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Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences

by Aurelia Butler 3 July 2025, 16:00

“Byzantine.” Photos by Shannon Toft. All images courtesy of Frances Priest, shared with permission

Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences

July 3, 2025

ArtCraft

Kate Mothes

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In vibrant effusions of color, Frances Priest creates ceramic vessels, tiles, and sculptural forms that explore the possibilities of pattern. The Edinburgh-based artist’s interest in decorative motifs stems from a book she received as a child, The Grammar of Ornament by Owen Jones, originally published in 1856.

Jones compiled elaborate documentation of decorative motifs around Europe, the Middle East, and other regions represented in British museum collections of the time. An international focus has long inspired Priest, who incorporates a wide range of visual languages into her pieces.

Jar with a chevron pattern

Priest (previously) emphasizes geometry and color, merging ideas of precision with organic movement—some of the elements appear to be floating away or overlapping playfully with others rather than remaining in perfect alignment. She also continues the patterns across the bottoms of the pieces, emphasizing an all-around completeness.

Recent works include a series of cylindrical vessels with lids influenced by Chinese ginger jars. The artist recently completed a large-scale tile commission for Theatre Clwyd in North Wales titled “Stellar,” and a series of encaustic floral tiles dotted the floor of a garden at London’s 2025 RHS Chelsea Flower Show.

If you’re in Edinburgh, see Priest’s work at &Gallery in the forthcoming group exhibition Fragments, which runs from July 5 to 30. Find more on the artist’s Instagram and website, where some of the pieces shown here are available for purchase in her shop.

Jars with (L-R) triangle, chevron, and bow patterns

Detail of the triangle-patterned jar

“Wait”

Installation view of “Byzantine”

Detail of “Byzantine”

“Pace”

Jar with a bow pattern

Detail of “Byzantine”

