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.
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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,