Crista attended Washington State University where she obtained her BFA in Ceramics with a minor in Art History. She attended Utah State University for Post Baccalaureate studies in Ceramics, and recently completed the MFA program at the University of Montana. She begans a long-term residency at the Clay Studio of Missoula upon the completion of a summer residency at the Archie Bray Foundation in October 2015.
I am a sculptor who works primarily in ceramics and textiles. I find that the integration of both permanent and impermanent materials conveys my interest in approaches to memory, loss and transformation. Just as the act of remembering transforms an experience into something different, time degrades some elements and leaves others to endure.
Through the layering of mythology, iconography and personal narrative, my work explores how our own animal nature relates to the ways we establish and sustain personal relationships. I draw on my own experiences to explore pastoral life, animal husbandry, womenís craft and fertility.
In bridging the gap between myth and experience, I utilize my artistic practice to create altogether new stories that tell contemporary tales of trauma, joy and womanhood.
Seth Charles received his BFA at University of North Florida. He recently completed an MFA program at Central Washington University, where he taught art foundations and ceramics classes. He also was an instructor and studio technician at Gallery One Visual Arts Center in Ellensburg, WA. Seth has exhibited his
ceramic works in numerous solo and group exhibitions both
nationally and internationally. He is currently the Woodfire Resident at the Clay Studio of Missoula
I respond to the challenge that comes from making utilitarian work that will become an intimate part of the daily lives of others. My work is rooted in functional pottery, but I also understand the contemplative role a pot can play in people's daily lives, viewing the work in much same way that one might view a painting or a sculpture. My work is not highly decorated or ornate, but my forms and surfaces are very intentional. Driven by traditional pottery forms, my primary concern is the complex relationships between the form of the pot, the surfaces, and the firing. I am very interested in the subtle differences that make two very similar pots very different. I believe in making work that is well made, but not precise so that no two pieces are ever the same.
Donna Flanery is a resident artist at The Clay Studio of Missoula, having recently moved from Asheville, NC. She received her MFA from the University of Florida in 2013 and her BFA in 2005 from the University of Montana. Between academic endeavors she has been a resident artist at The Archie Bray Foundation, Helena, MT (2007-2009), The Northern Clay Center, Minneapolis, MN (2006-2007), The Pottery Workshop, Shanghai, China (2009-2010) and The Zentrum fur Keramic, Berlin, Germany (June 2013). She has been spreading the good word of clay through teaching classes in all of those places and at Odyssey Clayworks in Asheville, NC. (2013-2015).
Miriam Griffin was born in Knoxville, Tennessee and has lived in Missoula since 2011. She received her BFA from The University of Montana in 2013, and has also studied at Bard College at Simon's Rock, Penland School of Crafts, and Arrowmont School of Arts and Crafts. Her work reflects interests in animal life, environmental destruction, and social injustice. Currently, she is a long-term resident at The Clay Studio of Missoula.
Spending the first half of his life in the United States Virgin Islands and the latter half in Chicago and New York, Koral’s work tends to reveal observations of the natural and manmade worlds. Koral received his AFA, Associates of Fine Arts at College of Dupage (IL), a BFA at Southern Illinois University, and was a Post Baccalaureate Student at Kansas State University. Most recently, he was a long-term resident at Red Lodge Clay Center.
I grew up immersed in the outdoors, in a time where technology began to live in our homes. The colors in advertisements and their products were mimicking those of native sceneries and festivals. And while a strong connection to nature began to fade, metropolises emerged. It seemed that the tribal idea of "order emerging from chaos" was reaching itsí peak.
Many questions emerge from this thought and are the basis for my current body of work...
Working with clay brings these questions alive. For me, coil building is an intuitive process, which lends itself to both very structural and organic forms. I can use the human touch in juxtaposition with structure, while maintaining the idea that these elements are one in the same. Architectural, gestural, abstract, conceptual, and landscape elements come together to create a composition that is relevant to both past and present.