The Slip Trail Blog

By Michael Thornton

With photos by Deb Jones, Tomás Wolff, and the artists. 

Light Art Space, a vibrant gallery in the historic center of Silver City, NM, is currently hosting the annual exhibition of works by members of New Mexico Potters and Clay Artists.  The annual Celebration of Clay exhibition, themed “Of Mind and Matter,” runs April 4 through April 27.  Notably, this annual presentation of ceramic artwork from NMPCA members across the state of New Mexico is a self-juried show. As such, it provides all members the opportunity to put forth their best work on an even playing field. 

Attending the show’s opening was a rare opportunity to trek to Southwest New Mexico, and to brave the picturesque “pass” through the mountain, testing my luck and skill over its nearly interminable switchbacks and precipitous drop-offs. The opening evening’s bash boasted a stupendous turnout! Many of the exhibiting artists attended, mingling with an impressive number of local art enthusiasts. 

Middle row: “Gold Cloud Bowl” by Leonard Baca; Steve Blakely’s “Mystic Fog”; “Cat’s Eye” by Michael Thornton. Bottom row: “Emerging Sphere” by Tomás Wolff; “Discovered Ores” by Sue Halpern. Photo by Deb Jones.

The exhibit demonstrates the breadth of variety in artists’ approaches in working with clay. It is a study in contrasts - with artists staking out territory on opposite ends of various spectra. 

For example, the eminently utilitarian “Tea Set” of Amy Maule or “Gold Cloud Bowl” by Leonard Baca stands on the other side of the spectrum from the purely abstract sculptural forms of Sara D’Alessandro’s “Claw” or Andrea Pichaida’s “Despertar”. The austere minimalism in color and in form found in Jenna Ritter’s “Vessel” or Doug Hein’s “We are Stars Wrapped in Skin” stands in contrast to the Roccoco outburst of forms and color in Jo Clay’s “Aspidiscus Cristatus” or Judy Nelson Moore’s “Study in Clay, Color and Other Matters”.  

“Tea Set” of Amy Maule.         “Gold Cloud Bowl” by Leonard Baca.  

    

Sara D’Alessandro’s “Claw”           Andrea Pichaida’s “Despertar”

   

Jenna Ritter’s “Vessel.”     Doug Hein’s “We are Stars Wrapped in Skin”

   

Jo Clay’s “Aspidiscus Cristatus.”  Judy Nelson Moore’s “Study in Clay, Color and Other Matters”.  Photos by the artists.

“Gaza” by Diane MacInnes; Greta Ruiz’s “Thrive;” Cathy Pankow’s “Crater Moon Jar.” Photo by Tomás Wolff. 

   

Hebé García’s “Puse un Huevo.” Elaine Kidd’s “From the Deep”. Photos by the artists. 

On the emotional spectrum, the disorientation and suffering of “Gaza” by Diane MacInnes or “Shock and Awe” by Darla Graff Thompson are a world apart from the whimsy and humor of Hebé García’s “Puse un Huevo” or Elaine Kidd’s “From the Deep”.

      

Lin Johnson’s Primary Subjects (Woogie Boogie)”; Steve Blakely’s “Mystic Fog;” Jeff Cooper’s “Bird Water Whistle.” Photos by the artists. 

Throughout the exhibit one can find nods to inspiration from various historical artists and movements.  Lin Johnson’s “Primary Subjects (Woogie Boogie)” recalls the work of Mondrian with its play on words and Red, Blue and Yellow scheme. Steve Blakely’s “Mystic Fog” is a loving throwback to early 20th century American Arts and Crafts pottery, while Jeff Cooper’s “Bird Water Whistle” recalls Pre-Colombian indigenous ceramic forms and rock art of the Americas. 

Darla Graff Thompson with her piece, “shock and awe.” Photo by Tomás Wolff.

Gathering round Zoe Wolfe with her piece entitled, “Ripple.” Photo by Tomás Wolff. 

One can view all the works in this exhibit online: https://www.nmpotters.org/Celebration-of-Clay-2025-NMPCA-NM#pta176554965.  However, if at all possible, I recommend visiting the Light Art Space in person. It takes a direct encounter with these artworks to bring them to life. In particular, I found it especially powerful to stand in the presence a few works there: the aforementioned figurative sculpture “Shock and Awe” by Darla Graff Thompson, in its arresting, warm/hot colors and contorted facial features, is impossible to fully appreciate from a photo alone. It calls to mind the Abstract Expressionist and Fauvist movements, and Cubism - in particular, Picasso’s “Guernica”.  Similarly, Zoe Wolfe’s wall piece, aptly named “Ripple” is an impressive achievement in its scale, and also succeeds in having an enveloping, mesmerizing effect on the viewer, with its deeply carved concentric waves, accentuated by effective use of color in its painterly undulations. 

Whether in person or online, you are invited to vote your preference for the People’s Choice Award.

--Michael Thornton 

Two six-year NMPCA board term member, Michael Thornton lives in Albuquerque. His piece in the show is entitled, "Cat's Eye Vessel."

By Andrea Broyles

Photos by Deb Jones and by the artists themselves. 

There is no denying that New Mexico has some seriously talented artists, and this year’s “Of Mind and Matter” show in Silver City does not disappoint. It is a self-juried group show from members of the New Mexico Potters and Clay Artists. 

Opening night for “Celebration of Clay 2025: Of Mind and Matter” at the Light Art Space. Photo by Deb Jones. 

