Above is the piece, and detail shot, of the mug and spoon that I'll be sending to the Minnesota Women Ceramic Artists Possession exhibition at the Duluth Art Institute, juried by Margaret Bohls and Eva Kwong. I've included images of their work along with their artist statements, below, as it's so interesting to hear why/how other people are driven to make. And I especially love Eva Kwong's reference to the Nature Lab at RISD - there are certain things I really miss about that place! Margaret Bohls Interior volume is a key element in functional forms. It defines the potential for containment. This body of work combines a strong sense of interior volume with a net- or grid-like surface of textural lines that contains and shapes that volume, creating buoyant, full, yet architectural forms. These seemingly upholstered forms are draped with a series of rich, complex glaze surfaces, many of them crystalline, lustrous, or having deep visual texture. These surfaces are sometimes further adorned with sprigs, floral glaze decals or metallic lustres. Porcelain forms are often placed in or on earthenware baskets or trays. The result is a layering of disparate and complex elements that become integral. These pieces, in form and in the details of form, are created to visually communicate their use or function. Their complex shapes and rich surfaces embellish and enhance this use. Eva Kwong Much of the inspiration for my work comes from my observations and wonderment of the natural world within and around us. The time spent with my grandmother as a young child out in the countryside in Hong Kong established the start of my lifelong interest in nature. She taught me to notice all the small details -like the pink blush on a peach, the various greens on a frog or the changing patterns of waves, etc. She showed me the joy of making things- the possibility of taking one material and transforming it into something else with your own hands and imagination. The other influential experience began when I was a work-study student for the Nature Lab at the Rhode Island School of Design in the early 70s. Those 20 hours a week gave me an immersion in the shapes, colors, patterns, structures and principles found in organic form and the human body. I studied Asian Art from China, Japan, India, and Korea in school as well as on my own. I am interested in how images, forms, colors and patterns are transferred from one culture to another and how our relationship to nature is expressed at different times. This research experience in Asian Art and Natural Forms generated the visual vocabulary that informs all the work that I do. I like to make things. It is my way of experiencing and understanding the world through my own filter. It is like ”tapping”, a term used by the Australian bushman to refer to a sense of an animal or water nearby. It is a gut-felt, intuitive impulse to puts things that I feel, think about, question or observe in my life into concrete form.