Stoneware by Nikita Nenashev in Phillips Gallery’s exhibition of ceramic works by Utah State University faculty and students.

At Phillips Gallery, as part of the NCECA Conference, Strike While the Iron is Hot showcases the work of Utah State University graduate students and faculty members, offering a dynamic and cohesive exploration of clay as both a functional medium and sculptural language. The exhibition is a testament to the diversity of contemporary ceramic practice, highlighting both traditional utilitarian forms and ambitious sculptural works that reintroduce us to historical practices in a new way.

At the heart of this show is a rich investigation into the firing process itself. Artists employ a wide range of techniques, from wood fire, crash cooling, atmospheric reduction, and electric firings. The unpredictability and nuance of these methods become central to the aesthetic language of the work. Wood firing, in particular, offers surfaces rich in variation, where ash deposits, flashing and natural glaze build-up create depth and texture impossible to replicate by hand. This surrender to the kiln’s influence becomes a collaborative act between artist and process, with each firing a new dialogue in discovery.

The works on display embody deep personal research, with many artists drawing inspiration from natural landscapes, geological forms and the subtle transitions of material states. Some pieces capture the delicate tension, and torque between fragility and durability, inviting viewers to consider the ceramic form not just as an object but as an artifact of transformation. Others lean into gesture and abstraction, with thrown or hand-built forms that are intentionally altered, cut, or distorted, allowing chance and intention to intermingle.

Functional wares are far from simple vessels; they become intimate explorations of form and use, where each lip, handle and foot is carefully considered. Bowls and jars, large vases and platters, all showcase the careful balance between utility and beauty.

Sculptural pieces often feel like meditations on permanence and impermanence. Surfaces are treated with slips and glazes that echo natural erosion and accumulation, mimicking the slow processes of time and weather. There’s a palpable reverence for geology and topography, expressed through rich surfaces, layered textures, and forms that seem to have emerged from ancient strata. These pieces invite close viewing, rewarding patience with the discovery of delicate surface transitions and quiet moments of complexity.

The exhibition also reflects a broader conversation within ceramic education—the balance between honoring tradition and encouraging innovation. The artists here clearly benefit from mentorship and community dialogue, while also embracing their own inquiries into material, form and firing. Whether through embracing the unpredictable nature of wood fire or meticulously controlled electric firings, each artist demonstrates a commitment to exploration and refinement. We can’t help but wonder how textures, interference and control were at interplay to create such wildly diverse color and surface reactions.

The show presents a compelling narrative of craft and experimentation, where each work speaks to the interplay between human intention and the uncontrollable elements of heat, flame, and atmosphere. In this space, clay becomes more than just material: it becomes a record of process, patience, and discovery. For us, it is an invitation to slow down and appreciate the quiet, enduring beauty of form and surface forged in fire.

Strike While the Iron is Hot, Phillips Gallery, Salt Lake City, through April 11.

All images courtesy of the author.

Nolan Flynn

Raised in a creative Michigan household, Nolan Patrick Flynn developed an early passion for art. He moved to Utah to pursue an MFA at the University of Utah and continues to create art out of his Salt Lake City studio and teach high school art at Stansbury High School.