textures, gives voice to her interests in merging elements of shape and surface. Julie thinks of the forms she builds as canvases for surface design, where she explore decorative arts, the language of pattern, and the tension between the organic and architectural, creating works that hover between metaphysical realms and our corporeal world. 

My combination of form and surface are in dialogue with notions of beauty and strength: botanical, organic imagery, often thought of as fleeting and fragile, I represent as sturdy, enduring, and larger-than-life. Similarly, I draw from patterns and motifs that throughout history have been minimized as “ornamental” or “cosmetic,” instead making those elements my focus. In doing so, I not only challenge ideas of the feminine and of beauty, but also reframe the unnoticed, the vernacular, and the non-Western criterion. I wish to engage with my audience by inviting them to reconsider and celebrate unexpected expressions of being. 

Prior to ceramics, I spent over a decade in the garment industry where access to an ever-expanding lexicon of pattern made a deep impression on me. During my BFA at OCAD University, I studied Fibre Arts. This combination of experiences allowed me to explore a vast array of textiles, where patterns have existed for thousands of years, well before the industrial age mechanized the creation process. I found that these patterns have the ability to transform an environment, communicate a personality, express a mood, or symbolize a tradition. Today, I continue to be inspired by the language of ornament, tactile media, and their interplay with the human figure. 

As a racialized artist, I inherently inhabit multiple worlds. I am fascinated by the ability of craft traditions to cross cultural and geographic lines, and I routinely draw from a collective and intergenerational past, offering reinterpretations through my personal language of ceramics.

I have previously studied (graduate school) and have made work (residencies) internationally. Having the opportunity to create in different environments has informed various methodologies in my practice, which, in addition to producing sculptural work, includes teaching and collaborating with designers.

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Kaneez Zehra Hassan

Kaneez Zehra Hassan is a Pakistani-American ceramic artist based in Utah, creating hand-built sculptural vessels that explore memory, identity, and repair. Working with coil, pinch, and slab techniques, Kaneez builds textured forms that evoke erosion and fragility. Many are bound with cotton thread, a gesture of quiet mending that honors both vulnerability and endurance. Inspired by archaeological fragments, devotional objects, and functional vessels, their work bridges past and present while reflecting on the diasporic experience. Guided by wabi-sabi philosophy, they embrace imperfection as integral to each piece, offering ceramics that are both contemplative and deeply personal.

Audrey An

Audrey An’s creative research explores the application of digital technologies to ceramics through the lens of convergence—cultural, technological, and interdisciplinary. Reflecting on her bicultural upbringing, moving between the US and South Korea, her work investigates the notion of homes, emotional weight of domestic space and the materiality of memory through sculptural furniture, 3D-printed clay, and hybrid digital-analog processes. Audrey holds an MFA from Penn State University, a BFA from the New York State College of Ceramics at Alfred University, and completed post-baccalaureate studies at Colorado State University. She has recently participated in residencies at the Ceramics Program, Office for the Arts at Harvard; Haystack Mountain School of Crafts; and the Watershed Center for the Ceramic Arts. Her work has been supported by several awards, including the Center for Craft’s Windgate-Lamar Fellowship, the NCECA Graduate Student Fellowship, and recognition as a Ceramics Monthly 2023 Emerging Artist. Audrey currently maintains studio practices and teaches at The Clay Studio in Philadelphia, PA as the Prototyping & Digital Fabrication Studio Manager. She has recently taught at institutions including the Tyler School of Art and Architecture, Massachusetts College of Art + Design, and Anderson Ranch Arts Center.

My work explores the condition of being a 1.5 generation Korean-American, an ‘in-betweener’ who is not quite first or second generation enough. I examine this in-betweenness, the embodiment of emotional oscillation to seek balance. My recent works examine how curation within homes can explore conversations about my transcultural upbringing: moving between South Korea and the United States. Furniture in the domestic space shapes our identity by serving as objects for which memories accumulate. I am interested in how furniture can be used as a means to create a hypothetical space: a space to embrace an emotional state, to reflect on life, and to personify self. By creating objects and artifacts from the past and physically collaging them, I use the act of making as a strategy to investigate self-identity, and ground my sense of belonging.

