ABOUT MATT KELLEHER
Matt Kelleher is Associate Professor and Division Head of Ceramic Art at New York State College of Ceramics at Alfred University. He joined the faculty in 2015 after a decade of working as a studio potter in the mountains of Western North Carolina. Matt has participated in residencies at Penland School of Crafts, Archie Bray Foundation, Shigaraki Ceramic Cultural Park, and Jingdezhen Ceramic Institute. As Matt continues to investigate soda-fired tableware, his studio practice has expanded to include larger sculptural ideas.
ABOUT SHOKO TERUYAMA
Shoko Teruyama grew up in Mishima, Japan. She earned a BA in education and taught elementary school before coming to the United States to study art at the University of Nebraska-Lincoln in 1997. Shoko received her MFA in ceramics in the fall of 2005 from Wichita State University. She finished a three-year residency at the Penland School of Crafts in 2008 and is now a studio artist in Alfred, NY.
ARTIST STATEMENT (MATT)
Pottery is a continuous curiosity; how it’s made, how it feels, its shape, its surface, how it exists in a home as an object, or a tool, or maybe an image. When making pottery, I search for poised forms that suggest sculpture, respect utility and perform well; they should be confident and handsome. Aware of my tendency to put parameters around the work, of what is “good or bad,” I do my best to give the ideas room. It is important to pursue the clues that linger on the periphery of my pottery, which are often sculptural and beyond the scale of tableware. The process each new idea reveals drives me forward.
ARTIST STATEMENT (SHOKO)
Growing up in Japan, I remember tradition being part of daily life. Temples and shrines were everywhere, even inside our home. I was drawn to these sacred spaces and ceremonial objects because they were decorated with texture and pattern contrasted by areas of calm and stillness. Many of my vessels allude to function and would serve food well but are more comfortable being placed in sacred spaces of the home. Making begins with bisque molds, slab construction, and coil building to make thick, heavy forms. I carve, shave, and sand excess clay away to slowly reveal the final shape. White slip is brushed over the red earthenware to create depth and motion. Then I scratch back through the slip exposing the red clay. Shiny translucent glazes are applied over the decorated areas and opaque matte glazes over the calm areas.