Now he brings us Glazing with Ron Roy. After years of personal exploration of glazes, helping other potters to improve and fix faulty glazes, he offers an online class which will allow you to be directly in conversation with him about remedying glazes. Ron will show you step by step  examples of how to use the free Insight program, a frontrunner of the Insight-live program. He will also share with you the follow-up Ron Roy Glaze book in PDF format. ​

Anja is a ceramic artist from Slovenia who arranged for Antoinette to present a 5-day hands-on workshop in the city of Kamnik. She interviewed Antoinette during her stay in the lovely hills of the Swiss Alps. ​

Antoinette started with a career in clay in 1981. She originally worked with pit fired work and later specialized in translucent porcelain. 
Her career takes her to different areas in the world where she teaches other potters about porcelain. See more about her career development 
​Antoinette presents hands-on as well as online workshops across the world.   ​

Marie was one of the most talented artists that I ever knew. She had the ability to use anything to create and decorate with. Her vision to take an idea and transform it into a story with clay and other found objects was extraordinary. She created multiple ceramic sculptures, often starting out from one specific element which she build out in several different narratives. 
Marie past away in 2019 and we miss her new inspirations tremendously, but I am very fortunate that I could talk to her in front of the camera, so her voice, her teaching and great example lives in. 
The last time that Marie and I were sitting on a porch, discussing her online workshop over a glass of wine, Marie expressed the wish she can reach students far and wide, therefor I am happy to to confirm that the online workshop will Post-fired Finishes continue to be available for students. ​

I visited with Marie in her studio and was  excited and happy for the opportunity to feature Marie Gibbons Evans.  . Marie is recognized for her extraordinary ability to transform everyday craft materials—similar to those found in common hobby stores—into meaningful works of fine art. By combining clay with painterly techniques and mixed media, she elevates craft into expressive artistic storytelling, and the conversation invites her to share how she developed this unique approach.

I asked her how she started with her current techniques: 
She began her journey in clay working with raku firing, drawn to its unpredictability, dramatic fire process, and especially the rich carbon trapping effects. However, she became frustrated with the limited color palette and the lack of control over surface results. Seeking greater creative freedom, she explored ways to introduce more color while preserving the carbon-trapped appearance she loved.
By experimenting with acrylic paints and combining them with her ceramic surfaces, Marie developed her signature technique known as post-fired finishing. She first applied black paint and wiped it back so it remained in the crevices, simulating the carbon trapping of raku. She then layered thin applications of acrylic color on top, allowing her to achieve vibrant, controlled surfaces while maintaining the depth and character of raku effects.

She went on to explain that her post-fired finishing technique is intended for non-functional, purely decorative ceramic work, not for pieces that hold food or water. This method offers greater artistic control, allowing her to apply and adjust colors gradually rather than relying on unpredictable kiln results.
Over the past 20 years, she has come to value the intimacy this process creates between herself and her work. Because the coloring happens entirely by hand after firing, she remains physically connected to each piece, holding it, observing it from all angles, and making adjustments as needed. By layering thin acrylic paints directly onto the surface rather than mixing colors on a palette, she builds depth and richness gradually. This approach allows flexibility—if she is not satisfied with an area, she can continue refining it, knowing the piece is not ruined but simply still in progress.
Antoinette asked Marie  to clarify what she meant by “non-functional” work. She emphasized that while the pieces are not utilitarian and cannot be used for eating or holding food, they still serve an important function. Antoinette invited Marie to explain the deeper purpose of her work, particularly the theatrical qualities she observed, and asked her to describe how storytelling and theater relate to the true function and meaning of her ceramic sculptures.

She answered that she appreciates the broader meaning of the word “function,” noting that while her work is not utilitarian like dinnerware, sculpture and art still serve an important purpose in human life. For her, the function of art is to help process experiences, emotions, and observations drawn from everyday encounters and personal interactions. She described her work as theatrical because it expresses and performs these human stories, allowing both herself and the viewer to reflect, laugh, or feel deeply.Marie also discussed her “Pin Heads” sculptures, which incorporate vintage hat pins and handmade elements to enhance their narrative quality. She often uses commercial molds but intentionally alters them, leaving seams, sprues, and imperfections visible. By doing this, she challenges the expectation of perfection in molded forms and emphasizes the handmade character, individuality, and expressive presence of each piece.