This exhibit is truly a testament to the talent and dedication to the craft of ceramic art. From functional to sculptural, the artists use a diversity of techniques, materials and styles. Many pieces such as Jeff Cooper’s “Bird and Water Whistle” or Sue Halpern’s “Discovered Ores” evoke the textures, colors and rhythms of New Mexico. Other works like Jo Clay’s “Aspidiscus Cristatus” or Judy Nelson-Moore’s mixed media “Study in Clay” challenge our concept of ceramic art.

Jeff Cooper’s “Bird and Water Whistle,” Sue Halpern’s “Discovered Ores.” Photos by the artists. 

Jo Clay’s “Aspidiscus Cristatus” or Judy Nelson-Moore’s mixed media “Study in Clay.” Photos by the artists.

Hebé García’s “Puse un Huevo;” Caroline Yezer’s “Catlady.” Photos by the artists. 

There is a good representation of figurative pieces as well which elicit the ideas of longing and loneliness. See Hebé García’s “Puse un Huevo” or Caroline Yezer’s “Catlady.” 

As a contrast, I appreciate the traditional pieces such as Leonard Baca’s “Gold Cloud” bowl or Gail Goodwin’s “Untitled” raku bowl which bring a solid grounding to the show. 

Leonard Baca’s “Gold Cloud” bowl; Gail Goodwin’s “Untitled” raku bowl. Photos by the artists.

“Of Mind and Matter” offers viewers a cohesive and educational experience that will leave them with a better understanding of the infinite possibilities of the medium and the rich talent sometimes hidden in New Mexico. 

---

Andrea Broyles is a Santa Fe ceramic artist, whose piece in the show is entitled, “Torso with Gold.”

Of Mind and Matter 

April 4^th to the 27^th. 

Light Art Space, Silver City, New Mexico

209 West Broadway Street

By Darla Graff Thompson

Photos by Tomás Wolff and individual artists.

The New Mexico Potters and Clay Artists (NMPCA) annual Celebration of Clay exhibit is being held at the Light Art Space Gallery in downtown Silver City, New Mexico. The show will run from 04 to 27 April 2025. The gallery, owned and operated by Karen Hymer, is a bright open space, large enough to also house two other exhibits that are well worth viewing. The neighborhood is filled with old historic buildings, now hotels, museums, galleries, shops, theaters and restaurants--- a delightful place to stay and explore.

Photo by Tomás Wolff. 

The NMPCA organization has recently celebrated its 50-year anniversary. The group’s annual exhibit answers the question--- “What would happen if you gave a chunk of clay to 50 or so talented and creative clay artists living all across New Mexico?” The answer? A fantastically diverse set of ceramic creations, both functional and sculptural, each unique and captivating and none aspiring to be like any other. For me, that is the highlight of this show--- enjoying the elements of each piece as a projection of each individual artist, but viewing them side-by-side as a collective, witnessing the power and span of New Mexican artists.

Karen Hymer, Susan Mach, Kathleen - at the opening. Photo by Tomás Wolff. 

This year’s theme for the exhibit is “Of Mind and Matter,” and several pieces struck me as being interesting and thoughtful contributions that really merge the mental and material world. Susan Mach’s beautifully-decorated bowl, titled “Burmester’s Bowl,” honors the German mathematician and inventor of French-curve tools used in architecture and design; the swirls of green lines caught my eye from afar and were only more exquisite to examine up close. Susan is from Silver City. Jasper Eyrich-Bingham, also from Silver City, won one of the group awards with his “Veiled Tiger's Eye,” which is an amazingly-engineered pot-inside-a-pot, fused together with glaze--- the outer pot largely perforated to reveal the inner tiger-striped pot, and the two pots so contrasting in color, meticulously crafted and designed. Andrea Pichaida, Santa Fe, presented “Despertar,” a large immaculately-formed seed-pod structure with a matted green hull that houses an emerging cluster of brilliant yellow and orange shoots. Organic by design and entirely inspired by nature, but at the same time exaggerated and other-worldly, Andrea’s entry won the group’s award for best color and glazing.

          

"Burmester's Bowl" by Susan Mach, photo by artist; "Veiled Tiger's Eye" by Jasper Eyrich-Bingham, photo by artist; "Despertar" by Andrea Pichaida, photo by artist.

Several wall-hanging pieces impressed me with their glazed landscapes, all captivating with lots to visually explore. Judy-Nelson-Moore of Santa Fe presents “Study in Clay, Color and Other Matter,” a brilliantly glazed and textured expanse of textures (and clay cloth?) and crystals and topography, refreshingly new and delightful to view up close as well as from the across the room. “In the Beginning, God Created...” is a large plate with an intriguing and teasing design that hints of planets being born and thriving in a sea of extraterrestrial matter; it is the creation of Claude W. Smith III, of Silver City, one of the show's three jurors. John Weber of Corrales has crafted a large and intriguing slab with two- and three-dimensional elements, real and abstract components, hinting at a colorful story of water where he says he purposefully “allows for personal interpretation” by the viewer. And Lin Johnson, Albuquerque, displays her “Primary Subjects (Woogie Boogie),” a wall assembly of a dozen or so playful and impeccably-crafted abstract shapes, lines straight and curved, that are immaculately created and captivating in color and design. One more in this category, out of Albuquerque, I liked Cirrelda Snider-Bryan’s mosaic of tile pieces assembled to portray a barnyard of chickens in “The Pine the Hens Chose.” A fun assembly of fragmented colors and pieces.

    

"Study in Clay, Color, and Other Materials" by Judy Nelson-Moore; "In the Beginning, God Created..." by Claude W. Smith III; "Abstract for Water" by John Weber; "Primary Subjects (Woogie Boogie)" by Lin Johnson; "The Pine the Hens Chose" by Cirrelda Snider-Bryan. All photos by the artists. 

