Biography
Niel grew up in Corinth, Mississippi, and his career as
a potter began with Ron Dale’s introductory ceramics
class at the University of Mississippi. He enrolled in
this course as an elective during his senior year, completing
an undergraduate science degree. As his interest in pottery
expanded, Niel returned to school and completed his bachelor’s
degree in ceramics. While in college, Niel participated
in several work-study programs at the Penland School of
Crafts under such instructors as Will Ruggles, Douglass
Rankin, Jane Shellenbarger, Chris Staley, Nicholas Joerling,
and Silvie Granatelli.
Following graduation, Niel obtained several clay-related
jobs. First, he worked as a store manager at a pottery
supply company, then later went to work with one of that
company’s clients to develop designs and molds
for mass production. Shortly thereafter, Niel worked
with a production potter streamlining daily businesses
practices. In this way, Niel gained exposure to the business
practices of the art world, preparing him to later become
a full-time potter focusing on his own work.
Currently, Niel operates his own studio and teaches
workshops in pottery techniques.
|
Artist Statement
"I use the accessibility of functional pottery
to communicate ideas with my audience. My pottery forms
and glazing designs follow a combination of historical
and current influences. Surroundings and experiences,
such as concepts from my Biological Sciences degree,
affect the work both directly and indirectly. My artistic
interest runs the gamut from sight to touch. For me,
functional pottery is a boundary that contains and
breaks. I am intrigued by visual immediacy and the
deceptively simple.
Making pots in small production runs, the first few
are formed with strict dimensions in mind. As production
moves forward, I relax the precision and lend allowance
to emerging ideas. Rectilinear concepts and organic movements
feed each other. I have limited my glazing palette and
pared down the surface treatment to simple shapes and
designs. Harmony between form and applied design is elusive
and attainable. I allow my progression to be gradual,
honing in on subtleties that make similar pots different."
Production
"Using red clay, I produce all the pots myself.
The majority of my work is made on the potter’s
wheel, but I also employ some hand building techniques.
At the leather-hard stage, a white slip is applied to
the clay. I use a variety of applied design techniques,
such as underglaze pencil, resist media, finger swipes,
and serrated marks. Next, a coating of glaze at the bisque
stage gives my work a distinct hue. Applying multiple
layers of surface treatment adds visual depth. Finally,
my pottery is fired in an electric kiln. While these
are my current methods, I am also interested in other
production possibilities." |
Resume