Enjoy four fabulous individuals in Ballroom A on Thursday and Friday of the Conference.  Jeff Oestreich & Aysha Peltz will take the stage together on Thursday from nine to noon.  After lunch, enjoy Torbjørn Kvasbø and Kukuli Velarde from one to four.  Then on Friday, the schedule flips, so be sure to make note of that!  The simultaneous demonstrations are always popular not just because of the skill and technical expertise of the artists, but because of the incredible stories and conversations develop on the stage and interactively with the audience.   

Aysha Peltz’s pottery explores imagined space, scale and the poetic properties of the ceramic medium. She is a studio potter and faculty at Bennington College in Vermont. Peltz and her hus- band, Todd Wahlstrom, also own and operate StudioPro Bats. She received her BFA and MFA from Alfred University.

Working with clay is like a conversation and a newly thrown pot is like a statement that, for me, cannot go unanswered. The answer might be to push, cut, rip, texture or facet. In this demonstration, I will engage in a conversation beginning with a newly thrown porcelain pot, addressing it while still wet on the wheel, seeking to capture expressive moments

Jeff Oestreich discovered clay when he was a senior in high school in 1964. At Bemidji State College, in northern Minnesota, Ceramics 101 answered the question of his life’s work. From there, he enrolled at the University of Minnesota to work under Warren MacKenzie. A few days after graduation he was on a plane to St. Ives, England to apprentice under Bernard Leach, the founder of the studio pottery movement. He set up his first pottery in Wis- consin, later relocating to Minnesota in 1974. His passion for shar- ing ideas and techniques have brought him to England, Scotland, South Africa, New Zealand, and Australia. He exhibits regularly and recently returned to the Leach Pottery to work and exhibit.

This demonstration explores the various methods of manipulating wheel thrown forms by faceting, darting, scalloping, cutting and reassembling. The first morning will be the throwing of these basic forms. The second day will be assembling and trimming of these shapes. Functional forms such as teabowls, pitchers and serving pieces will be the focus. Attention to detail is the central theme.

Kukuli Velarde was born in Peru to parents who urged her to create from a young age. At age 25, she moved to New York City where she earned her Bachelor’s degree at Hunter College. Kukuli Velarde’s exhibition credits: KUKULI VELARDE at AMOCA; PLUNDER ME, BABY at the Yenggi Museum of Ceramics’ Biennial of Taipei; CORPUS at the Gyeonggi Ceramic Biennial, South Korea (Grand Prize winner). She has received the Guggenheim Fellowship, the Pollock Krasner grant, the USA fellowship, the Pew fellowship, among others.

Today, Velarde lives and works in Philadelphia where she creates striking visual pieces — sculptures, mostly — that reflect her indigenous heritage, a deep knowledge of art history, and an eye for the unconventional

I will make a few slabs, cut them in strips and build a figure with them. I will use a mold made from a head I did of my daughter for a new series titled A MI VIDA. I will show how I work, using as example building a piece of that series.page11image2153814800



From 1996-2000, Torbjørn Kvasbø was the Professor and Head of the Ceramics Department at the University of Gothenburg, Swe- den. From 2000-2008, he was Professor and Head of the Ceramic

and Glass Department at Konstfack, Stock- holm, Sweden. Since 2014, Torbjorn has been the elected Vice President of the IAC. He has been involved with numerous solo and group exhibitions, residencies, juries, workshops and lectures nationally and inter- nationally. Torbjorn is represented in many museums and collections, both national and international. He lives and works in Venabygd, Norway.

The taut bowstring between an explosion of power and vulnerability that is held at breaking point, in a continuous dialogue between mind, body and clay. All are combined to create a readable whole – the encounters, proportions and precision striking a perfect balance: like a killer punch to the solar plexus. The process remains a continuous dialogue between knowledge, practice and cruel critical reflection.


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