Center piece: "Claw" by Sara D'Alessandro.  Photo by Tomás Wolff. 

Pondering "pronghorn" by Brian Pottorff. Photo by Tomás Wolff. 

 

“light, dark, blood #1” by Robert King; “Aspidiscus Cristatus” by Jo Clay. Photos by the artists. 

Some other exhibit entries struck me as singular and fascinating. Robert King of Galisteo created an elongated structure he called “light, dark, blood #1” that to me looked like an ancient archeological find, distantly bone-like, with bubbled and boiled blood puddled on the upper surface; it was captivating in that it looked biological but unidentifiable, abstract yet reminiscent of something--- I even thought of a strange mushroom with a small hole for emitting spores. I found it intriguing. Brian Pottorff created “pronghorn,” a somewhat-primitive wall-hanging design of the animal’s head, made from wild clay he dug up near his hometown of Deming. In his description of the piece, he tells about the struggle of his creative desire working against a slightly-imperfect and unfriendly clay body, and the piece, stark in a way, feels more meaningful to know of its origins. With a group of several others that included children, I admired “Claw” by Sara D’Alessandro of Cuba. We talked about it and loved it for its largeness and asymmetry of shape (like a twisted horn or as the title suggests, a twisted tusk or claw) and its complex surface of earth-tone colors and textures with holes containing embedded but free- moving beads that begged to be touched and probed with fingertips (only some of us resisted the urge). Jo Clay of El Paso (one of the handful of out-of-state NMPCA members), created a piece entitled “Aspidiscus Cristatus,” a very large disk with a full-world display of underwater coral reef structures and textures with copper-wire plant-life. I later learned that sections of the outer walls were removable for a peek of more detail within, and I wished I could’ve explored all aspects of it. Lastly, I enjoyed hearing the details from Michael Thornton, Albuquerque, about his “Cat’s Eye Vessel” that was glazed using a technique called “naked raku,” where glaze is applied to the piece over the top of kiln wash (a glaze resist). The glaze fuses and cracks during the raku process (as it is removed from the still-heated kiln to an ambient reducing environment) but the glaze won’t actually stick to the pot, allowing diffuse lines of black combustion products to deposit on the bare white clay body. It was a beautiful piece, identifiably raku, but undeniably different. I enjoyed learning about it.

"Cat's Eye Vessel" on the right, with artist Michael Thornton. Photo by Tomás Wolff. 

Bottom line, great exhibit. Very enjoyable part of a wonderful visit to Silver City. The reception was very well attended, even crowded. My husband and I live in Los Alamos where I have been an active member of NMPCA for 15 years. We enjoyed the motivation to spend a few days in a corner of New Mexico that is somewhat off the beaten path, surrounded by seemingly-endless mountains and an astoundingly-vast wilderness with a fascinating history and culture and welcoming group of people.

Darla Graff Thompson, the author, with her piece in the show, "shock and awe." Photo by Tomás Wolff. 

Our Meet the Member interview for March is Vickie Morrow. The Las Cruces ceramic artist was the first person to join this year's Celebration of Clay happening in Silver City. It is fitting that her interview be up as that show starts.

How did you first get interested in clay?

Always loved pottery.  I collected pottery from New Mexico and from travels in the USA and all over the world. In 2003 my mother asked me if I wanted her kiln when she was dying.  I said "Yes.  I want to make my own tile for my kitchen."

 

Photo contributed by the artist.

Describe your studio.

The main part of my studio is 20x14. At the back is a ten-foot standing height work table under a high window.  Each side of the studio has shelves filled with miscellaneous wood pieces, metal treasures and supplies and tools. In the center is a seven-foot work table where I can sit or stand to work look out the sliding glass door into my back yard and gaze at the Organ mountains.  I like to say, "I bought a studio with a house attached."

A small adjacent room has my slab roller, glazes, forms, patterns, textures and clay tools.

A second adjacent room has my bead collection and handmade parts for my mosaics and assemblages.  Hundreds of beads from all over the world, garage and estate sales and the many, many clay beads and buttons and medallions I have made.  Copper wire and sheeting, mixed patina formulas and finished copper "parts", leather cord, books and papers with two work tables.

 

 Photos contributed by the artist. 

Describe your “work.”

By 2008 I was confident enough to pursue handmade tile mosaic residential installations and Commercial and Public Art installations. From 2008 until 2018 I did kitchen and bathroom handmade tile installations and did commercial and public art installations. All of this work was made in my studio in Scottsdale. AZ and installed in Scottsdale, Paradise Valley, Phoenix, Sedona and the Ak Chin Reservation, all in Arizona. 

Each of these projects was sixteen steps from the 25-pound block of clay, cut out, in and out of the kiln a couple times glazed, assembled, set, grouted, transported, installed, finished and polished and the mess cleaned up.

Lots of heavy work.

Now my handmade tile mosaics are for my own home or as a group project.

My current work is mixed media Assemblage art.  My work is from 4x4 inches to no larger than 24x30 inches.

There are usually handmade tiles in the assemblage or they are the "star" of the art piece.

 Photo contributed by the artist. 

Describe any work you do that promotes “clay community."

I participate in Empty Bowls in Las Cruces.  In 2024 I led a group to do an outdoor handmade tile mosaic 9' x 14' for the "Healing Wings" Project installed at the Agave Artists Gallery Garden in Mesilla.  Six Las Cruces Potters Guild members worked with me and can now do their own installations.

 

When you are not working in your studio, what do you enjoy?

Working in my backyard, visiting with friends and reading.

 

Do you play music in your studio? If yes, what do you listen to?

My studio is quiet.  I can hear the birds outside.

