Ceramics: Art and Perception aims to set the international standard as a high quality journal dedicated to ceramic art. With a total of 120 pages, it contains approximately 25 substantial reviews, articles and regular features on a broad range of ceramics related subjects with excellent colour photographs throughout.
Editorial
Action and Matter, and Houses Bearing Witness to Time: Houses Laden With Time, Inchin Lee Solo Exhibition, Hans Gallery
Felicity Aylieff Someone of Her Time • THE ROYAL COLLEGE OF ART IN LONDON PRODUCES A DISPROPORTIONAL NUMBER OF THE WORLD’S LEADING CERAMIC MAKERS AND FOR THE PAST 17 YEARS FELICITY AYLIEFF HAS BEEN A MAJOR FORCE BEHIND THAT SUCCESS. PAUL BAILEY WENT TO MEET HER.
A Gallery Year at the Clay Art Centre, NY
Helen Evans the Future of UK Ceramics
Juz Kitson on Bones, Buddhism and Bull (Testes)
Mishima Kimiyo at MEM and Art Factory Jonanjima, Tokyo
Keith Brymer Jones – Potter
Original Ideas
A Resident's Diary International Ceramics Studio Kecskemet, Hungary June–August 2017
Steven Colby
Postcard from NCECA
Bloom is Clara Garesio's Result
Hoshino Saturo at LIXIL Gallery, Tokyo
Clay Stories
The Aesthetics of Clay: Mapuche Pottery, Visual Identity and Technological Diversity
Tributes to Paula Winokur 1935-2018
Concept and Form of Two Gods of He-He in Ancient Chinese Ceramic Art
The Land of Symbols Korean Roof Tiles
Don't Make it Pretty
Making the Designer Two Articles • RICE DISCUSSES HIS INSPIRATIONS, HIS DESIGN PHILOSOPHY AND WHY FOR HIM DESIGN IS ONLY ONE PART OF THE PROCESS
Silica
Wood Firing: Taming A Feral Aesthetic • PLENARY TALK GIVEN AT STARWORKS WOOD FIRING CONFERENCE, STAR, NORTH CAROLINA, JUNE 8-11, 2017
Saving Lives Bird by Bird: Nathan Lynch's Ceramic Nest Modules
Ceramics Technical
Maquettes for Sculpture and Pottery
The Science of Ceramic Glaze Color
Q&A Soluble Salt Migration • Why does my clay have a white irregular crystal surface when it is drying?
On Andrew Matheson
The Art of Ceramic Costume Accessories in the Qianlong Reign of the Qing Dynasty
Sfoglia Technique
