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The article focuses on the reformulation of Bone China due to the unavailability of certain materials, detailing the experimentation process with local substitutes to maintain translucency and whiteness. Topics include the challenges faced in finding consistent materials, the criteria for testing local alternatives and the step-by-step process of reformulating the Bone China recipe.

The article focuses on the ceramic work of Jane Yang-D'Haene, highlighting her recent exhibition in New York City. Topics include the distinctive aesthetic of her vessels, characterized by harshness and impulsive yet diligent surface treatments, contrasting with contemporary ceramic trends. The author praises Yang-D'Haene's departure from conventional ceramic styles, noting her work's individuality and somber palette.

The article highlights the work of artist Sandy Godwin. Topics discussed include her work in the woven textiles and fabrics through the use of intertwined filaments in the lace and embroidery, her contribution to surface pattern development in the field of ceramics, and her investigation of color, glaze and lustre to enhance the gestalt of the lace-decorated, pattered vessels.

The article reports that hand rolled coils are preference of Cambridge potter Stephen Murfitt who makes ceramic vessels that contain and reveal space through an infinite range of forms. It mentions information on exhibition of vessels at the Old Fire Engine House, Restaurant and Gallery in Ely, Cambridge. It states that glaze firing and the usual post firing reduction will also significantly affect the outcome.

The article examines the life and work of the potter Richard De Vore. Particular focus is given to the techniques behind his clay vessels. Additional topics discussed include his training in Toledo, Ohio, his training with the Finnish potter Maija Grotell and his use of a variety of surface textures and designs.

The article features the ceramic vessels by artist Steven Heinemann. It states that Henemann's slip cast vessels are ethereal and are closer to perceptual three-dimensional drawings than to traditional sculpture. Heinemann contextualises his artistic output to restrain the profile's vocabulary to feasible pottery shapes. The seedpod vessels called "She" and "Terra Alba," according to the article, seemed to have been closely sheared on the exterior. The article concludes that Heinemann has successfully achieved formal unadulterated evocative ceramic images between shadow and container.

The article features U.S. glass artist Alison Reintjes. She has said that order, pattern and structure provide the starting-point for what has potentially an infinite variety. She has been exploring the idea that vessels should be suitable for table use and for display as sculptural elements of a wall. Her educational background, with focus on how she ended up taking ceramics, is discussed. It is noted that Japanese ceramics has been the greatest influence of all on Rieintjes. It is observed that the pattern in her ceramics is never mere neatness, mere decoration and mere mechanical exercise.

The article offers information on Dorothy Feibleman's delicate patterned vessels made from many different clay bodies, in which she creates a sense of logic from the diverse, almost contradictory materials. Feibleman uses an extraordinary range of colored clays which are designed to bloat and distort, producing subtle texturing and are formulated to produce translucency. The White on White work used a restrained palette of whites and a range of subtle textures. The vessels glow with diffused luminosity and which appear the complex web of patterning.

The article features ceramist Chris Gustin. It is stated that Gustin's vessels are associated with a long tradition of investigating the Dionysian and Apollonian aspects of art and perception. His practice is noted to be more than an anachronistic adherence to early 20th-century ideas and styles due to the confirmation that contemporary neuroscience and cognitive psychology have given to modernist claims about perception. It is indicated that Gustin has felt a strong attachment to the functional vessel as a constant.

The article talks about Antje Scharfe's vessels in the niche, in which whatever the artist can feel with whatever matter can become a vessel. The vessels used to pour something in or to pour something out of can be turned towards objects for aesthetic use, the enjoyment and the self-enjoyment of sense and nonsense. Scharfe has freed herself from a convention that what a vessel is supposed to be is allowed to be. The Ritual Vessels are almost surfaces with shapes subjected to ritual purposes. The still-life vessels are a three-dimensional expansion including panes of bone china that are embedded in blocks of wax reminiscent of their captions such as kitchen table and eternal shapes.