 

What other pottery do you have in your home?

As stated above, I have a nice collection of pottery from all over. Most of it is practical and use it every day. Some is hung on walls and I have an "Art Niche" with works on display.

 

What caused you to join NMPCA? Describe involvement with NMPCA, and how many years you have been involved.

I am a new member to NMPCA.  My first introduction to the organization was when we applied and were the recipient for your grant in 2021 for our Healing Wings Project.  With attention to Southern New Mexico and the NMPCA show in Silver City, it was time to participate.

For more info, visit https://agaveartists.com/vickie-morrow

Three New Mexico artists will be Celebration of Clay jurors this year, two from Silver City, and one from Albuquerque. Claude W. Smith III is professor emeritus for ceramic arts at Western New Mexico University. Cate McClain, Albuquerque clay artist, won last year's Best of Show, and accepted the juror role that comes with that award. Karen Hymer is a photographer and the owner of The Light Art Space.

We are just one month away from our annual member show, this year occurring at The Light Art Space in Silver City, NM. Celebration of Clay 2025: Of Mind and Matter will open Friday evening, April 4th, from 5 to 7 pm. And to crown the evening, the jurors will announce the six awards. We thank them heartily in advance for sharing their time to collaborate on awards for the 47 pieces in our show this year. 

Read on to find out who these jurors are.

Karen Hymer

Photo submitted by the artist.

Karen Hymer was born in Tucson, Arizona. She earned her BFA from The School of the Museum of Fine Arts, Boston and Tufts University, Medford and her MA and MFA in Fine Art Photography from the University of New Mexico, Albuquerque. Karen actively exhibits her work both nationally and internationally. Recent solo exhibitions include SE Center for Photography, Navigating the Internal, Greenville, South Carolina (2023); Light Art Space, Navigating the Internal, Silver City, New Mexico (2022); The Photographer’s Eye: A Creative Collective, Age & Seduction, Escondido, California (2022); and Gallery 925, Solitude and Age & Seduction, Las Cruces, New Mexico (2021).

Her work is in several public collections, including the Center for Creative Photography and the Polaroid International Collection. Dark Spring Press released the first book of her work in April 2018.  Karen’s work is featured in numerous photography books including The Experimental Darkroom, Christina Z. Anderson, Jill Enfield’s Guide to Photographic Alternative Processes, Jill Enfield, and Polymer Photogravure: A Step by Step Manual, Clay Harmon.

Karen’s photography has received the following awards: LightBox Gallery, Jurors Honorable Mention Award, Melanie Walker, Serendipitous Eye, 2021, Julia Margaret Cameron 12th Annual Awards, First place, 2 categories; Honorable mention, 2 categories; 2018 Denis Roussel Award, Photographer of Merit, 2018, Southwest Print Fiesta, Best of Show, Artist Proof, 2017

LightBox Gallery, Jurors Honorable Mention Award, Kim Weston, The Photographic Nude, 2017 Rfotofolio, Choice Award, 2016, Alex Ferrone Gallery, Grand Prize residency with Dan Welden, 2016.

Karen’s experience and technical interests are wide-ranging. Although “trained” as a photographer and educator, her approach to image making explores the blending of photosensitive materials, digital media, and printmaking. She is fascinated with how the passage of time affects the human body and other natural elements in the world. In addition to working as a fine art photographer, Karen taught photography for over 25 years at Pima Community College, Tucson.

In the summer of 2018 Karen relocated to Silver City, New Mexico to open and operate Light Art Space in the historic downtown district. The space features galleries, wet darkrooms, a sculpture garden, and a printmaking/teaching studio. Karen teaches workshops and private sessions in Photopolymer Gravure and other alternative photographic processes at Light Art Space.  She lives on 28 acres of pinon-juniper forest with her standard poodle, Nigel, in an off the grid solar adobe home. 

The Light Art space has hosted the juried group show for Silver City Clay Festival since 2018, and is honored to present Of Mind & Matter in April 2025. New Mexico has a rich history of clay art, and we are excited to welcome clay work from around the state to our borderland town. Through collaboration and artistic interaction, we strive to support clay artists by presenting their work to the general public in a professional, welcoming gallery setting.   

Karenhymer.com www.lightartspace.com

Cate McClain

Photo submitted by the artist.

My first experience with clay was through my high school’s ceramics program and from the beginning I was attracted to the movement of the clay. After a long hiatus from clay while pursuing a career in medicine and while raising children, I returned to clay, slowly, as I transitioned into retirement. I realized I still loved having my hands in clay discovering what shapes and forms emerge. I am frequently surprised at the results. 

Currently, my work with clay has been inspired by shapes, forms, textures and colors I experience hiking mountain trails, wandering through the Bosque and exploring the desert in New Mexico and when traveling elsewhere. My hand-built pieces are created in my home studio in Los Ranchos, NM using a variety of different techniques, stains and glazes. 

Claude W. Smith III

Photo submitted by the artist.

Clay is my passion and throwing, my form of meditation. I love making pots. Having grown up in the agrarian Midwest, I love the hard work and physicality that clay provides. Whether functional, one-of-a-kind or sculptural, the creative act of making pots elevates the spirit of the maker to be enjoyed by the user.

I am a traditional potter. The vessel form began serving a purpose in the kitchen or on the table. Functional vessels are designed and crafted for specific purposes. The handmade object lifts the mundane act of eating three meals a day to a higher level. The maker’s personalities, friendships, and acquaintances are remembered and experiences reflected in/with our use of these vessels.

