About my pottery
It is the sheer interplay between earth, water, air and fire that captivates many potters and lies at the core of their creative explorations. Although the unexpected outcomes of this drama do both fascinate and frustrate me, my true commitment as a potter is to the historical roots and the traditions of folk craft. These traditions grow out of the making of practical objects intended for daily use. The standards of honest craftsmanship developed by folk potters in cultures around the world and throughout the centuries derive from respecting that form must conform to a functional need, that decorative design must conform to a people's spirit, that quality must conform to a masters' teachings. Folk craft is anchored in the basic relationship of hand to hand, of maker to user.
My own life has taken me to many places. I was trained in the craft of pottery at the vocational school in Göttingen, Germany, while studying at the Georg-August Universität for my Masters Degree in Philosophy. There I was introduced to the work & teachings of Bernard Leach and Shoji Hamada, of Michael Cardew, of Hans Coper and Lucie Rie, of Maria Martinez and Lucy Lewis. Subsequently, I lived in Brasil for 11 years and established a studio pottery just north of Vitória, Espírito Santo with Cristina Oliveira. Together, we attempted to adapt the methods of Leach and Cardew to the local geological & cultural givens and also delved into the history and traditions of Brasilian folk pottery. Upon returning to my native Colorado in 1990, I again built up a studio and began participating in art fairs and gallery shows. Although my own particular voice has evolved and taken shape during this journey, I continue to work essentially as a functional or utilitarian potter.
My own life has taken me to many places. I was trained in the craft of pottery at the vocational school in Göttingen, Germany, while studying at the Georg-August Universität for my Masters Degree in Philosophy. There I was introduced to the work & teachings of Bernard Leach and Shoji Hamada, of Michael Cardew, of Hans Coper and Lucie Rie, of Maria Martinez and Lucy Lewis. Subsequently, I lived in Brasil for 11 years and established a studio pottery just north of Vitória, Espírito Santo with Cristina Oliveira. Together, we attempted to adapt the methods of Leach and Cardew to the local geological & cultural givens and also delved into the history and traditions of Brasilian folk pottery. Upon returning to my native Colorado in 1990, I again built up a studio and began participating in art fairs and gallery shows. Although my own particular voice has evolved and taken shape during this journey, I continue to work essentially as a functional or utilitarian potter.
Eric Grossman
Eric Grossman was born in Chicago, Illinois where he got his early art training at the Art Institute. He received his Masters degree at the University of Colorado, Denver. Eric utilizes recycled steel in his sculptures which he refinishes, forms and welds. His various pieces range in size from an 8 foot “Warrior Woman”, and a “life-size” dragon made from old farm machinery, to table top sculptures, such as “Wind” and “Waiting”. He enjoys using metal, a rigid material, to create organic forms as well as narrative pieces. His most recent shows were in Setubal, Portugal and Aspen, Colorado. Eric lives with his wife, Monika von Glinski, a ceramics artist, on Lookout Mountain outside of Golden, Colorado.