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Piped Like Cake Icing, Ebony Russell’s Luscious Vessels Evoke Emotional Celebrations
by Aurelia Butler 12 June 2025, 17:48
All images courtesy of Ebony Russell, shared with permission
Piped Like Cake Icing, Ebony Russell’s Luscious Vessels Evoke Emotional Celebrations
June 12, 2025
Art
Kate Mothes
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Piping clay with bakery tools, Ebony Russell creates a range of delectable vessels in a prism of colors.
Russell’s practice is founded in both the relationship between form and function and the nature of the vessel itself as a container for memory and gesture. “I’m interested in how material can carry emotion and presence,” she says. “A lot of what I make starts from personal experience, but I hope it opens space for others to reflect, too.”
Intrigued by the aesthetics and process of cakes, the Australian artist originally focused on sculptural motifs like bride-and-groom or ballerina toppers, but the icing itself gradually emerged as a focus. “I was searching for a way to build with clay that felt more fluid and intuitive,” she tells Colossal. “When I started using piping bags, I loved the immediacy and texture—it felt like drawing in space.”
Some of the works shown here are included in Russell’s current solo exhibition, Frivolous, at Martin Browne Contemporary in Sydney, which continues through June 21. Find more on the artist’s website and Instagram. (via PAN)
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Dara Schuman’s Rhythmic Tiered Vessels Embrace Intuition
by Aurelia Butler 11 June 2025, 13:18
Images © the artist, share with permission
Dara Schuman’s Rhythmic Tiered Vessels Embrace Intuition
June 11, 2025
Art
Jackie Andres
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Experimentation is a driving force in Dara Schuman’s ceramic practice. Out of her Chicago studio, the artist conjures striking geometric forms that appear stacked, ribbed, and almost architectonic. With an air of retro-futurism informed by mid-century modern style, her jewel-toned volumetric vessels don earthy yet bold glazes in deep reds, ochre, and smokey blue.
“Over time, I’ve found that my best pieces come from exploration rather than control,” the artist explains. Sitting before the pottery wheel, Schuman allows her thoughts to melt away before permitting her subconscious take charge. “Letting the clay guide me is what I enjoy most about the medium,” she shares.
When Schuman discovers methods and motions that stick, she uses those processes as momentum to see how far she can push both the clay and her skills. Often, this approach naturally leads to bodies of work in which the iterative pieces feel and look inherently harmonious.
Schuman is currently excited about lighting and has been experimenting with pendant lights and sculptural lamps. She is also working on a series of mugs for a shop update in the next month. Find much more from the artist on her website and Instagram.
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Paper-Thin Porcelain Works by Mark Goudy Balance on Folds Inspired by Origami
by Aurelia Butler 10 June 2025, 13:16
All images courtesy of Mark Goudy, shared with permission
Paper-Thin Porcelain Works by Mark Goudy Balance on Folds Inspired by Origami
June 10, 2025
ArtCraftDesign
Kate Mothes
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From delicately folded paper, Berkeley-based ceramicist Mark Goudy draws inspiration for an ongoing series, Origami. He describes his work as “minimal forms with hidden complexity,” building on a love for simple yet elegant forms that reflect nature’s inherent geometries.
In meticulous sculptures that merge form and function, Goudy pulls from his experience as a 3D graphics hardware design engineer. Using algorithmic 3D software, he creates objects that nod to the art of Japanese paper folding. “Many of these forms are designed to balance on the folds—when set on a flat surface, they rock back and forth, naturally settling into their inherent point of equilibrium,” he says.
Goudy’s thin, translucent, slipcast pieces are made from black or white porcelain, which he occasionally colors by painting metallic salt watercolors directly onto the surface after they have been bisque fired. Salt soaks up and redistributes the pigment, which is further influenced by the texture and permeability of the material.
“As the metal salts soak into the porous clay body, they move and interact with each other,” the artist says. “And during the drying process, they naturally gradate and concentrate on the edges, highlighting the folds and ridges of my forms.”
Using only three metal salt pigments: gold, cobalt, and chromium, Goudy achieves various shades of red, blue, and green. “I am especially drawn to cobalt blue, a reference to the ineffable blue of water and distance,” he says. “I think of these objects as containers for light and atmosphere.”
Goudy’s work will be on view in the 63rd Faenza Prize for the International Biennial of Contemporary Ceramic Art in Faenza, Italy, from June 28 to November 30. See more of the artist’s work on his website and Instagram.
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Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods
by Aurelia Butler 29 April 2025, 15:32
All images © the artist, shared with permission
Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods
April 29, 2025
Art
Jackie Andres
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Australian artist Amiee Byrne is drawn to everyday objects that are “so normal, they’ve become invisible,” she says. Meticulously sculpting clay into life-sized representations of their counterparts, Byrne highlights the tender charm and understated significance of forgotten and discarded goods.
Creating an accurate portrayal involves the conscientious embrace of imperfections and defects. Take, for instance, Byrne’s bear sculpture. Splooted on its belly as if frozen in time after being dropped onto the ground, the well-loved teddy bear’s fluffy yet matted fur remains slightly discolored in some areas, as well as its snout. Details of authenticity ultimately cue a poignant emotional response. “This object is getting a second chance and I like to celebrate the flaws,” she says.