My Creation Series is a personal statement. By the grace of God seeing me through a series of medical episodes, I have been changed in the way I view life and my saggar-fired work. I compose on the platter or around the vessel surface by arranging organic materials which burn out leaving an ash residue on the vessel’s surface, much like pit firing. Once the temperature rises beyond Cone 8 (2257), the ash begins to flux different localized areas dissipating about the kiln. I like to think of this part of process as the kiln breathing on the pots. Interior kiln atmospheric conditions generate a variety of textures and colors. The end result is a total collaboration between the potter and the kiln creating gratifying and surprising results. The process is an educated gamble based on experience whereby the potter either wins or loses. Taking risks through experimentation is worth the gamble. More experimentation yields more control and success.

https://www.claudewsmithiii.com

--

Celebration of Clay 2025: Of Mind and Matter runs from April 4-27 at The Light Art Space.

Shipping address for pieces:  

2340 Highway 180 E #203,  Silver City, NM 88061. 

Bianka Groves shares stories from her life with clay, in February's Meet the Member.

How did you first get interested in clay?

I was first introduced to clay in high school in South Dakota in the 1990s. I was always getting into trouble and skipping school and spent a lot of time in ISS, (in-school suspension). The ceramics teacher would pull me out of ISS and put me to work loading & unloading kilns, scraping kiln shelves, and doing the basic odd jobs of the ceramics classroom upkeep. I loved the hard work and being productive, and I learned so much. She sort of took me under her wing and I took to the potter’s wheel. That was nearly 30 years ago and since then I have been a self-supporting clay artist for over 10 years. I received my BFA in ceramics in 2012 and have taught ceramics at Baltimore Clayworks, Northern Clay Center in Minneapolis, and Santa Fe Clay. I just recently decided to go back to school to get my MFA. 

Describe your studio.

My studio is a small but easy-to-clean, 90 sq ft shed on the side of my backyard. It has a nice clay-splattered window in front of my wheel that looks out into the desert where I can watch birds at the bird feeders and the occasional coyote, deer, and rabbit who happen to pass by. I have a glass door that looks into the backyard where I can watch my dogs play and dig holes. The back wall of my studio is lined from the ground to the ceiling with shelves that my uncle and I built, and they are filled with everything you’d expect to find in a clay studio; books, dry materials, tools, greenware and bisqueware, and a little figurine of Ruth Bader Ginsburg. There are lots of things hanging on the walls from an old 1940s map of New Mexico, found skulls of various animals, a chart of the periodic table of elements (which I hope to memorize one day), and a giant poster of all the different classifications of rocks. In another little makeshift building, I have my kiln. I recently upgraded from a small Paragon from 1978 to a brand-new Skutt 1027; it’s super shiny and still has that brand-new car smell. 

  

Functional ware by Bianka Groves. Photos from the artist.

Describe your “work.”

My work is wheel-thrown, porcelain, black and white, and mostly useable. For the normal functional pots, I use Bernard Leach’s white liner glaze on the insides, and on the outsides, I carve patterns and designs and inlay black slip into the carvings, similar to the art of tattooing. I also make large bowls that are a little too large to be functional and their surfaces are usually unglazed or heavily textured, making them lovely art pots. All of the unglazed surfaces are polished to a silky-smooth finish. 

Mugs by Bianka Groves. Photo from the artist.

When you are not working in your studio, what do you enjoy? 

Any free time I have outside of the studio is spent outdoors with my husband and our dogs. We make our way out to the middle of nowhere on old forest logging roads and hike for hours, play in the dirt, and look for treasures like rocks and old bottles. Sometimes, we find pieces of old rusted vehicles or newer, abandoned stolen vehicles. I’m in grad school and teaching ceramics at UNM now, so my time is much more strictly organized. I only get outside about once a week. 

Do you play music in your studio? If yes, what do you listen to?

I listen to podcasts and audiobooks in the studio. I used to only listen to non-fiction works such as biographies and documentaries but now I listen to pretty much everything. I go through a book about every other day. The stories keep me on task much more than music, so I save music for inside the house or car. The same goes for music alongside podcasts and audiobooks, I listen to all kinds, from punk-rock to indie-Spanish. I love it all. 

What other pottery do you have in your home? 

Inside my home, I think I have a pretty impressive pottery collection. Lots of mugs, which is funny because I don’t drink coffee, I am a loyal tea drinker. I’m a sucker for aesthetics as well as good craft and design. Some of my favorite mugs are made by Sunshine Cobb and other New Mexico potters, Rachel Donner and Patty Bilbro. The plates and bowls we use the most are by Birdie Boone, Justin Rothshank, Didem Mert, and David Swenson. All of our dishes are handmade by many different potters (minus the few pint cups we accidentally left with from a bar). The ceramic art pieces we have around the house are works by Bryan Hopkins, Brett Freund, Shoko Teruyama, Kristen Kieffer, and more New Mexico artists, James Creamer and Betsy Williams. Too many to name really. And never enough. 

Bianka with her dogs. Photo from the artist. 

What caused you to join NMPCA? Describe involvement with NMPCA.

I am new to NMPCA, and it was brought to my attention through Cirrelda Snider-Bryan. I haven’t had much involvement with NMPCA yet, but I hope that will change soon. One of my goals as a grad student at UNM is to expose the art department to the wonderful world of ceramics and the ceramics community that New Mexico has to offer and I am eager to learn all I can about NMPCA to make that happen to benefit all of New Mexico’s clay people.

Bowl with luster by Bianka Groves. Photo from the artist.

Thanks to Angela Smith Kirkman for being our January 2025 Meet the Member. Angela lives in Santa Fe, New Mexico. 

How did you first get interested in clay?

