I would say I’m in Phase ll of my career as an artist. After a long academic career and making sculptural work using nests of all things I moved to Helper, established a studio on Main Street, and began to make pots. My interest lies somewhere in between functional pottery and 20th century modern design. I’ve studied the relationship between man and objects – examining the cultural concept of design determined by the social, economic, political, and technological forces that have shaped it.
My pots are an expression of personal and aesthetic influences, drawn from years of working outdoors. Observations of how repetition is prevalent in nature; flocks of birds, leaves on a tree, icy granules in a snow pack, order in the design of a flower. Using a 12th century Korean decorating technique called Mishima, I would incise a design onto the body of the pot; fill the cuts with a contrasting colored clay and then cover with a transparent glaze.
I am drawn to the quietness of simplicity; find beauty in repetition and the intention of mark making. I make pots to take pleasure in daily rituals and celebration that provides nourishment in body and soul and add beauty and unexpected pleasures to our lives.
Kathleen Royster received her MFA from the University of Utah where she was awarded the Ethel Rolapp Award. Her work appears in significant museums, private collections and cited in many publications. Noteworthy are the Los Angeles County Museum of Art and the Renwick Gallery of the Museum of American Art, Smithsonian located in Washington, D.C. Her work has been cited in the critical discussion of contemporary Ceramics literature. Such references include: Jo Lauria, Color and Fire: Defining Moments in Contemporary Ceramics, 1950-2000; Garth Clark, The Artful Teapot; Marvin Sweet’s, Yixing Effect: Echos of the Chinese Scholar; and Dr. Judith Schwartz, Confrontational Ceramics.