Author: sue.cline

New Exhibition

I’m delighted to announce that Steven Glass Retrospective: Turning Points In Clay/A Life In Art will open on Friday, March 1st at the Branch Museum. Featuring over 45 works spanning over four decades, the exhibition is curated by Howard Risatti, recipient of NCECA Regional Award of Excellence (2020) and Honorary Fellow of the American Craft…

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Yellow, black and grey pitcher with a question mark handle is a fun, practical pitcher

Pitcher, 1988

The Pitcher is an integral piece displaying bright colors against a black ground. Yellow bands and white and blue bands reinforce the structure by spiraling around the neck up to the spout. Floating spirals in brown and pink showcase the belly of the pitcher in what is a wild jamboree of colorful overlapping forms. Even…

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Platter, 1992

The 1992 Platter (2.5″ x 14″ x 14″) boasts a striking presence. Bold black dominates three-quarters of its surface, leaving a rich brown quarter canvas for dynamic imagery. Celadon green accents dance across it, outlined in contrasting brown and bone, forming intriguing, abstract designs similar to those found in its Blue Bowl and Coffee Pot…

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a blue and white swirled bowl with a dark red interior decided the 2018 election tie in Virginia.

Election Bowl, 2018

The 2018 election for Virginia’s 94th House district ended in a tie, with both candidates deadlocked at 11,608 votes. As per a centuries-old state law, a random drawing was needed to break the deadlock. Seeking to elevate the occasion, the Election Committee turned to the Virginia Museum of Fine Arts for a unique bowl. Fortunately,…

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Among Steven’s 2017 “Pere et Fille” series, Pere, the larger vessel, stands out as a bold exploration of form and texture. Crafted from raw, natural clay and fired in oxidation, its 11.75″ x 19″ x 10″ stature exudes a grounded presence. Absent of glaze, the surface reveals a symphony of natural hues – a grayish-white…

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Lidded Jar, 1999 is washed blue with black swaths

Lidded Jar, 1999 

It was around 1999 that began Steven began making tall vessels he called Sanctuary Jars. In one sense the title suggests something protective such as a container for various kinds of foods that could be considered the staff of life, things such as grains, rice, flour, etc. However, on another level they suggest something almost…

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Made of raw, natural clay in oxidation firing. Finished size 9.5” x 6” x 6”. In a private collection, used with permission. Except for the brown on the top of both pieces, there is no glazing. A ground of grayish white is laid down as the pieces were on the wheel creating subtle horizontal banding.…

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Large Salt Glazed Vessel, 2005

Another example of salt glaze firing is the Large Salt Glazed Vessel, 2005 (20” x 10” x 14.5”). This “husky” work boasts a “bulging” body adorned with visible throw marks and culminates in a pronounced lip. The rich brown salt glaze coating the lip, achieved through a high-temperature kiln process where vaporized salt interacts with…

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Plate, 1982

Plate with Circle

“Plate with Circle” (1982) exudes a quiet charm among the artist’s early works. Crafted from porcelain, its size echoes its companion “Plate with Square.” A black circle sits precisely at its center, mirroring the plate’s form. A matching ring graces the edge, completing the circular theme. Yet, the magic lies in the delicate details. Pastel…

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Platter, 2022

This 3″ x 14″ x 14″ oxidized pottery piece offers a striking display of contrasting colors and textures. Delicate hand-drawn marks incised into the surface reveal a vibrant blue and green underlayer, creating a dramatic interplay against the muted exterior. The meticulous precision of the incised lines allows the hidden colors to peek through, their…

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