I started doing pottery when I was 18, my first week in college. Though I majored in Romance Languages at Colorado College, I spent every spare moment in the pottery studio. From the beginning, I was captivated by the sensation of clay in my hands—working with clay has always been my way of grounding myself, a kind of “mud therapy” that continues to bring me joy.

  

Describe your studio.

Paseo Pottery is my happy place. I’ve been part of this studio for over 22 years. It’s warm and welcoming, and I love coming here. This studio is full of some of my favorite people on earth. When we come together in the studio, our workdays are done, and we’re all here by choice, enjoying our free time, catching up, making art, learning, laughing—sometimes crying—aways in full expression of what it is to be human. It’s such a joyful place. 

  

Describe your “work.” 

For the first 30 years of my clay journey, I specialized in wheel-thrown rustic dinnerware and production pottery fired to cone 10 in gas reduction. I love harvesting my own clay and knowing that I have the ability to form a handful of earth into a vessel that I can use to feed loved ones. I love imagining that—maybe just maybe—hundreds of years from now when that vessel lays shattered on the ground, returning to the earth, the sight of it might still bring joy to some future being. Most recently I am enjoying delving into more exploratory work—big-ass wheel-thrown pieces as well as more experimental hand building and sculptural work. I’m still a cone 10 gas reduction gal, but I’m also enjoying a deep dive into alternative forms of firing, such as wood, Raku, and saggar.

Vessel fired with Naked Raku method by Angela Smith Kirkman, photo by the artist.

Saggar-fired vessel by Angela Smith Kirkman, photo by the artist.

Describe work you do that promotes “clay community."

Paseo Pottery has been part of the art scene in Santa Fe for over 30 years and thrives on a spirit of giving back. Run largely by volunteers, Paseo is more than a creative space—it’s a hub for connection and service. On the first Friday of each month, we host a Pottery Throw Down inviting different local nonprofits to come in and play in the mud with us. It’s our way of saying THANK YOU! to all of the nonprofits working to make Santa Fe a better place. All proceeds from our Pottery Throw Downs are donated to charity, and thus far we’ve donated over $100,000 and hosted over 40 local nonprofits. We’re so proud of this contribution, and we love sharing our passion for clay with those who may never have had the opportunity to experience the healing power of clay.

When you are not working in your studio, what do you enjoy? 

When I’m not in the studio, I’m generally helping my husband with his business, Tumbleroot Brewery and Distillery, which is HIS happy place. Or I might be at Tumbleroot Pottery Pub, our newest location and a marriage of our two businesses. Or maybe I’m out in my garden, or on a hike, or hanging out with my kids, or perhaps with my girlfriends, or maybe traveling somewhere exotic, or just sitting by the fireplace reading a good book.

 

Do you play music in your studio? If yes, what do you listen to?

Oh yes, there’s always something playing in the studio. Generally whoever’s managing the studio that day or teaching a class gets to choose the tunes, so on any given day it can be anything from classical to emo to punk to metal to salsa to Reggaeton to Ani di Franco to French language lessons or maybe just some good old rock-and-roll.

What other pottery do you have in your home? 

One of my favorite moments of every morning is standing in front of my cupboard—PJs and tousled hair—picking out a mug for my morning coffee. My cupboard is full of mugs and tumblers made by a dozen different artists, and I love each and every one of them.

What caused you to join NMPCA? Describe involvement with NMPCA.

Joining NMPCA was recommended to me decades ago by my guru, Mike Walsh, who founded Paseo Pottery in 1991 and is still a huge part of our studio. I’ve been a member for years, and I always look forward to receiving the NMPCA newsletter and hearing what’s going on in the in greater New Mexico clay community. Clay attracts a community of good people.  I’m happy to be part of it. 

Photo of Angela Smith Kirkman, supplied by the artist. 

Amber Paz-Csibi kicks off a year's worth of monthly "Meet the Member" interviews. It's not the first time she has appeared in The Slip Trail - see her October review of Celebration of Clay 2024. 

How did you first get interested in clay?

I started to truly create art with clay when I was an art student in high school. As an art major in college, I focused and practiced ceramics. I assisted my ceramics professor to load and fire the kilns, create high fire gas and raku glazes from scratch and managed all the raku firings. At that time, I was most interested in learning how to excel as a potter by creating wheel thrown pottery. 

Describe your studio. 

My art studio is located in a small enclosed room with a window in my garage area at my home. There is a large rustic wood table (with canvas on top) and wood shelving throughout the space. I have a ceramic kiln and a glass fusing kiln in my studio. I make a mess while creating, yet I maintain a tidy studio space. 

Describe your work. 

As an artist, I create art exploring a variety of media. My personal artworks are visual explorations of my journey in life and the magical landscapes of New Mexico. My creative process embraces the simplicity of form, color and function. I would describe my artistic style as an eclectic mix of contemporary and rustic designs. I create a range of ceramic and fused glass artworks such as: tableware, decorative and functional pieces. Lately, I am exploring ways to create ceramic and mixed media wall hangings. 

Santa Fe Peace 2024 by Amber Paz-Csibi. Photo by the artist. 

When you are not working in your studio, what do you enjoy? 

I enjoy teaching ceramics and mixed media art lessons to students of all ages, spending time with my family, friends, and my dog. Lately, I am enjoying and learning how to ice skate with my children on the weekends. It brings me joy to volunteer my time teaching youth and adults art lessons in my community. 

Do you play music in your studio? If yes, what do you listen to? 

Yes, it depends on how I feel. I like a variety of genres of music ranging from indie folk to alternative or sometimes reggae and more. Mostly, I enjoy the surprise playlists or mixes that pop up in my music app, with a broad range of music from the past to present. 

