THE MODERN HOUSE (AUG 2020): “I like to make things with unusual textures and I use a lot of heavy glazes, which either bubble or foam up, and I’m interested in the ways the glaze chemistry can make different textures. I’ve been making pieces with a sort of volcanic surface a lot recently, which is achieved by an element in the glaze recipe making tiny explosions in kiln, and then cooling it down very quickly so they set.”
In the first of a new series, Studio Visits, in which we’ll be meeting artists, designers and makers in their place of work, LA-based ceramist Raina Lee invites us into her treehouse studio and gallery space for a talk about her creative process.
Raina, how did you get into ceramics?
“I was a journalist in the tech and video game industry, and I still do some writing now. I happened to be living near a ceramics studio in Williamsburg, Brooklyn, and I decided to take a class. I was enthralled.
“It was so exciting to do something physical and work the clay with my hands – I just fell in love with it. Writing is very abstract and a lot of the time you work on something or pitch an idea and it doesn’t work out, by there’s always a physical end result when making ceramics.”
As a complete painter he aspires to reach a high level of 
By capturing the fluidity of glass in its liquid state with gestural experimentations of technique, John transforms “perfectly imperfect” into signatures of his creations. Fragile and ethereal, yet purposeful and confident, every Pomp piece is a unique confluence of light, liquid and fire, which he brings together to alchemic effect.
From the anatomical features of Da Vinci to the fractured features of modernist portraiture, the human head has reigned supreme in Art History. Enter Jean Michel Basquiat – the consummate draftsman for a new age. Discover how Basquiat revolutionized the genre and captured the manic core of the human condition through his masterwork Untitled (Head), 1982, to be offered as a highlight of Sotheby’s Contemporary Art Evening Auction in New York. Encapsulating the incredible dexterity that defines the very best of the artist’s works, and extraordinary for its use of India ink under the oilstick to lend depth and contrast to the composition, Untitled (Head) is a heroic depiction that reflects the explosive talent and brilliance of its author.
Compelled to chronicle the life and world around her, Abigail Faye McBride paints with the heart of a poet. Her oil paintings and charcoal drawings bear witness to a time, person or passing glimmer of light. Abigail paints landscape, figure and still life working interchangeably with brush and palette knife. Collectors, nationally and internationally, appreciate the color, mood and elegance of her work.
Watercolor, in a practiced hand, is the perfect medium for capturing the powerful emotion of a place. While I paint a variety of subjects, I’m most attracted to landscapes that stir passion within me in the moment. I’m always drawn to things western, rural, gritty and seemingly mundane or ordinary. Anything evocative of a ‘time long passed by’ will always capture my attention.
In the final years of Georgia O’Keeffe’s nearly century-long life, she employed and befriended the young sculptor Juan Hamilton. The two would become inseparable, and upon her death in 1986, Hamilton inherited fine art and personal affects from the artist’s estate, including rarely seen pieces from the estate of O’Keeffe’s late husband, Joseph Stieglitz.
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