SUSANNAH ISRAEL
writing
home
featured archive
news & reviews
art & industry
community arts
curriculum vita
selected exhibitions
selected works
sited & public art
purchase art work
writing
the artist
contact

"Nuala Creed: Ceramic Archivist" by Susannah Israel. Ceramic Art & Perception, Issue 91

Jeffrey Downing: Improvisations. catalog essay

Thinking About Ceramics in the 21st Century: CAA Blog

"Transcendent: Michelle Gregor, David Kuraoka & Don Reitz at the Pence." Ceramic Art & Perception #88

"Jon Gariepy: Stormy Weather", page 10-13. Neue Keramik magazine: Issue 3/2012

"General Eclectic: the first 5 years of las cadre." online at ArtShift

"Into the 21st Century." Association of Clay & Glass Artists of California. Asia Korea Printing:Gyunggi-do, Korea 2011

Intersections, Influences and Innovations: the 2011 Ceramics Annual of America. catalog essay. John Natsoulas Press: Davis, CA

"the tradition of acceptance: Atmospheric Firings at the Triton Museum." ArtShift: Cultural Tectonics. http://artshiftsanjose.com, 2011

Ceramic Excellence, 2010-2011 Archie Bray Fellows: Aaron Benson, Nicholas Bivins, Jana Evans, Mathew McConnell, Courtney Murphy

Sustaining the Creative Spirit. Studio Potter Magazine
Vol 39 No 1, Winter 2010/Spring 2011

Introduction. "Intersections & Influences: 2010 Ceramics Annual of America." John Natsoulas Press: Davis, CA 2010

"Shalene Valenzuela: Believe It Or Not."Catalog essay, December 2009. John Natsoulas Press: Davis, CA

"Deep Impressions: the Sculptural Records of Richard Akers." Neue Keramik: Germany Issue 03-2008

"Working Big: Sculpting Industrial Clay Pipe." Ceramics Today, 2004. www.ceramicstoday.com

"Pursuing the Creative Spirit." Studio Potter magazine, 2002

"Woodstoke 2000." review in Ceramics Technical, 2001

greenoolgridwb.jpg

greencornwb.jpg

abfauc.jpg

apositesw.jpg

from perception to realization...

The visual parade of urban life is a potent source for my inspiration. Crisp and vivid or fleeting and fugitive, a constant montage of images provides me with rich reference material while at work in the studio. The figure takes the center stage, as narrator, actor and symbol.

My artistic practice is a fusion of planning, process, and discovery. I begin with a series of drawings to develop a concept; I make notes about clay color, texture and finishes; when working directly with the material, I am alert to its expressive possibilities.

My approach to my materials is a combination of well-practiced skill and reckless disregard for established convention. I willingly sacrifice lifelike anatomy to questions of composition and gesture. I use both high and low-fire clays. A confirmed alchemist, I am always testing new formulas. I use nontraditional materials with clay - paint, metal, found objects, - when they serve the work best. I tell students "Use all your options," and I actually do take my own advice.