What other pottery do you have in your home? 

I have pottery that family and friends have given me over the years. Some of the pottery in my home are from NMPCA members, thrift store(s) vintage pottery finds and ceramics from Mexico. 

What caused you to join NMPCA? Describe involvement with NMPCA, and how many years you have been involved. 

As an art educator, I applied and was awarded the Bill Armstrong grant (Fall 2023) to implement and develop a new ceramics program for youth. I became a member of NMPCA in January 2024, participated in the recent Celebration of Clay exhibit, and volunteer to support NMPCA. Joining NMPCA and meeting such kind and talented artists has been such an inspiration! I am grateful to have this new joy and spark as a member of a unique ceramics community. 

With Love and Gratitude, Amber Paz-Csibi www.amberpazart.com

Amber Paz-Csibi.

"Meet the Member" interview and questions have been appearing in The Slip Trail for decades. Visit the archives to read more.

-Cirrelda Snider-Bryan, editor. 

Robert Eckert, Arts Editor for The Rio Grande Sun - the Voice of Northern New Mexico, has written a review of Celebration of Clay 2024. Please click on the pdf to read it.

At the end of the review he states: "Celebration of Clay never disappoints and is an exhibit you'll want to visit." 

Saturday, November 16th is the last day of the show at Taos Ceramics Center, 114 Este Es Road in Taos. Hours: Wednesday through Saturday, 10 am to 5 pm. Sundays, Noon to 4 pm. Closed Monday and Tuesday. 

Celebration of Clay 2024 - CMRS20241023B004.pdf

_{By Susan Voss}

_{On a glorious fall evening on October 5th, the New Mexico Potters and Clay Artists (NMPCA) had the opening of their exhibition at the Taos Ceramic Center (TCC) located in Taos, New Mexico (NM). The sky could not have been bluer and the leaves on the cottonwoods were turning a stunning yellow and beginning to collect in golden piles. The TCC hosted the NMPCA for the 2024 Celebration of Clay with sixty-five artists from across NM. The opening was well attended and according to the TCC was one of the best attended openings that TCC has had.} 

^{The art at the exhibit is varied, just as ceramics are varied in shape, color, form and clay. With such a large number of artists participating a broad swath of expressions it is impossible to capture within this short article. Therefore, I am going to focus my review of the show on the various forms of sculpture that were presented. What differentiates sculpture from other ceramic pieces? After reviewing multiple definitions, I have opted for a rather simplistic definition – ceramic sculpture is a piece purely for aesthetic purposes and is not designed as a functional object. That is to say, it is a piece to convey a form or representation outside of a functional use. This can be further subdivided into pieces that are representative of a known object such as a person versus those that are purely geometric representations. There are nine figures that represent the human form, five that represent animal forms and fourteen abstract forms. A short overview of the work in these categories is presented below.} 

^{The Human Figure}

^{Three of the figures modeled the complete body. Kim Alderman’s work “Egyptian Mother is a pit fired sculpture with a computer cord providing an interesting juxtaposition between the ancient and the modern and Diane MacInne’s figure “Resilience” stand’s strong and beautiful with upward expression. Both pieces are shown in Figure 1. Hebe Garcia’s work entitled “Earth” is a contemplative figure whose feet are planted deeply into the earth. Hebe piece received a Merit Award in this year’s exhibit as shown in Figure 2.} 

    

^{Figure 1: Kim Alderman Egyptian Mother and Diane McInnes Resilience. Photo credits: the artists.} 

^{Figure 2: Hebe Garcia Earth on Display at the TCC Photo credit: the artist.} 

^{Sculptures of the human bust varied from representational to abstract. Carla Bassat’s figure “En el camino” is made from mixed media and a multitude of surface treatments whereas Elaine Kidd’s mask, Mask 1, incorporates organic materials into the dark clay and uses the naked raku process to create the dark and dynamic image. Nicole Merkens’ piece “She Who Understands” incorporates contrasting stains to blend into a dynamic representation, whereas Susan Voss’ sculpture “It’s My Day” uses a minimum of surface color to allow the beauty of the clay to shine through. Lois Olcott Price imbeds the figure of a woman into a mountainside claiming the title “Still My Mountain” with glaze, oxide and tinted wax finishes. Whereas Brian Pottorff's sculpture is of a more modern representation of a face with strong features entitled “Cycladic Dreams.” Images of the figures are shown below in Figures 3 and 4.  Photo credits: the artists.} 

        

^{Figure 3: Carla Bassat En el camino, Elaine Kidd Mask 1, and Nicole Merkens She Who Understands.  Photo credits: the artists.} 

      

^{Figure 4: Susan Voss It’s My Day, Lois Olcott Price Still My Mountain, and Brian Pottorff Cycladic Dreams. Photo credits: the artists.} 

^{Animal Sculptures}

^{The five animal sculptures provide a broad range of characters and expressions. Elaine Biery’s work “The Raven’s Gallery” depicts a warm mountain cliff with a curious raven looking down as shown in Figure 5. This is contrasted with Janeen Maas’ “Sing a Song” stoneware piece depicting crows baked into a pie while two watch from the side, a playful piece that received one of the three Merit Awards for the exhibit, and Sheena Cameron’s sculpture “Raven Riding-With Skull” is a translucent raku piece with a skull skillfully embedded in the side. These two sculptures are shown in Figure 6. Kim Louise Glidden's intricate sculpture entitled “Bison Vertebra & Arrowhead” provides a realistic depiction of an ancient vertebra with an arrowhead embedded deeply, suggesting a bygone day. Adam Emery’s work “Birds in the Dragon” is a multicolor expression of a dynamic dragon. Kim and Adam’s work is shown in Figure 7.} 