Similarly to the way I move fluidly between two languages I speak, I approach my studio practice as a form of "code-switching" between physical and digital work, as well as between clay and other materials such as plastic, wood and foam. My ‘thought-objects’ are either shaped through analog handling of clay or digital fabrication techniques such as 3D scanning, 3D printing, and CNC-milling to achieve varying degrees of visual aesthetics and resolution. Scaling, copying & pasting, mirroring, and merging & fracturing objects and their randomized mix of organic and mechanized tension reflect the complex and fragmented, but essentially harmonious feelings that transcend the cultural oscillations. I aspire to create reflections of my identity to speak about my experience from the boundaries of cultural convergence. This trans-processing style of making is the reminiscence of the transcultural making of me.

Emily B. Wang

Emily B. Yang (b. 1991) is a Brooklyn-based ceramic and block print artist. She hand-carves blocks to print on paper and porcelain forms to explore the tension between cultural and social expectations, and self-determination. Emily has exhibited at the Royal Academy of Art in London, the Yale School of Architecture, and the Harvard Graduate School of Design Kirkland Gallery. She has completed artist residencies at the Penland School of Craft (twice!), Anderson Ranch Arts Center, and Archie Bray Foundation. She is a graduate of Harvard University’s Graduate School of Design and is a 2025–26 Fulbright Scholar researching block printing and ceramics at Banaras Hindu University in India.

Emily B. Yang merges block printing and ceramics to explore the intersections of tradition, identity, and personal narrative. She hand-carves blocks and prints them onto handbuilt or slip-cast porcelain forms, layering imagery drawn from traditional Chinese porcelain motifs of lineage, care, and longevity with invented symbols and diagrams that reflect her lived experiences and anxieties as she steps into new identities as “artist,” “wife,” and eventually “mother.”

Her process is both physically demanding and conceptually layered. Porcelain—historically a cultural marker of refinement—becomes, in her work, a metaphor for conformity and the impossible standards imposed by self, culture, and society. Printing on its fragile, handbuilt surface is nearly impossible; each impression risks fissures that echo the struggle of meeting those expectations while simultaneously carving out space for her own story.

Ashley Rivers

Ashley Rivers is a Contemporary Multidisciplinary Artist living in Gulfport, Florida. Creating unique works of art relating to the natural world and our bodies, Ashley draws inspiration from the earth, our human identities, biology, and ecology. With a background in sculpture and ceramics, her work is centered around the connection we as individuals feel and have towards nature and ourselves. Ashley received her Bachelors of Fine Arts, with a concentration in Ceramics/Sculpture, from the University of South Florida. She is a mixed-raced, female artist whose work cultivates a range of mixed methods and imagery, and aims to embrace strength, wellness, and the phenomena of the physical world collectively.

She has participated in, and curated, numerous exhibitions and large projects within Florida and the Tampa Bay Area. She has received several awards and grants including the 2021 St. Petersburg Arts Alliance Individual Artist Grant, the 2022 Creative Pinellas Emerging Artist Grant, and she was the first recipient of the 2022 Senator Darryl Rouson Artist Grant. She has had artworks exhibited at the African Heritage Cultural Arts Center in Miami during 2022 Art BASEL, won the 2023 Gasparilla of the Arts Emerging Artist Award, won the 2023 Halo Arts Project Fellowship, received the 2024/2025 Arts Impact Fund for Visual Arts from Creative Pinellas, and was one of the Cycle 4 Recipients for the 2024 Gobioff Foundation Microgrants.

Sarban Chowdhury

Sarban Chowdhury is a ceramist, designer & educator from India. His practice of working with clay is an everyday learning process where he relates to coping with minor and major failures in life. Ceramics as a medium teaches him to gaze at life from a different standpoint. Sarban's research explores around ecosystem centric values, geopolitical influences and psychoanalysis of the human mind in relation to their surrounding factors. Everything that he examines, observes and experiences around him somehow seeps into his subconscious mind and eventually reflects in his work.

His work presents a visceral understanding of our contemporary world, through the exploration of a wide range of subjects pertaining to personal and collective experience. Fluent in the language of ceramic sculpture as well as painting, he explores form and surface, pushing the limits of the medium through a deliberate layering of constituted and invented meanings. He employs text and visual metaphors in order to extend his satirical commentary on the status of society and the environment, investigating human behaviour within these scenarios. He captures the mundane and complex, often through an autobiographical lens; his worldview embraces death and decay, beauty and vulnerability, anxiety and alienation, acceptance and resilience as they flow with a stream of consciousness through his creations, inviting viewers to become witness to the contradictions of life through his work.

Lucas Pincer-Flynn

Lucas Pincer-Flynn is an artist native to Pernambuco, Brazil,  currently living in Los Angeles. As a child, Lucas learned visual art techniques from their father, including charcoal drawing and oil painting. While helping their grandmother, Maria Clenia, decorate a birthday cake, Lucas learned from their grandfather, Nerivaldo, how to sculpt from sugar.. While the opportunity to work with clay was limited in their home city, Lucas was still able to learn how to make small animal sculptures and take part in the family’s native craft traditions originating from the vibrant city of Caruaru.

