Welcome to a special edition of our artist spotlight series, where we delve into the world of creativity, craftsmanship, and inspiration. Today, we have the honor of presenting a conversation with David Hughes, an accomplished ceramic artist and educator whose journey in the pottery world has been nothing short of extraordinary.
In this engaging Q&A, we’ll dive deep into David’s artistic philosophy, his thoughts on the evolving ceramic arts landscape, and the role of teaching in his practice. Whether you’re an art enthusiast, aspiring ceramicist, or simply curious about the magic of turning raw clay into beautiful creations, you’re in for a treat! For more information on the Kroll Ceramic Arts School or David’s classes, visit their website, HERE.
David Hughes is not just a talented potter—he’s also a mentor to many aspiring artists through his work at the Kroll Ceramic Arts School at the Hammond Museum. With years of experience working with clay, his unique approach fuses traditional ceramic techniques with modern artistry, creating pieces that are both functional and visually captivating. From humble bowls to intricate sculptures, David’s work embodies a love for experimentation and exploration of form.
1. What makes your ceramics class unique for beginners, intermediate, and advanced students? Can you share how you tailor your teaching methods for students at different skill levels.
I can’t say how other classes are run, but I enjoy having students with varying abilities in the same class. Intermediate students can best empathize and reassure beginners and advanced potters can reinforce and reinterpret my lessons by explaining what techniques work best for them.
2.For someone who has never touched clay before, what can they expect in their first throwing class? What foundational skills do you focus on for beginners?
In the first few classes of the session, I am focused on the first timers. Teaching and reinforcing the basic steps of centering, and opening and pulling up the walls to form a basic cylinder. I try to stress that the skills they are learning are often difficult and will only improve after many mishaps. Learning what not to do is very useful in the big picture. Over time I slowly remove the training wheels until they are self sufficient.
3.How do you guide intermediate potters to improve their technique and find their own style? What are some common challenges that students face at this stage, and how do you help them overcome these?
As potters develop their rudimentary skills, they work on refining their technique and making taller forms with uniform walls. Progress comes in waves and students can get discouraged and feel that they are not improving as quickly as others when their progress plateaus. You just have to work through the dry spells. Better pots are always on the horizon. That’s as true for me today as it is for any student.
4. What advanced techniques or sculptural elements do you introduce to experienced potters in your class? Can you give us a glimpse into some of the more complex projects that advanced students might tackle?
I rarely tell potters of any experience level what to make. More often than not they will have an idea and I explain how they might achieve their goal. If an intermediate student is looking to be challenged and asks what to make, I would encourage them to attempt a uniform set of mugs. For an advanced student, I might suggest a teapot. A teapot requires making separate elements and joining them together in a way that is visually satisfying and functional at the same time.
5. Functional stoneware is a big part of your work – how do you incorporate this into your teaching? Do you encourage students to create functional pieces, and how does that process differ from sculptural work?
Some might say that a non functional artwork still performs a function, it is just on a more visual or esoteric level. Not every piece needs to be beautiful, it just needs to be interesting. While I encourage students to focus on learning the process and not focus too much on the product. I do sometimes ask a student to keep a mistake, for example, where a collapsed pot has created a form. Sometimes that can be interesting in part because it is unique and can’t be replicated.
6. How do you approach teaching the balance between form and function in ceramic art? What advice do you give to students who want to experiment with both practical and artistic forms?
I think as potters we are continually striving to make pieces that work on every level. There are so many variables, some you have complete control over, and others very little. The occasional disappointments serve to make the triumphs that much sweeter.
7. In your experience teaching at various colleges and art centers, what key lessons have you brought to your classes at Kroll Ceramic Arts School? How do your diverse teaching experiences influence the way you run your ceramics classes today?
I have taught students of all ages over the years and my approach to teaching children or teenagers is very similar to the way I approach teaching adults. Tell me what you want to make and I will tell you how to make it.
8. For students who want to pursue ceramics beyond the classroom, what advice do you have for continuing their practice? How important is it to practice regularly, and what resources or opportunities should students look for?
Many of my students have created home studios and I have offered advice on what to buy (and what not to buy) to be productive at home. So many options are available as far as clay bodies, glazes, and firing that are usually beyond your control at a communal studio. It can be a bit overwhelming.
9. You’ve recently been exploring more sculptural forms. How has this exploration impacted your approach to teaching? Are you introducing more sculptural techniques in your current classes, and how do students respond?
My recent works all began as wheel thrown forms that were subsequently altered. It takes quite a while for a student to have the confidence in themselves to potentially ruin a piece in order to create an experimental form for the first time. But if a student is not hindered by that, they can begin exploring some really unique shapes.
10. Can you share a success story of a student who has really grown in your class? How did you help guide them from where they started to achieving their personal artistic goals in ceramics?
I have students with a variety of learning styles, some take notes, follow instructions, and focus intently on demos. Others prefer to find their own way and just want to be left alone to “figure it out”. I have a student now who has a very zen approach, he has no emotional attachment to his work and views each piece as a stepping stone toward mastery or maybe enlightenment. I think he could be teaching me one day. There is a place in my class for all of these people. We rely on one another to cultivate an environment of creativity that allows people of all skill levels to get together and collaborate and have fun and celebrate each other’s success.
