Central to my work is the desire to communicate a strong sense of muscular physicality, harmony and a quiet beauty which reveals itself slowly. I am interested in the subtle changes in form that happen over time, a slightly different angle, a lowering of volume, or an addition of an appendage. These nuanced variations give rise to the evolution of form. I find deep satisfaction in working within the limits of function. For me, there is freedom in the structure that use provides. It is always my grounding starting point. There is directness to their intention as they fulfill their lives on counters, in cupboards and dish racks. It is my hope through form, texture, and color that my work might provide a moment of slowness, comfort and intrigue and provide nourishment whether they are empty or full.
Liz Lurie has been a studio potter for twenty years. She was introduced to ceramics in Mikhail Zakin’s classroom at Sarah Lawrence College. After graduating with a concentration in dance and ceramics, she pursued her interest in pottery full-time when she left her native Manhattan to become a member of a wood-fired kiln collective in rural Georgia. After setting up studios and building wood-kilns in both Dallas, TX. and Greene NY., Lurie established a studio outside of Chittenango, NY., where she teaches community classes and maintains a showroom. Lurie’s work has been exhibited nationally, most notably at AKAR, Trax Gallery, The Signature Shop, Red Lodge Ceramic Center, and The Schaller Gallery. Most recently she was invited to participate in the 2019 Women Working in Clay Symposium at Hollins University in Roanoke, VA. Liz’s work has been published in Ceramics Monthly, Ceramics Technical, Studio Potter and the Log Book. Lurie is co-founder of the Dallas Pottery Invitational, which celebrated its ten-year anniversary in 2017.