Marie  went on to described one of her favorite sculptures, which she calls her “Zen Baby,” as calm, self-aware, and meditative. Although she uses the same mold repeatedly, she individually refines and alters each face so every piece develops its own personality, appearing related but never identical.
She explained that her “Pin Heads” series was inspired by periods of intense multitasking and mental overload. The pins symbolize the small mental reminders, emotional nudges, and responsibilities that occupy the mind—ranging from daily tasks to deeper emotional experiences. Beyond the literal appearance, the pins also reflect broader themes about life, memory, emotional awareness, and the influences that shape people over time. Through these theatrical and symbolic elements, her work invites viewers to reflect on personal stories, societal influences, and human experience.
​

Marie Gibbons Evans explained that she believes art is most meaningful when it can be interpreted in many different ways, allowing viewers to connect their own personal stories and experiences to the work. She intentionally incorporates found objects, especially vintage hat pins, because they carry history, wear, and character that enrich the narrative of each piece.
While preparing for a solo exhibition, she spent months searching antique stores, online marketplaces, and antique malls to find authentic vintage pins rather than reproductions, because only original objects could provide the sense of history she wanted. She valued the imperfections—rust, chips, and age—as part of their story. Over time, her community and collectors also contributed by sharing and donating vintage pins, adding another layer of connection and shared meaning to her work.

Tags:
post firing techniques ceramics, ceramic surface decoration, cold finishes ceramics, mixed media ceramics, found objects in ceramics, ceramic sculpture techniques, ceramic finishing methods, alternative ceramic surfaces, honoring ceramic artist, ceramic artist tribute, ceramic artist inspiration, ceramic teaching legacy, women in ceramics, ceramic art , art history, contemporary art,

Knowing Curt Benzle has been a blessing in many ways. Not only is his work inspirational in nature, but as a person, his insight into the art business is encouraging. 
As a college professor, he realized that students need more than art education to become successful. Therefore, over a period of 20 years, he developed a course to help get students knowledge of how to be successful in the art of business. All Artists Making A Living (AAMAL) is now available as a 10-week online class at TeachinArt.
Listen to the stories from his days as a young artist, finding his way with porcelain, becoming an artist, and seeing his work in the library of the Whitehouse. ​

Classes at TeachinArt  ( Teach in Art)
​If you are interested in becoming an online instructor in any art form, you can contact us. ​

#glazes #Virtualpotteryclasses #calculatingglazes #stablepotteryglazes 
#foodsafeceramics

Reader comment 
​What a heartfelt and inspiring interview! Susie Bowman’s dedication to showcasing such incredible talent at The Kiln Studio really shines through. Reading about the workshops and artists she brought together reminds me of a pottery class I took years ago—those creative spaces truly bring people together. Thank you, Antoinette, for capturing and preserving such a special chapter in the ceramics world!

Antoinette Badenhorst interviews ceramic artist Connie Christensen in a fascinating discussion about Shino glazing techniques, ceramic surfaces, and the artistic possibilities of atmospheric firing.
In this inspiring interview, Connie Christensen shares her experience working with Shino glazes — one of the most admired glaze styles in ceramics, known for its warm tones, carbon trapping, soft textures, and rich surface variation. The conversation explores how Shino glazing combines chemistry, firing atmosphere, and artistic intuition to create expressive ceramic surfaces.
Connie took classes at art centers, community colleges and she attended numerous workshops. She realized that working in clay is a combination of art and science. 
Her online Shino workshop at TeachinArt is just that: a combination between art and science. 

Paul Blais interviewed Antoinette Badenhorst on the podcast The Potters Cast in Episode 672, “Dealing with the Inner Critic,” released in October 2020. The episode focused on the balance between artistic confidence and self-critique, especially in the development of ceramic artists and potters. 
During the interview, Antoinette discussed her journey from Southern Africa to the United States, where she received permanent residency based on her “extraordinary ability in the field of ceramics.” She shared how she taught ceramics in Africa, later continued mentoring artists in the U.S., and built a career centered around porcelain, education, and artistic discipline. 
A major theme of the conversation was the importance of honest self-evaluation in art. Antoinette explained that artists should develop a balanced “inner critic” — one that encourages growth without destroying confidence. She emphasized patience, refinement, and learning the “language of art” before presenting work publicly. 
The interview also explored:

• Working with translucent porcelain and why she calls porcelain “the Diva of clay”
• Artistic authenticity and avoiding trends
• The emotional connection between maker and object
• Teaching philosophy and constructive critique
• Finding an authentic artistic voice 

​The episode became especially meaningful to many ceramic artists because of its candid discussion about vulnerability, standards, craftsmanship, and the emotional challenges artists face while developing their work.