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20th Anniversary Fall Collection – Limited Edition Designs

In the making of the Harvest Moon

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Kevin Hicks throwing the Harvest Moon
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Laura Klein sculpting the Harvest Moon
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Jennifer Grelk glazing the Harvest Moon
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20th Anniversary Fall Collection Harvest Moon – Limited Edition $328

In the making of the Spider’s Tapestry

Video of Kevin Hicks throwing the Spider’s Tapestry

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Kevin Hicks sculpting the Spider’s Tapestry
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Jennifer Grelk glazing the Spider’s Tapestry
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20th Anniversary Fall Collection Spider’s Tapestry – Limited Edition $188

 In the making of the All Hallows’ Eve

Alek Schroeder throwing the All Hallows’ Eve
Laura Klein sculpting the All Hallows’ Eve
Jennifer Grelk glazing the All Hallows’ Eve
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20th Anniversary Fall Collection All Hallows’ Eve – Limited Edition $268

In the making of the Sticky Bear

Alek Schroeder throwing the Sticky Bear
Laura Klein sculpting the Sticky Bear
Allison Jelenchick glazing the Sticky Bear
20th Anniversary Fall Collection Sticky Bear – Limited Edition $328

In the making of the Farewell Vase

Kevin Hicks throwing the Farewell Vase
Leah Purisch glazing the Farewell Vase
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20th Anniversary Fall Collection Farewell Vase – Limited Edition $298
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20th Anniversary Summer Collection – Limited Edition Designs

In the Making of the Heirloom Raspberry

Alek Schroeder throwing the Heirloom Raspberry
Alek Schroeder throwing the Heirloom Raspberry
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Laura Klein sculpting the Heirloom Raspberry
Jennifer Grelk glazing the Heirloom Raspberry
Jennifer Grelk glazing the Heirloom Raspberry
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20th Anniversary Summer Collection Heirloom Raspberry – Limited Edition $188

In the Making of the Summer Blossom Platter

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Kevin Hicks throwing and sculpting the Summer Blossom Platter
Allison Jelenchick glazing the Summer Blossom Platter
Allison Jelenchick glazing the Summer Blossom Platter
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20th Anniversary Summer Collection Summer Blossom Platter – Limited Edition $248

In the Making of the Reflection Lantern

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Ken Nekola throws & sculpts each Reflection Lantern
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Ken Nekola throwing and sculpting the lid of a Reflection Lantern
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Becky Hansen glazing Reflection Lanterns in autumn reflections glaze
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20th Anniversary Summer Collection Reflection Lantern – Limited Edition $288

In the Making of the Creative Spirit

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Kevin Hicks throwing the Creative Spirit
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Laura Klein sculpting the Creative Spirit
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Jennifer Grelk glazing the Creative Spirit
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20th Anniversary Summer Collection Creative Spirit – Limited Edition $348

River Koi Vase: Achieving an Illusion of Light
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“We lose a great deal when we lose the sense and feeling for the sun. When all has been said, the adventure of the sun is the great natural drama by which we live, and not to have joy in it and awe of it, not to share in it, is to close a dull door on nature’s sustaining and poetic spirit.” -Henry Beston

As the artists in the studio develop new pieces, there sometimes exists a very subtle element that we work to achieve. In the case of our new River Koi Vase, we wanted to convey the illusion of filtered, directional sunlight cast on the koi fish. To achieve this effect sculptor, Laura Klein, and glazer, Jennifer Grelk, coordinated their efforts.

Many, many experimental versions of the River Koi Vase worked their way through the studio as these two artists refined the luminosity. In the realm of sculpting, some very specific elements enhance a feeling of light. The arcing cutout under the fish’s tail provides a view into the dark interior, visually forming a deep value that contrasts with the surrounding tones. Also, the raised areas of sculpted decoration above the koi’s eye, along the edge of its fin and the ridge of its back, make the glaze naturally pool and recede. Finally, Laura worked to imbue a strong sense of movement in the fish and the grass. The rigid rim of the vase contrasts with the flowing sculpture. Movement and light work hand-in-hand to convey to the viewer the perception of catching a fleeting glimpse of a beautiful koi in a sunny river.

