Jim Romberg moved to New Mexico in 2024, but has contributed to the clay community here over many years. Read on to learn more.

How did you first get interested in clay? 

I had several encounters with clay as an undergraduate student of ancient history. A friend was taking a ceramics class and invited me to give it a try. Later my sister did the same and it was intriguing to throw a pot.

Describe your studio. 

A converted two car garage with spaces for the wheel, glazing, slab construction and painting.

Title:      . Photo by the artist.

Describe your “work.”

Although I started at Pottery Northwest in Seattle with stoneware and salt glazed work, an introduction to Raku at a summer workshop there with Paul Soldner captured my imagination. I have been doing Raku work ever since. Inspired by the history of Raku, its effect on culture, the immediacy of directly handling the work at every step and the interaction with glaze, fire and smoke is continually inspiring. My work is abstract vessels and sculpture presenting pieces that will hopefully provoke questions and contemplation about human nature and our place in the world. 

Title:  Tracings of a Dream. Photo by the artist.

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

I have directed two conferences, “Raku: Origins, Impact, Contemporary Expression,” and “Critical Santa Fe, promoting criticism in contemporary ceramics.”  Recently I have been working with MAKE SANTA FE to promote classes and the practice of Raku for the community .

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

Certainly, the art and culture of Santa Fe and a little fly fishing on the side.

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

 Yes, I do play music in the studio. Combinations of jazz and classical.

What other pottery do you have in your home? 

Native American vessels, tea bowls of Toshio Ohi, other work of Fabienne Giorgia, Aline Favre, Tim Andrews, Paul Soldner, Tom Coleman, Terry Shepherd, Patrick Crabb, and various contemporary Japanese Potters.

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

I first worked with NMPCA at the Ghost Ranch with Jenny Lind and Jim Kempes.  I have participated in shows and events with NMPCA, including the Celebration at the Taos Ceramics Center and the recent celebration in Albuquerque as a panel member discussing the future of contemporary ceramics. 

I joined NMPCA to interact with fellow artists involved with clay about issues important to the field. 

Portrait of  the artist.