By 2016 Lucas moved to Los Angeles, where they developed methods for working with clay rooted in their indigenous traditions learned from Nerivaldo, with clay as an instrument of wordless storytelling guided by the body’s own memory. Since then, Lucas has taken part at the Better Together artist residency at Penland School of Craft, giving them the opportunity to further learn ceramic techniques through exploration and peer learning. 

Currently, Lucas is developing a body of work focusing on their conflicted ancestries and retelling personal and family memories in clay. The artist takes part in monthly shows at Giant Robot in Sawtelle and teaches beginning and intermediate level classes in Santa Monica.

I am a sculptor and ceramic artist native to Pernambuco, in Brazil, currently living in Los Angeles. My art practice is a ritual to connect with myself, my culture, the land and my ancestors. 

I am imagining and building ritual objects and portraits of moments in time of the Kingdom of Abya Yala.

Abya Yala (from the Guna language: 'Abiayala', meaning "land in its full maturity", "land of lifeblood", or "noble land that welcomes all") is one of the native given names of the continent generally known as America. I reject the fragmentation of this continent implemented by the European colonizers, and believe it is imperative that the land is cared for as one, under the guidance of its many native peoples. I call “The Kingdom of Abya Yala” the future of the land as it heals from colonization and is rebuilt by natives and african descendants in harmony with nature.

Storytelling is the driving motivation of each piece I make, whether they portray a narrative or a feeling. As a non-binary trans person, I find it urgent to embrace the inevitability of transitions, in any shape they take, as an inherent aspect of self exploration. Queerness has always been present and celebrated in pre-columbian times, and I aim to represent, honor and remember queer people and our stories.

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Deanna Wong

Deanna Wong is a Chinese-American non-binary artist born and raised on Duwamish and Coast Salish land. As a voracious traveling camper and overall gelatinous human, they create functional ceramics and large-scale murals featuring wiggly critter-filled illustrations. At an even five foot tall, Deanna could be described as “just a little guy” and also a “very long yardstick.”

Their vivid colorful artworks have been featured in Seattle Refined and selected for the 2024 Sunny Dayz Mural Festival in Ponca City, Oklahoma, and the 2024 Plaza Walls Mural Expo in Oklahoma City. They have received grants from the Norman Arts Council and the Oklahoma Visual Arts Coalition.

My art practice centers around themes of whimsy and fluidity. It is a celebration of life, a reminder of the importance of sharing joy, and a reflection of our ability to change and shape-shift. The characters that appear in my illustrations are reflections of my way of being and navigating through the world – uncomfortable and odd, yet endearing with an innocent charm. These playful depictions bring attention to the joy and beauty found everyday.

We grow old and forget how to play. I am drawn to clay as a medium for its ability to adapt and conduct itself in the world of play. Clay ties us to the earth. It is dry and brittle, moist and soft, breakable, but strong, and moldable to any form. Imaginative play opens our minds to new possibilities, solutions, and ways of being. In this way, enthusiastic silliness and goof-itude is fundamental to shape a world greater than our own. Love and joy is not only a positive force that we can generate for one another, but also a force that fights against policies of division and hatred. Especially in a society that demands us to work harder and highlights our differences rather than similarities, we require vibrant reminders in the power of soft kindness and change.

As a Chinese-American non-binary artist, I occupy space in between cultures and genders. The categories we assign to our lives provide structure to build our sense of self, but also create boxes to contort to. Being born in America, I was never Asian enough to be Asian or white enough to be American. When I was younger, I spent hours pinching my nose shut so it might grow pointier to resemble my white classmates. Later in life, I also discovered ways I had bent my behavior to suit gender norms. Andrea Gibson writes in their poem, “Andrew”, “… gender is just one of the ways we’re boxed in and labeled, before we’re ever able to speak who we dream we are, who we believe we’ll become, like drum beats ever changing their rhythm.”

My illustrations embrace the fluid discovery of identity while having to wiggle and wrap yourself around the categories and structures that exist. By using gelatinous and flowing critters, I am able to adapt each form to the space available, sometimes resulting in additional limbs or droopy gloopy bits. This fluidity also highlights our ability as critters to adapt, change, and be influenced by our surroundings. The bright bold colors used in my pieces also highlight diversity and celebrate it.

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