Jennifer’s glaze design on this piece brings the subtle aspects of sunlight to life. Through many trials, she worked with various glaze applications. In this final version, tones of orange, pumpkin, olive and amber blend on the koi to make it appear both realistic and illuminated. Jennifer contrasts opaque, cool-toned and deep-value glaze on the background with semi-transparent, warm-tone, and light-value on the koi. The interplay between opacity and transparency especially imbues the fish with a strong luminosity. The areas of brighter yellow that break more intensely along the higher relief on the fish’s tail and more delicately on the head and fin features further enhance the illusion of warm sunlight.

We hope you enjoy this wonderful piece as much as we do at the studio. The River Koi Vase represents one of our most sublime uses of artistic elements to pay homage to sunlight, “nature’s sustaining and poetic spirit.”

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Kevin Hicks throwing the River Koi Vase
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Laura Klein sculpting the River Koi Vase
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Jennifer Grelk glazing the River Koi Vase

 

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2016 Artist Anniversary Series

It is our tradition at Ephraim Pottery for artists to commemorate a milestone at the studio with a special design. Celebrating their anniversaries this year are Leah Purisch, 5 years; Becky Hansen, 10 years; John Raymond, 15 years; and Kevin Hicks, 20 years.

Ephraim Pottery is defined by the sensibilities and honed techniques of each of our members. It is a beautiful—and novel—model for an art pottery, as both new and veteran artists exert a symbiotic influence on one another. We grow and evolve through our collaborations; building and refining our common aesthetic to create innovative, fresh artwork.

Leah Purisch
Little did Leah know that her early years growing up in Cincinnati, Ohio would provide a great foundation for the path that lay ahead. Cincinnati—the hometown of the historic Rookwood Pottery—provided a catalyst for Leah’s later interest in art pottery. Leah’s circuitous path to Ephraim began with a childhood interest in art, followed by a BAand MA in Art History from the University of Wisconsin-Madison. After college Leah focused on oil painting and a display of her portrait work caught Kevin’s attention in a local Lake Mills art gallery. A short time later, a chance meeting brought her to the pottery and that connection sparked an idea for a new kind of collaboration for Leah and Ephraim.

Without any ceramic experience, Leah and Kevin undertook this collaboration tentatively and with an open mind. In short order, Leah’s amiable spirit, artistic skills, and passion for design work made her fit right in. Her affinity for historic art styles and practices, specifically her quest to design scenic vases, has contributed to many new avenues of artistic exploration for Ephraim in the five years since she joined the studio. Today her low relief, painterly style is instantly recognizable and widely admired by our collectors. In the studio Leah is a dynamic force of creative energy, supportively inspiring others to dream, play and experiment—to push past perceived boundaries and freely explore their artistic expression.

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Provence Cypress Vase

Becky Hansen
A required art credit for a business degree changed the trajectory of Becky Hansen’s life. This ceramics class ignited an interest in pottery that began as a hobby but eventually grew into Becky’s career at Ephraim. While living in Colorado Becky took a summer job throwing demonstration pots for Van Briggle Pottery, which later turned into a full-time position. There Becky gained experience in many realms of pottery making—throwing, glazing, slip casting, pressing tile, and making clay. As she became more involved in the small world of art pottery, Becky began hearing about Ephraim’s model of employing artists to work together hand throwing and sculpting pottery. Our studio appealed to her sensibilities—she liked the concept of more people involved in the design processes as well as the idea of creating new designs versus reproductions. Becky reached out to Kevin and the rest is history.

