I've just finished a pair of cups that will go to The Art of the Cup, an invitational exhibition at the Ogden Museum in New Orleans.  I threw these cups from porcelain, dotted them with overlapping layers of underglaze, and fired them to cone 6 in an electric kiln.  These cups are big - even after the final firing, they hold 16 ounces of liquid each.

I've just finished another altered book/sketchbook.  I use these to experiment and think about ideas.  This one is really a souped-up sketchbook.  To make it, I started with a commercially available cork-bound sketchbook that had acid free pages and a sewn binding.  I used watercolor to make colored patterns on the pages, and then I tipped in charcoal drawings I had made of various things - mostly plant parts.

The Year of the Monkey begins on February 8.  Here are six small teapots that I made to celebrate the new year.  Each teapot is 4 to 5 inches tall, made individually and by hand of porcelain, hand drawn and painted.  Each teapot has two monkey faces, one on each side.

This fall I'm having an exhibition at the Winchester Thurston School in Pittsburgh.  The show is kind of a combination of installation and learning lab for art.  To get a whole show into one small truck, the large paintings were made unstretched, with grommets for hanging (unstretched canvases can be rolled for transport, which saves a lot of cargo space).  The gallery at the school is kind of a multipurpose room, so the teacher who runs the gallery put up the colorful traffic cones (borrowed from the PE department) so that all the various people who use the room won't run into the art.  It's all been an interesting experience.  The best part has been working with these extremely engaged students - they have all been a joy.

For specific views of the paintings, view this page:
​http://www.priscillahollingsworth.com/larger-paintings.html

I've been working some more on the Swamp Drawings that I completed several months ago.  I have mounted each drawing on a painting panel and added paint to the backgrounds.  Each finished painting is now ready to hang, and measures 12 inches high by 9 inches wide by 3/4 of an inch deep.

I have just completed a set of 7 teapots for the Year of the Sheep, which begins in February 2015.  In China, both sheep and goats belong to the Year of the Sheep.  It's pretty different from the biblical perspective, in which the sheep and the goats are always being separated.  These teapots are no more than 4 inches high, which is full size in China (tea is drunk very differently there than in the European traditions).  All of these teapots are completely handmade of porcelain clay.

I've just finished some teapots for the Year of the Horse, which begins in 2014.  These teapots are going to Shanghai for an international exhibition.  Each teapot is made of porcelain and is about 4 inches tall.  

I have just finished some new teapots for the Year of the Snake.  I focused on the beautiful skin patterns that some snakes have.  The teapots are thrown and handbuilt, from porcelain.  The decoration is drawn and painted in underglaze, covered with clear glaze, and then touched with gold overglaze.  Three firings were needed for each teapot.  Each teapot is approximately 4 inches high, which is full size in China.  The teapots will go to an exhibition in Shanghai.

The installation that has been in process since my residency at the Vermont Studio Center was completed by its installation in an exhibition as part of the NCECA national conference.  NCECA stands for National Council on Education for the Ceramic Arts; the conference was held in late March in Seattle.  The exhibition, titled "Distillations & Eruptions", was selected as a Concurrent and Independent Exhibition as part of the conference.

To see more photos of the installation, go to the Game Pieces page on this site: http://www.priscillahollingsworth.com/game-pieces.html

To learn more about the Distillations & Eruptions exhibition, try this site:
http://distillations.weebly.com/the-exhibition.html 

The exhibition included installation works by 4 additional artists.This was a monster project, more than a year and a half in the organizing.  Besides all of the gathering of artists' names for consideration, there was the application process through the conference, a real roller coaster ride of waiting for NCECA to find a good venue (they did), and then an application process to propose a panel discussion at the conference that amplified themes from the exhibition (we were fortunate to have that come through, also).