^{Figure 5: Elaine Biery The Raven’s Gallery at the TCC. Photo credit: the artist.} 

  

^{Figure 6: Janeen Maas Sing a Song and Sheena Cameron Raven Riding with Skull. Photo credits: the artists.} 

   

^{Figure 7: Kim Louise Glidden Bison Vertebra & Arrowhead and Adam Emery Birds in the dragon. Photo credits: the artists.} 

^{Abstract Sculpture}

^{There are a large number of abstract sculptures in the NMPCA Celebration of Clay exhibit this year where the use of form and surface effects bring forth interesting and intriguing sculptures to observe. Beginning with Cate McClain’s piece “Windswept,” a saggar-fired piece with black terra sigillata surface, has an intriguing form that rolls inward. Her piece received the Best of Show Award, and is shown in Figure 8.} 

^{Figure 8: Celebration of Clay 2024 Best of Show Cate McClain Windswept. Photo credit: the artist.} 

^{Some of the more earthy sculptures include Judy Nelson-Moore’s work “Open Aging” --an expressive saggar-fired piece with fiber elements, as shown at the exhibit in Figure 9. Greta Ruiz's piece “Flame Keeper,” a wood-fired sculpture, can be seen in Figure 10. Abby Richardson’s work “Triangle 724A” is pit-fired with organic compounds providing the beautiful and flowing surface pattern, and Debi Smith’s piece “Chaco as We Know It” provides a physical representation of a beloved NM landmark with petroglyph markings. Greta, Abby and Debi’s pieces are shown in Figure 10.} 

^{Figure 9: Judy Nelson-Moore’s work Open Aging. Photo credit: Anna Bush Crews.} 

    

^{Figure 10: Greta Ruiz Flame Keeper, Abby Richardson Triangle 724A and Debi Smith Chaco as We Know It. Photo credits: the artists.}

^{James Marshall’s graceful sculpture “Untitled#98 Graphite Black”, is shown in Figure 11. His elegant design reflects the light emphasizing the long narrow shape.}

^{Figure 11: James Marshall Untitled#98 Graphite Black (Photo credit: the artist).}

^{Two of the more modern pieces include Andrea Pichaida’s “Beautiful Life” whose work has both a beautiful strong geometric shape as well as vibrant and contrasting colors, and Lin Johnson's “Jumble House” - a multipiece wall sculpture that uses interesting shapes and primary colors to represent a sense of mystery and play. These pieces are shown in Figure 12.}

    

^{Figure 12: Andrea Pichaida Beautiful Life and Lin Johnson Jumble House. Photo credits: the artists.} 

^{The Coyote Color in Clay Award was given to Erik Gellert for his piece “Vistige,” a beautiful piece that reflects the light in the surface underglazes, stains and glazes. The blue and greens are reflected in the light as shown in Figure 13.}

^{Figure 13: Coyote Color in Clay Award to Erik Gellert Vistige.} 

^{The last five pieces covered in this article continue to show the beauty and versatility of the ceramic medium and the countless number of choices an artist has to express themselves. Anna Bush Crew’s work “chocolate volcanic” is a raku-fired piece that dramatically rises up with glaze and slip abstractly applied. Jim Romberg’s piece titled “Ascent” is another raku-fired piece whose form and colors capture a sense of rising upward. Both of these pieces are shown in Figure 14.}

 

^{Figure 14: Anna Bush Crew chocolate volcanic and Jim Romberg Ascent. Photo credits: the artists.} 

^{Lindsay Iliff’s work “Baobab Stupa” is both abstract and familiar in its form and expression and Cathy Rapp’s work “Touch of Sky” has a rising geometric shape with touches of brilliant blue reminiscent of the New Mexico sky.  Both of these figures are shown in Figure 15.} 

   

^{Figure 15: Lindsay Iliff Baobab Stupa and Cathy Rapp Touch of Sky. Photo credits: the artists.} 

^{Sara D’Alessandro’s “Rhumba”piece is shown in Figure 16. This large sculpture provides energy and animation in an abstract form.}

^{Figure 16: Sara D’Alessandro’s Rhumba. Photo credit: Anna Bush Crews.}

^Summary

^{The 2024 Celebration of Clay representing 65 different artists is a grand success and is beautifully presented at the Taos Ceramic Center. The TCC gallery provides the perfect display for the broad array of pieces and creates an intriguing venue to spend time with each piece. In this writeup I have presented a short summary on all of the sculpture pieces presented at the exhibit, twenty-eight in all that demonstrate the power of clay to express one’s artist vision. I hope if you have the opportunity, you will visit the TCC gallery at 114 Este Es Road, Taos, NM where you can see firsthand the wide range of beautiful work from ceramic artists across New Mexico. If you do visit, please say hello to Georgia and Jules while you’re there for me! Cheers!}

^{--By Susan Voss}

^{More photos by photographer Anna Bush Crews} 

^{A wide view of the exhibit. Photo credit: Anna Bush Crews}

 

^{Adam Emery and his Birds in the Dragon.  Photo credit: Anna Bush Crews}

^{Above right: Susan Voss It's My Day. Photo credit: Anna Bush Crews}

^{Carla Bassat with her En el camino. Photo credit: Anna Bush Crews}

_{Reviewer bio - Susan Voss focuses on tiles, sculpture and large vessels in her ceramic art, working out of her Raven’s Nest studio.} 

_{Photographer bio - Anna Bush Crews describes herself as a student of the ceramic arts, learning to work with clay in various ways, concentrating on hand-building. "My travels and research have contributed to many bodies of photographic, video and sculptural works."}