Hunter Cady

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1. Altered Bowl (1) 

2020 Stoneware, Glaze 

23” x 23” x 9” 


2. Altered Bowl (2) 

2020 Soda Fired Stoneware,

Reactive Slip 

18” x 18” x 7”  


3. Porcelain Plate

Arrangement  2020 Soda Fired

Porcelain, Reactive Slip 

18” x 12” x 12” 

4. Porcelain Plate 

2020 Soda Fired Porcelain,

Reactive Slip 

11” x 11” x 1” 

5. Pitcher and Tumbler Set 

2019 Soda Fired Stoneware,

Flashing Slip, Glaze 

18” x 18” x 14” 

6. Pitcher, Tumbler, and Plate Set 

2020 Soda Fired Stoneware,

Reactive Slip 26” x 26” x 15” 

7. Tea Set  

2019 Soda Fired Stoneware,

Flashing Slip 12” x 12” 16” 

8. Pitcher and Cup Set 

2019 Soda Fired Stoneware,

Reactive Slip 20” x 20” 18” 

9. Jar 2019 

Wood Fired Stoneware  

14” x 14” x 10” 

Large bowls create harmony between form and fire blushed surface. These bowls occupy an expanded space with undulating rims and walls that create a sense of airiness and atmosphere. The bowl’s base is narrow causing the walls to reach out unusually far, liberating it from the surface it sits upon. The bowl becomes the atmosphere it occupies. 

Deliberate, thoughtful decisions, build the forms I create. I am drawn to clay and the way it reflects who I am as a person. My practice is informed by this alignment. The size of my work is a result of how I interact with and challenge the material. During the process, the work in front of me occupies the full reach of my arms and hands as I generate the forms... I manipulate symmetrical forms but keep the history and information from the potter’s wheel. My forms have rims that bounce and meander. Pulsating walls create new silhouettes as one walks around the piece. 

In my practice, it is important to me to understand every step of the process that influences the final product. I learn best by trial and error. Learning about each process within ceramics benefits the levels of complexity within my work. Through experimentation, whether it is a new technique or in depth surface research, new ways of thinking open up and contribute to where my work can go. I am engaged in all research within the process: formulating slips, design and construction of kilns, and firing techniques. The forms I create have become influenced by the atmospheric qualities of soda firing; specifically by the individuality each piece the firing imbues. Reacting to the various applications of the slips and the placement within the kiln the surface of forms shows the history the vessel – its making and its vitrification and coloration. A palette of traditional flashing slips have been built upon. I wanted to continue to achieve more colorful results. When applying these reactive slips to forms, they come alive, becoming large drawing surfaces which provides more information about the full process of making, from the articulation of form to the way they record the finishing gestures of the fire. 

I work in series that are based on display and serving. The visual composition of a drinking, dinning or serving set and, the way all the components can be intergraded into one form, becomes a sculptural journey. I see these sets living as a centerpiece to a dining room table, an inspiration to create an event around the sharing beverages and food. More about the appearance of the set rather than the practicality of it. The non-conventual, and even surprising presentation of functional forms brings more attention to aesthetic and ritual. By bringing the forms together in a piece based around display it allows for the preconceived notions of the functionality of the forms to be dismissed and showcases their decorative aspects.