Becky is a steady and positive force in the studio. Her fun sense of humor and sincere, kind demeanor make our little pottery a happy place to be. Becky’s innovations and artistry in the glazing department have brought us popular glaze combinations such as ‘light stone,’ ‘dusky olive’, ‘autumn reflections,’ and ‘glacial.’ Becky has also designed and sculpted several Studio Collection pieces over the years, including “Maybells” and the “Oak Cabinet Vase”. As Becky rounds out her first ten years at Ephraim, we are so pleased that she found our studio and intrigued by the possibilities of what she will come up with next.

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Fuchsia Vase

John Raymond
Fifteen years ago John came to the fledgling Ephraim Pottery in a leap of faith. As Ephraim grew from a very small studio to a bigger operation, the pottery needed a knowledgeable studio foreman to manage everything from glazes to kiln firings, and Kevin knew no one was better suited than John for this job. Tinkering, repairing, repurposing came naturally to John—even as a small child he remembers fixing lamps and other household items for his parents. To Ephraim’s good fortune, John took a chance with us and his hard work and ingenuity have contributed immensely to the studio’s success.

John has an MFA from The Art Institute of Chicago and has spent most of his career in the ceramic field. Three years ago, in support of John’s passion for woodworking, Ephraim branched out with him to establish a wood shop and offer handmade wood items to our customers. The change from ceramic to wood was a seamless endeavor because the central feature of John’s art is craftsmanship. His meticulous and uncompromising sensibilities enable him to create beautiful wood objects made with the very highest standards.

John carries his adherence to craftsmanship through every aspect of his life and work. His devotion to excellence can be seen in the smallest details—from the tools that he creates for the pottery to the guides that he makes for his wood shop to the sketches and architectural drawings used to track his ideas. Ultimately these objects reflect a sense of caring—a conscientiousness about himself and his surroundings—about life in general.

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American Craftsman Wall Shelf

Kevin Hicks
Kevin had always been drawn to the art room in school—a space where artists worked side-by-side and naturally collaborated. That clubhouse atmosphere inspired him to create a ceramic studio where craftspeople had input into the artistic side of the products.

Twenty years ago Kevin Hicks founded Ephraim Pottery. Here he sought to merge the traditional production pottery studio model of the past with the modern autonomy of the individual artist. The result has been a unique hybrid—a place where ideas are shared, gathered and developed as a group.

Above all Kevin enjoys the process of making things by hand. The first time Kevin watched an artist throw a pot on the wheel he felt transcended and that ignited a fierce desire to learn more. Nearly every day of the week—including weekends—you’ll find Kevin creating at the studio where his focus is on pioneering new techniques for throwing and sculpting vases. He thrives on engineering ways to throw bigger and more complex pieces.

His determination has translated into mastery. Today he is a captivating thrower to observe, a veteran himself, inspiring a new generation of potters. After over 30 years of throwing Kevin still asserts that “Ceramics is a never-ending source of inspiration. The more I work in ceramics the more ideas flourish.”

Kevin wants every piece that comes out of the studio to display the hand of the maker. His affinity for a handmade aesthetic drives him to lean away from technologies that remove the artist’s hands from the work. Twenty years in business—no small feat for an art studio—reinforces that Kevin’s unifying vision to facilitate humble collaboration among artists and elevate a handmade aesthetic is a recipe for success.

Anniversary Rose Vase shown with the Noble Dragonfly Vase & Revival Rose Vase
Anniversary Rose Vase – shown with the Noble Dragonfly Vase & Revival Rose Vase
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Interview with Leah Purisch, Ephraim artist and tile maker

How would you describe the aesthetic of Ephraim’s tile?

Our tile is eclectic. Most EFP artists contribute to the development and production of tile designs and therefore we have many perspectives and styles encompassed in our tile line. Unlike most tile makers who must invest hours into making a tile mold and consequentially be highly committed to an idea from the beginning, we have a versatile, unique method which allows us to test many ideas before choosing the ones that we will refine for our catalog. Sometimes these more unusual tiles end up in our galleries as rare finds.

There are many art tile makers in the marketplace. What differentiates Ephraim’s tile?

