Niel Hora
Niel Hora uses terra cotta clay to produce majority of his work on the potter’s wheel. At the leather-hard stage, a white slip is applied to the clay. He 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 his work a distinct hue. Applying multiple layers of surface treatment adds visual depth. Finally, his pottery is fired in an electric kiln.
Niel Hora at MudFire
Gallery group show Put A Lid On It, May 2007
Solo show New Works, July 2006
Niel Hora Artist Bio
My career as a potter began with Ron Dale's beginning ceramics class at the University of Mississippi. I took this course as an elective during my lastyear completing an undergraduate science degree. As my passion for my craft expanded, I returned to school and completed my bachelor's degree in ceramics. While in college, I participated in several summer 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, I took a job as 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. In this way I gained exposure to the day-to-day business of the world of art, preparing me to later become a full-time potter focusing on my own work.
Recently, I began teaching recreational classes in beginning wheel throwing and intend to continue teaching more complicated techniques in an effort to share my passion for pottery.
My pots have been displayed in many local and national shows, including MemphisP otter's Guild Holiday & Spring Shows, Pretzel Jars and Beer Services, Eight Fluid Ounces, Spotlight, The Strictly Functional Pottery National, The Handheld Cup Show, The Soda National, and Ceramics USA.
Niel Hora Artist Statement
My pottery consists of traditional forms and how they relate to both my pastand surroundings. Making pots in small production runs, I form the first fewpieces with strict dimensions in mind. As production moves forward, I allowmy intuition to take over and "eye" the pot's proportions. I havelimited my glazing palette and pared down the surface treatment to simpleshapes and designs. My goal is to find harmony between form and applied design.I allow my progression to be gradual, honing in on subtleties that make similarpots different.
