Female: War I Am Pottery 01 2015

The works were not literal battle scenes. They traced instead the battles lived quietly: domestic labor versus creative life, the pull of tradition against reinvention, the private reckonings of body and history. A shallow bowl might hold the impression of a clenched fist; a thrown vase could be laced with thin, deliberate cracks like the map of an old wound. Glazes—matte blacks, oxblood reds, and pale bone whites—were applied with gestures that read like punctuation: sudden daubs, long anxious drips, the careful sanding of an edge until it shivers.

Artists in the show took materials as language. Reclaimed clay from demolished kitchens carried stories of meals and arguments; slip cast pieces borrowed molds from domestic ceramics, then distorted them so a teacup became a helmet or a milk jug grew a slit like a mouth. Text appeared as incised lines—snatches of overheard phrases, names, the word "enough" repeated until it dissolved into texture. Some pieces incorporated metal: wire sutures sealing a fractured rim, rivets holding together a rim like armor. Others embraced fragility—paper-thin porcelain stretched so light it trembled beside a rough, unglazed bowl heavy with damp. female war i am pottery 01 2015

In January 2015, a small studio on the edge of a coastal town became the crucible for something fierce and fragile: Female War I Am Pottery. Not an exhibition so much as a statement, it gathered women makers whose hands remembered both tenderness and conflict. The title—at once declarative and oblique—invites a listen: “Female. War. I am. Pottery.” Each word a shard, arranged until a shape emerges. The works were not literal battle scenes

—End

"Female War I Am Pottery" was a declaration that to make is to resist. The act of shaping clay—pressing, hollowing, firing—became testimony. Pottery, often relegated to the sphere of craft and the domestic, was weaponized through care: its surfaces told stories, its forms held memory. In that January, the pieces did not merely stand on pedestals; they held court, demanded reckoning, and quietly, insistently, reframed what it means to be a maker who has known battle. In that January