Technically speaking, the Los Anegles-based artist has developed a distinct knack for producing hyperrealistic textures. While it can be particularly challenging to accomplish lifelike surfaces with ceramic pieces, Byrne employs several underglazes to achieve the perfect sheen or flat finish atop each object.
Often times scrolling the internet for hours, searching for tools to execute such precise textures, Byrne also explains that she is fond of experimenting with different items around the house. “My favorite tool is a dustpan broom,” she says. “I’m always bashing clay with it to create different effects.”
Find other projects from the artist on her website, and see more work on Instagram.
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Filled with ‘Half-Pots,’ Adam Ledford’s Life-Size Room Drawings Reflect Timeless Routines
by Aurelia Butler 1 April 2025, 14:50
Detail of “Don’t Worry About the Government.” All images courtesy of Adam Ledford, shared with permission
Filled with ‘Half-Pots,’ Adam Ledford’s Life-Size Room Drawings Reflect Timeless Routines
April 1, 2025
Art
Kate Mothes
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In Harold and the Purple Crayon, the young protagonist composes a fantasy reality using the deceptively simple power of line. Harold manifests numerous adventures with a single writing instrument, drawing himself into ever more exciting capers. For artist Adam Ledford, Crockett Johnson’s iconic 1955 children’s book provides one reference point for his approach to large-scale installations.
Ledford dots life-size line drawings of domestic spaces with “half pots,” or reliefs of ceramic vessels, which reflect how everyday objects represent individuals’ values, experiences, and projection of identity. Canisters of coffee or cleaning solutions detail vintage packaging design, while other items like cooking utensils or decorative objects highlight personal taste and daily routines.
Detail of “Don’t Worry About the Government”
“I am the person visiting your house, who is eyeing up all the tchotchkes, asking about your tea kettle, and picking up and looking at the bottom of your tableware,” Ledford tells Colossal. He credits his love for pottery for providing the lens through which he also learned America’s historical timeline, describing how “the objects help set a mental stage for the abstract process of thinking about the past.”
In Ledford’s expansive installations, which range from multiple walls to single architectural features, black-and-white outlines represent kitchen cabinets, countertops, or fireplaces—locations where containers and vessels are collected, stored, or displayed. “Theater,” for example, is a replica of his own kitchen. The artist says, “The drawn environments are a stage setting for the objects to play and star.”
Ledford’s work is currently on view in Dinner Table, on view through May 29 at The Delaware Contemporary in Wilmington. Find more on the artist’s website and Instagram. You might also enjoy the hand-drawn installations of Anastasia Parmson and Shantell Martin.
“Theater”
Detail of “Theater”
Detail of “Theater”
“Don’t Worry About the Government”
Detail of “Don’t Worry About the Government”
“A Room with a View”
Detail of “A Room with a View”
Detail of “Don’t Worry About the Government”
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From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body
by Aurelia Butler 5 March 2025, 20:01
Detail of “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches. All images courtesy of the artist and P·P·O·W, shared with permission
From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body
March 5, 2025
Art
Grace Ebert
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The early 1780s produced a medical training tool that today seems unusually macabre and unsettling: the Anatomical Venus. A waxen model with real human hair and strings of pearls around her neck, the reclined figure appeared incredibly realistic, although pulling back the plate on its abdomen or chest revealed a series of internal organs and systems.
As Ian Shank writes, modern viewers see the Anatomical Venus as discordant given the tension between the figure’s idealized beauty—and its inherent sensuality—and its function as an educational model.
“Untitled (crown)” (2021), porcelain, glaze, china paint, wood, 24 x 16 x 2 inches. Photo by JSP Art Photography
Jessica Stoller takes this dissonance as a starting point in “Seeing Red,” a floor-based sculpture of more than 150 individual ceramic objects. Atop the square tableaux are oversized white orbs that overshadow the mottled pink base. Fragmented body parts, seashells, leaves, a bent coat hanger, snakes, pottery shards, and more spread throughout.
Reflecting on the continued push to strip protections for bodily autonomy in the U.S., “Seeing Red” separates the female form into distinctive parts and places them at the lowest position possible. As the oppressive pearls loom over the rest of the components, the unnerving work directly challenges who has a right to self-determination and control over their body.
The grotesque and disturbing play an important role throughout Stoller’s practice as she frequently incorporates human anatomy with porcelain and ceramic traditions. “Untitled (close up #3),” for example, features delicate pink and purple blossoms that frame what appears to be a series of large, purple bruises.
Similarly, “Untitled (sugar still life)” comprises a sweet spread that stretches across an elaborate display. Tucked in the seemingly saccharine work, though, are unsavory elements like a skeletal hand reaching from piped ribbons and medical devices stabbed into various confections.
“Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches
Rebelling against patriarchal priorities, Stoller continually confronts romanticized notions of the body through surreal, even monstrous compositions. Instead, her works are bold and unabashed as they examine the feminine figure, rooting out stereotypes and historical injustices while emphasizing the potency of the unseemly.
Many of the works shown here are on view in New York for Stoller’s solo show Split, which continues through April 5 at P·P·O·W. Find more from the artist on Instagram.
Detail of “Seeing Red” (2024), porcelain, glaze, china paint, lustre, 9 x 92 1/4 x 92 1/4 inches
“Skin to Scale” (2023), porcelain, glaze, china paint, wood, 22 1/2 x 14 1/2 x 2 1/2 inches
“Untitled (close up #3)” (2020), porcelain, glaze, china paint, lustre, wood, 19 x 15 x 2 inches
“Silphium” (2024), porcelain, glaze, china paint, lustre, 19 x 8 1/2 x 4 1/2 inches
“Yellow Wallpaper” (2025), porcelain, glaze, china paint, wood, 23 x 17 1/2 x 3 inches
“Untitled (sugar still life)” (2018), porcelain, glaze, china paint, lustre, enamel, and wood, 60 x 36 x 22 inches. Photo by JSP Art Photography
Detail of “Untitled (sugar still life)” (2018), porcelain, glaze, china paint, lustre, enamel, and wood, 60 x 36 x 22 inches. Photo by JSP Art Photography
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Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety
by Aurelia Butler 12 February 2025, 17:00
All images courtesy of Lena Guberman, shared with permission
Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety
February 12, 2025
ArtCraft
Kate Mothes
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For any of us who are shy or anxious about interacting with others in the outside world, we might think of the face we “put on” that enable us to feel less fearful. For Lena Guberman (previously), a recent series of ceramic sculptures titled INS_IDE_OUT delves into her childhood experiences with social anxiety and the uncertainties of the unknown.
“The mask provides a protective shell and presents a ‘perfect’ appearance to the outside world but fails to stop the fears and emotions from bursting out,” Guberman tells Colossal.
Each piece is modeled on the same melancholy face of a young, brown-haired girl, with painted and sculpted elements that range from spikes to arrows to a dead bird. Emotionally evocative and sometimes slightly unsettling, her sculptures explore the spectrum of feelings associated with anxiety.
Guberman is currently planning a project that expands upon her use of ceramics by adding other materials. See more work on her website, Instagram, and Behance.
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Announcing Joy Machine, a New Art Gallery in Chicago
by Aurelia Butler 10 February 2025, 10:00
Abi Castillo, “Blooming” and “Blue Caterpillar” (2025), ceramic
Announcing Joy Machine, a New Art Gallery in Chicago
February 10, 2025
Art
Grace Ebert and Christopher Jobson
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As Colossal prepares to turn 15 this year, we’ve been thinking a lot about what it means to be part of a creative community. During the last decade and a half, we’ve spoken with thousands of artists, designers, and makers and cultivated a vast network of friends and colleagues around the globe. Publishing has been one of the greatest joys of our lives and demonstrated again and again how art can connect us all.
We’re incredibly excited to share that we’re expanding our footprint right here in our home of Chicago. Our new art gallery, Joy Machine, opens on February 21.
Michael McGrath, “Night Ride, Spring Gods” (2025), colored pencil on wood panel, 10 x 8 inches
A year in the making, Joy Machine is built around the belief that amid deep uncertainty and upheaval, joy becomes an indispensable gateway to hope. As we navigate this incredibly difficult time, we’re interested in coming together to expand our power to feel and process experiences good and bad.
Our first exhibition, Light Preserver, features nine artists who cultivate and ritualize joy through humor, nostalgia, vibrancy, and excitement for new possibilities. Whether reflecting on childhood fun or invoking art’s ability to rescue us from depression, each artist taps into our shared humanity—not to evade difficult realities but to find meaning and purpose amid chaos. In this way, joy becomes an essential antidote to despair and a fundamental lifeline to keep us all afloat.
Light Preserver features work by many artists you’re probably familiar with, including Moises Salazar Tlatenchi, David Heo, Liz Flores, Peter Frederiksen, Danym Kwon, Lisa Congdon, Michael McGrath, Jeff Rubio, and Abi Castillo.
Colossal will continue publishing independently as it always has, and when Joy Machine’s projects fit Colossal’s mission, we’ll be sure to share them with you all here.
If you’re in Chicago, please join us to celebrate Joy Machine’s opening on February 21. You can follow the gallery on Instagram, and sign up for the newsletter on the website.
Danym Kwon, “When Small Happiness Found Us” (2025), acrylic and acrylic gouache on canvas, 18 x 18 inches
David Heo, “Mamihlapinatapai” (2024), mixed media on paper mounted on panel, 11 x 28 inches
“Red Boots” (2025), acrylic on wood, framed in hemlock, 18 x 24 inches
Peter Frederiksen, “Sharing Secrets” (2022), freehand machine embroidery on linen, 6 x 8 inches
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ceramics

Latest story

Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences

More stories

Piped Like Cake Icing, Ebony Russell’s Luscious Vessels Evoke Emotional Celebrations

Dara Schuman’s Rhythmic Tiered Vessels Embrace Intuition

Paper-Thin Porcelain Works by Mark Goudy Balance on Folds Inspired by Origami

Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods

Filled with ‘Half-Pots,’ Adam Ledford’s Life-Size Room Drawings Reflect Timeless Routines

From Porcelain Buttercream to Bruises, Jessica Stoller Examines the Gendered Body

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

Announcing Joy Machine, a New Art Gallery in Chicago

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