April 2022 21" Platter

Medium Crackle Vase with Gold Lip 12x8

Crawl Vase with Black Galaxy Neck 12x8 - SOLD

Sm Vase w Thin Floral Stripe 10x4

Sm Flask with Red Floral Neck 8x5x3

Sm Vase with Thick Red Floral Stripe 10x4 - SOLD

Tall Vase with Red Floral Stripe 14x7 - SOLD

Tall Vase with Green Floral neck and Gold Stripe 15x8 - SOLD

Medium Crackle Vase 10x8 - SOLD

21" Raku Fired Platter w/ Green Flower SOLD

21" Raku Fired Platter w/Blue Flower - SOLD

Deep Platter with Blue and Red Flowers and Gold Center Dot 17"x3" SOLD

Flask with Gilded Center Opening 8"x5" SOLD

Flask with Gold Dotted Offset Opening 9"x5" - SOLD

Large Flat Platter with Black Flower Center and Red Rim 21" SOLD

Vase with Red and BLue Flowers on Flared Neck 11"x7" SOLD

Wide vase with blue flowers and gold lip 10"x9" SOLD

MId-Shouldered Vase with Long Neck and Red and Blue Flowers 17"x8" SOLD

Platter with red and green flowers 20" SOLD

Bowl with red flower center and gold edge 17"x4" SOLD

I love the tactile sense of throwing on the wheel and the meditative state that comes with making ceramics.  My ceramic pieces are wheel thrown and sometimes embellished with hand built elements.  The glaze firing process that I use is a modified form of Raku, an ancient Japanese process developed over 500 years ago and used in Japanese tea ceremony. The word Raku has many translations, such as enjoyment, freedom and contentment.
-Jeff Sugarman

Learn More About Jeff Sugarman

​ I studied ceramics with Jeff Margolin at UC Berkeley from 1982-1986 and have shown my work in San Francisco, Petaluma, Seattle and San Diego.

My ceramic pieces are wheel thrown and sometimes embellished with hand built elements.  The glaze firing process that I use is a modified form of Raku, an ancient Japanese process developed over 500 years ago and used in Japanese tea ceremony.  The pieces are fired to about 1700 degrees and removed from the kiln glowing hot which causes tiny fissures in the surface glaze.  The pieces are then placed in a chamber with combustible materials (such as leaves and saw dust) which ignite spontaneously by exposure to the hot ceramic.  The carbon released from this reduction process blackens the white clay body and fills the fissures in the clear glaze producing a beautifully random crackle pattern.  The careful and exacting construction of the forms contrast with the unpredictability of the outcome of the firing process.  Every single work is unique and yet unified by over 500 years of history in the making.
​