Artist Statement
Katharine Eksuzian is a ceramicist inspired by natural motifs. She strives to understand and depict the symbiotic relationships of our environment and the importance of its protection. As a self-taught artist, intense research and a literal hands-on approach to the clay medium has been essential. Her work is driven by a respect for nature and attention to intricate detail. With a focus on ecological themes, she creates scientifically accurate to-scale sculptures that are consciously crafted and completed in a high-fire soda kiln. Eksuzian holds strong beliefs in hand crafting each sculpture entirely out of clay to fully reflect the fragile nature concepts. Being an artist, there is always a need to create. Being able to do it in a way that has a positive impact is the true challenge and is the foundation of her work.
Northern Clay Center small soda kiln
Umami Pottery by Katharine Eksuzian
Umami is an over-all harmonious state. It is where ingredients come together forming a pleasingly consistent whole. It is not just a taste, it is a state of mind. Eksuzian longs to have a sense of umami in her work of ceramics. By paying close attention to layers of detailing, each piece is unique, complex and satisfyingly balanced.
Eksuzian began her ceramic enthrallment in 2016 at the Minnesota Northern Clay Center. There she was able to discover her passion for clay and established her small busness in 2018. She currently maintains a studio at NCC and utilizes their soda kiln. Eksuzian is building a small home studio in Victoria, MN where she welcomes visitors. Relationships with the American Craft Council and art galleries have enabled a full-time ceramic vocation.
As a 2020 and 2022 recipient of a Minnesota State Arts Board Artist Initiative grant in support of these themes, Eksuzian was able to create a solo exhibition at the Minnesota Landscape Arboretum and continue both her ceramic and botanical study explorations. Also noted among her accomplishments: an exhibition at the American Swedish Institute, beneficiary of a Red Wing Museum CFS award, a multi-time award winner at the MN State Fair Fine Arts Gallery and is an American Craft Council/ArtfulHome award recipient.
Katharine Eksuzian is a fiscal year 2020 recipient of an Artist Initiative grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.
Katharine Eksuzian is a fiscal year 2022 recipient of a Creative Support for Individuals grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation by the Minnesota State Legislature; and by a grant from the National Endowment for the Arts.
Making Process
Using a mixture of porcelain and stoneware (aka BClay) balances both a fascination with intricate sculpting and clay minerals that have color reactions in high temperatures. The clay surface is cracked using a special drying technique aided by the use of sodium silicate and a heat gun while still on the pottery wheel. Using mainly a needle tool, each sculpture is hand crafted. Found nature tools, such as nut shells and bark are frequently used to aid in the realistic qualities.
Prep for High Fire
After a lengthy drying period, the “green” clay is fired to a low temp in an electric bisque kiln to 1945 degrees (pre-cook). Now the clay is porous and able to accept glazes. Slips, stains and the clay body itself are used as primary colorants. Minimal, non-toxic glaze is added to the details and used as liners. Clean studio habits, accumulation of very little waste and being mindful of the environment is a constant practice.
Atmospheric/Soda Kiln
The work is prepped with wadding (refractory stilts to prevent sticking), carefully arranged and high fired in a gas kiln to approximately 2300 degrees (cone 10). During the firing, the atmosphere within the kiln is manually altered by controlling the air, gas and damper creating a reduction environment. Around cone 8-9, a small amount of soda ash is introduced into the kiln by way of a garden sprayer and a wafting action to help permeate every corner inside. The earthy, organic aesthetic/coloring comes from the manipulation of the kiln’s atmosphere reacting with the clay body itself. The entire firing process takes about 4 days to accomplish. While this process is intense, the outcome is very rewarding and inspires new experiments with each firing.