Apart from the variety, our tile are very much handmade. We are not using the heavy ram presses or cnc machines to make perfect tiles and perfect molds. Imperfection is an intentional part of the charm of our tiles. They are heavily handled from pressing to cutting, finishing and glazing. You will often see finger prints impressed on the back of the clay from where they have been handled in the finishing process. We made a conscious decision a few years ago to make tile that is more art than tile. With this idea, we spend more time applying glazes in a painterly fashion, mixing colors on the tiles themselves as if they are canvases. We also now make frames for the tile. We like to see the framed piece as a discreet work of art. There simply is a lot of uniqueness to these tiles.

How do you categorize this art form?

Of course this is a form of ceramic art, but I think of it much like a hand pressed and hand colored wood cut or etching. There is some standardization in having the mold/plate, but overall the pressing and glazing techniques offer a lot of variation. I really enjoy this hybrid art form and I am so pleased when others appreciate it too.

20th Anniversary Spring Collection Snowdrop Tiles – in bisque (left) & with a the first glaze firing (right).
Jennifer glazing the 20th Anniversary Spring Collection Snowdrop Tile.
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Leah glazing a Bixby Creek Bridge Tile
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Rhinoceros Beetle Redux – An old theme revisited

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Rhinoceros Beetle Redux in blue curdle shown with 2 retired early beetle vases – #118 Climbing Beetle Vase & Miniature Special Edition of #010 Rhinoceros Beetle. Just five of the mini special editions were made.
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A clipping from the Wisconsin State Journal & an image from the 2000 catalog which included the first “Rhinoceros Beetle Vase”.

Ephraim Pottery made its first Rhinoceros Beetle vase in the year 2000. Remember Y2K, hanging chads, the first season of Survivor?

The first Rhinoceros beetle vase, inspired by the success of our early bat pieces, represented an initial departure for the studio from our reproduction style of pottery. The great success of this piece spurned even more experimentation with new nature themes leading us to spider, salamanders, octopuses, seahorses, koi, birds, etc. With this pivotal piece, a world of possibilities opened before us.

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Kevin Hicks working at the farm in 2000.

In 2000 Ephraim’s studio was at “the Farm.” Kevin recalls that back in those days we were very close to nature. The pole barn that housed the studio had walls but didn’t exactly keep nature or the weather completely out. Just outside the door nature was on full display with woodlands and marshes surrounding the rural farm. The Farm was a great place to be inspired by nature.

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Laura Klein & Kevin Hicks at the farm in 2000.

Reminiscing is a funny thing. In some ways it seems like yesterday and in some ways it seems like a lifetime has passed. Makes a person wonder: what will our little pottery look like 16 years from now?

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Why does Ephraim make pottery in limited editions?

At Ephraim we create pottery in limited editions. Each year we role out a “Studio Collection” that represents the best of our current work. Studio Collection pieces are created in editions of up to 500 pieces. From time-to-time we also make special smaller editions. This year, in honor of our 20th anniversary, we are creating four seasonal collections – only available for 6 short weeks each season.

Limited editions are traditionally a common practice in the artistic realms of printmaking, photography, and slip cast pottery, but an unusual practice for a studio pottery that individually hand throws and sculpts each piece. So why do we make limited editions?

1. Limited editions allow us to work with a collaborative approach to design and a specialized approach to production.

2. There is an essential practicality to working in editions that enables us to leverage efficiency while still offering a large variety of designs.

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20th Anniversary Spring Collection, Limited Edition “Frog Log” – glazed and waiting to be loaded in the kilns.

3. Refining a single design forces us to hone our craftsmanship skills. There is a certain zen that comes with refinement which ultimately allows us to achieve a higher level of quality.

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20th Anniversary Spring Collection, Limited Edition “Rhinoceros Beetle Redux” in greenware.

4. Small editions require us to refine, but then continue to design and move forward. Just as our patrons’ sensibilities evolve from season-to-season so do our artists’ eyes. Not being committed to a design for years allows us to evolve in a free way.

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