The J Schatz studio, listed on the national register of historic places, was originally the dye house for the Weybosset Mills in Olneyville, Rhode Island—a neighborhood of Providence mentioned over and over again in conjunction with things that are new, interesting, and just plain cool happening in PVD. Jim Schatz and Peter Souza of the J Schatz design and ceramics studio are major contributing representatives.

The two met in Florida three years ago, and later moved Schatz’s studio from Upstate NY to Los Angeles. But, as Souza remarks, “We felt really isolated in the city, so we took a trek last October and we scoured New England and the Berkshires looking for a community to be a part of. We fell in love with Providence; we found this gorgeous building that we were able to work and live in.” It is an ideal spot for them, with the roots they’ve put down, and are expanding upon, exhibiting their commitment to the area. The 160-foot long tunnel of a brick building houses two live-in suites on one end, their production studio in the middle, and their own apartment in the back. A continuous line of dormer windows along the top stream in natural light.

“We found a really great community here of artists and designers and folks that really welcomed us,” affirms Schatz. “We found a nice place to be.”

J Schatz studio | Photo by J Schatz

All work happens on site. Schatz started his ceramics career with the Star Egg Nightlights that project astral spots of light into a room, and then kept moving that ovoid shape forward through his work. It shows up in the company’s outdoor products of polished, modern, and colorful bird houses and feeders. The lighting line features table lamps, pendants, and uplights, all made of high-quality materials: glossy, brightly colored ceramics and rough, metallic, urban stoneware. The Porcelana Uplights are a standout, translucent porcelain cylinders with a glossy interior that throws the warmest tones of pink or orange.

Form following function is evident in all of the J Schatz products. Everything is beautiful to look at and touch, but these are real usable products, down to the brutalist coffee maker. “That happened because there was a Chemex coffee maker in our studio that kept breaking,” says Schatz of the origin of that design. “This is before I met Peter. His first visit to the studio he’s like, ‘What’s that?’, and I said, ‘It’s this coffee maker that I made because I was so frustrated with the Chemex breaking.’ And he said, ‘This is something we should be making.’ It looks crudely made, but it’s actually very ergonomic and nice to use. It’s now a production piece.” The dark, craggy look of the set is precisely what everyone’s morning cup of coffee should look like.

Brutal Coffeemaker | Photo by J Schatz

The two have recently purchased yet more property in the neighborhood for their Airbnb stock: a cottage with a terrific view and outside space. It will get the full J Schatz makeover, everything from tableware to room dividers, to vases and bird baths. “We’re putting the finishing touches on two more rooms and we’ve outfitted it completely in J Schatz custom work and new pieces,” explains Schatz. “And we’re going to have a yard and a garden, too.” Expect more outdoor work and housewares from them in the coming season. “Peter and I have a vision that complements each other,” Schatz says. Souza agrees. “We’ve integrated our products into environments that other people can share.” It’s a real treat to be able to live among a design team’s work, and the environments that J Schatz creates are a treat indeed.

Porcelana Uplights | Photo by J Schatz

J Schatz – James Schatz and Peter Souza, principals
Providence, Rhode Island
Website
Facebook
Twitter
Instagram

Top photo J Schatz exterior | Photo by J Schatz

The post Community of Design appeared first on Take Magazine.

Matthew Towers did not imagine clay would be his muse. Originally from Poughkeepsie, New York, he studied theater at New York University, where he received his BFA. An ardent lover of the stage and deep history of classical performance, he originally pursued the flooded industry of acting in NYC in the 1990s. Finding more frustration than inspiration in that scene, Towers began taking classes to pique his interest in other creative fields; that’s when he discovered the visceral, malleable, and erotic motions of clay. “For me, when clay and porcelain are very wet, it has this ability to fall, to crumple in unexpected ways like hair or clothing on the floor,” he says. “I was taking these classes and fell in love with how it moved and felt. And later on, when I began to learn more about the science of it, glazing, firing, etcetera, I felt inspired and fascinated.”

Towers did not compromise his love for classical theater for pottery and sculpture—he fused them. His current body of work, Catastasis, is named after the third act of a Greek play, in which the climax of the play surrenders itself into a series of complications that set up the fourth act, the catastrophe. “I like that pottery and sculpture have this sort of long, mediated history like the theater,” he says. “During the Sung Dynasty, considered the golden era of ceramics, the Chinese were the only ones who knew how to fire and glaze porcelain. It took Europeans hundreds of years to figure it out.”

Catastasis Vase, Porcelain, 24 inches, 2015 | Photo by Nathan Carnes

The Catastasis series consists of sculptures that fold and bend in lines that are visually textural, but unexpectedly smooth to the touch. Towers sees them as the expressions of carefully manicured wigs, discarded clothing, and the body in motion. His sculptures reflect his interest in male sexuality, especially the ways that hair has historically represented changes in culture. In early European culture, for example, long hair represented male virility; later, men began wearing flamboyant wigs as an expression of wealth and fashion. For Towers, these shifts in hairstyle mark a subversive and historically relevant change in cultural perspectives about gender and sexuality. His use of soft pastel glazes, countering bold red, and rusty oranges, coalesce into something beautifully erotic, bold yet somehow fragile.

Outside of his sculptures, Towers also creates beautifully ornate and functional pottery such as bowls, cups, and plates that reflect his stylization that is both contemporary and classical. “I view making functional pottery as an extension of my need to decorate and ornament my surroundings—as a testimonial about who I am, who I want to be, and how I view the world,” he explains. His work stretches away from pottery as a traditional craft and highlights its capacity as functional fine art, believing that pottery has the capacity to be subversive, to reflect culture, and to challenge it via humor and hyperbolic expression. “I employ decadence, sensuality, humor, and flamboyance to toy with identity as well as the meaning of function.”

Catastasis Vase Form, Porcelain, 2016 | Photo by Matthew Towers

Matthew Towers is currently an Associate Professor of Ceramics at the Hartford Art School at the University of Hartford, where he teaches a range of classes including traditional pottery, abstract sculpture, and clay and glaze chemistry. His upcoming show, Reaction Bubble, opens at Real Art Ways in Hartford beginning March 4th, and is a collaborative project between Towers, interdisciplinary duo LoVid (Tali Hinkis and Kyle Lapidus), and choreographer Deborah Goffe.

Matthew Towers, sculptor
Hartford, CT
Website

Top photo Crush Bowl, porcelain, 15-inch diameter, 2015 | Photo by Roger Castonguay

The post From Clay to Catastasis appeared first on Take Magazine.