James Herring's Motivations

Under the Hands on Clay Program
James Herring's Motivations
According to the artist's own manifesto, this exhibit is an exercise in examining the influences that various mentors, teachers, movements, philosophies, and personal heroes have had on his work as a ceramic artist. An exceptional selection of pieces from renowned ceramic art artists is made available to both local artists and the public, artists who have been seminal influences in the development of Herring's body of work.
Curated by James Herring
February 23th, 2023 - March 1th, 2024
In Miami, you hear a lot about art, but not so much about craft. James Herring's work in ceramics fuses the two. Herring eschews the title of "artist" and sees the resurgence of crafts and craftsmanship as a necessity for human growth in modern times. An outspoken supporter and practitioner of the maker movement, Herring has maintained a presence locally by doing demonstrations and leading classes and workshops on the ancient craft.
Abel Folgar for '100 Creatives Miami New Times' | December 27, 2016
Herring crafts pieces - functional sculptures. Principles of beauty, community, utility, intuition, and fidelity to materials guide a practice where process embodies content. He concludes that the development of forms through serial work and repetition as a tool fosters an intuitive process. The use or functionality of his work is a crucial element in gauging its success. While visual presence is significant, equally valuable is the experience conveyed when his creations are handled, touched, and employed in daily life. He acknowledges that a vase, for instance, is incomplete until it hosts a floral arrangement, a teapot unfinished until it brews tea; the intimacy of functional objects that invite interaction, touch, holding, and dining offers a pathway to transformative experiences. His work is not designed but evolves through this process. It is unfinished until it finds use.
James endeavors to ensure that all work he releases into the world meets the highest standards of technical craftsmanship. The clay, glazes, and firing techniques are thoroughly tested. His relationship with the materials and the firing process has a direct and significant impact on the work. Soda firing is his preferred method. This atmospheric process aligns with his unique sensibilities. Ultimately, each piece is rigorously reviewed to ensure it adheres to the principles and standards he has set for himself, even though these principles and standards may not always align with what is expected.
James Herring has been working in ceramics for over 40 years and has work in numerous collections. He has received several grants including the Knight Arts Challenge, NEA/SAF Individual Artist Grant, New Forms Florida as well as two from Art Matters. He has presented at Symposiums such as The Craft Museum: Ideals and Practice at The Renwick Gallery/Smithsonian Museum of American Art and the Collage Art Association. He holds an MA in Asian Studies where his focus was on the Japanese mingei movement and its influence on American ceramics. His BFA was in studio ceramics and he was an Artist-in-Residence at Penland School of Crafts. His work marries Eastern philosophy with the modern maker movement and he invites us to rediscover our creativity by getting our hands dirty. He believes that craftsmanship and the arts are crucial for nurturing human growth. Not only is Herring a well-known practitioner and advocate for pottery, he also works as Director of Exhibition Production at the Phillip and Patricia Frost Museum of Science. He is a former President of the Ceramic League of Miami and was an Artist-in-Residence at Penland School of Crafts in North Carolina.