Jane Furman

I began making jewelry back in the 80′s. I started stringing beads, which evolved into making polymer clay beads, next I discovered seed beads. Then one day, I met a lady (and now dear friend) that invited me to a metal jewelry workshop. That was about 5 or 6 years ago. My life changed that day and have had a hammer in my hand ever since. I fell in love with moving metal, torching and texturing my way to organic feeling art jewelry. I have taken many classes and workshops with wonderful teachers. Connie Fox is my favorite, and has taught me so much. I hope you enjoy my art form as much as I enjoy creating it.

John Rubesha

I was attracted to art history as a teenager and, as an adult, painted a very occasional oil.  I was in my 50s when my wife, Kathy, asked me to join her in a 5-evening pottery class and I was hooked! The next day we signed up at Palomar College and spent the next 10 years honing our skills (and using their equipment ‘til we bought our own).   Thirty-three years and thousands of pots later I am still enchanted with the process, the magic, of this ancient art, but I can’t make the big ones any more.

Kathy Rubesha

Kathy Rubesha has been a clay person for over thirty years.  She began making porcelain jewelry in 1998, and had a thriving porcelain jewelry business in Los Angeles.  Starting with pure white porcelain clay, earth elements are added—these can be cobalt, chromium, zirconium, titanium, rutile, and red iron oxide, or other specially formulated colorants for rich yellows, browns and oranges and reds. Then, using ancient Japanese techniques, the clay is then combined in a way that results in “stones” that rival the incredible beauty of what Mother Earth has produced. Once a combination of these various colors is constructed and the beads are made—all by hand—they are then fired to 2380° F.

Pierre Bounaud

I am a French ceramic artist living in San Diego, CA. I have been exploring ceramics since 2004, pushing the limits of the form and the function of ceramic vessels to reinvent the daily items surrounding us. From the Japanese Raku technique to modern glazes in electric firing, I have been continuously developing a personal palette of colors to complement the new forms and designs in my work. Currently, my work alternates between highly decorative Raku- , Saggar-, or pit-fired pieces, and uniquely designed functional porcelain wares.

Keely Berry-LeBlanc

Keely is a Southern California fiber artist who works with natural and found materials. Her works incorporate natural materials like raffia, pine needles, jute, gourds and found objects into forms with a playful, primitive feel.  Keely’s gourds are explorations of decorative motifs found in different cultures: henna patterns from India, African tribal patterns, and designs and patterns of her own creation. In a process not unlike making batik, wax is used to create patterns on the ornament or vessel. Dyes are applied to the waxed object, then the wax is melted, revealing a batik-like design. Keely is a graduate of The Maryland Institute College of Art (MICA) with a degree in graphic design.

Shant is an artist working in clay and who has been greatly influenced and inspired by artists such as Claude Monet, Andre Derain, Vincent Van Gogh and the bold visual definitions of Pablo Picasso. The two integral qualities that were investigated during his time at Otis College of Art and Design were of form and space, as they became repetitively dealt with while apprenticing for artists. He also fulfilled an internship for one year at Rhode Island School of Design on the subject of Landscape Architecture. He has always had a drive to pursue art as his profession.