The article examines the vessel artworks of Xavier Toubes. It is stated that Toubes seeks to commune through visual means with the language being evolved to describe new worlds. It is said that Toubes' paradox of vesselhood is to connect his activity and language with the unbounded nature of reality. In his artwork "Fission," he places several objects together on a table that is higher than a domestic one to invoke an appeal to touch. It is noted that Toubes is embracing asymmetry in his works to search for new harmonies that break with old geometries.

The article describes a collection of ceramic portrait vessels from the northeast Arkansas/Southeast Missouri area. Some of the most skillfully created works represent the human body or portions of it, during the peak of artistic achievement in the region. The figures depict people of a particular role or rank wearing regalia and carrying accoutrements of symbolic import. Typically, the handbuilt vessels are made of buff-colored clay from local deposits. Some of them feature designs, such as the cross-and-circle on the forehead, the chevron band across the eyes, and what appear to be animal fangs at the corners of the mouth.

The article discusses the concept of quietness that can be found in the vessels of Nebraska ceramist Peter Pinnell. The author argues that his vessels reflect a conception of art that is not typical of the postmodern age and a work of art that is parallel to the painting "Nocturnes" of James Abbott McNeil Whistler or the lyrical abstractions of Raoul Dufy. He asserts that Pinnell's works have some aspects of the Asian ceramic tradition, which Pinnell considered as encompassing everything that he thought of as ceramic beauty.

The article features ceramic artist Jackson Lee and his works. It notes the tenacity and serenity on the way Lee makes his ceramics, as well as the precision he pursues. The vessels created by Lee are said to be delicate, characterized by their regal forms and exquisite simplicity. His Neo-Imperials series of ceramics, which was first exhibited at the Palace Museum in Beijing, China in 2006, has attracted international attention due to the approach he used on making the classical porcelain ware. The works of Lee was compared by An-yi Pan of Cornell University with the works of contemporary painter Qi Baishi.

The article describes the ceramic vessels created by ceramic artist Elaine O. Henry. Henry's vessels incorporate ragged strips of torn clay, textures and patterns impressed by various set of tools. Her works also exercise restraint as much as they indulge in the energy and opulence of traces. Her technique involves throwing or hand-building the bases of her vessels and slicing the facets that give their form, as well as a process of layering that shares traits with the general practice of coil-building.

Features the aesthetic ceramic utensils of artist Kayoko Hoshino. Family background of Hoshino; Description of clay materials; Color variations.

Features sculptor Simone Fraser and her ceramic vessel sculptures. Educational and career background; Significance of the Hollow and the Whole exhibition at the Delmar Gallery in Trinity Grammar School in Sydney, New South Wales in 2004 to Fraser; Description of her ceramic sculptures; Views of Fraser on the traditional vessel shape.

The article discusses a collection of vessel-like forms created by Spanish artist Pilar Rojas entitled "En Jarras." Rojas used traditional Spanish handicraft materials such as wood, cotton, lace and terracotta for the collection. The artist created the body of work to document the experience of returning to a culture. The collection was an important component of her September 2000 exhibition at Access Contemporary Art Gallery in Sydney, New South Wales. The vessel is said to have been a recurrent subject in the artist's work throughout her career.

The article reviews the exhibition "Sailing the Unknown" which features vessels made up of clay as well as represents the traditional craft skills of ceramics.

The article reports on the annual tea ceremony held at the Australian Embassy in Tokyo, Japan on April 24, 1997. The event "Australian Crafts for Tea," was organised by tea practitioner Margaret Price. The event also featured an exhibition of Australian tea utensils, including teabowls, water jars and ladles. The ceramic artists who participated in the exhibition include Gwyn Hanssen Pigott and Su Brown. Price, along with another tea master Nobutoshi Iseki served tea to 420 attendees in the garden of the Australian Embassy. They used a variety of Australian tea utensils.

The article features Tom Folino, who was a movie producer and casting director in Hollywood before becoming a ceramic artist. Folino enrolled as a special student in ceramics at the University of Massachusetts in Dartmouth, Massachusetts and studied ceramics in Italy. He has developed still-life vessels of different shapes, colors and sizes that are attached to a metal shelf and emphasize composition, balance and scale. Folino used the vessels as a way to evoke his emotions and in interacting with people.