Recent Work at Fire Arts, Inc., South Bend, Indiana, September 22-October 29, 2009
The showroom at Fire Arts, Inc., 305 East Colfax Avenue, as installed for my show. Examples of work from the last several seasons of production, illustrate the continuity and development of this theme in my work.
Summer 2008 brings a new location to work and a new look!
Having purchased a new "old" home in my hometown of Mishawaka, Indiana, I wanted to spend time there this summer and needed to find a new place to continue my work in clay.  The solution turned out to be a cooperative studio in South Bend, Indiana, called Fire Arts, Inc. Organized over the last few years as a studio space with facilities for bronze casting, welding, wood and clay, I was able to join the studio and create a small studio space within the facility.  The facility has approximately twenty active members and provides a space for occasional classes and workshops, as well as a gallery space.

Continuing my vegetal theme, I had wanted to produce a similar body of work in porcelain without color, my own variation on classic blanc de chine.  The absence of color let the volumes speak for themselves, and increasingly, it is the combination of the forms as still life groupings that interests me.  

Re-visiting these forms in a different material has given me a new insights and a new way of seeing them.  The particular technical problems inherent with working in porcelain also provided a challenge, as I re-accquainted myself with the material.  It throws differently, trims and dries differently, and has its own mind when it comes to being fired. While losses are much greater than with stoneware, the rewards in successfully fired works are much greater!

The new works are scattered between item numbers 4 through 86, primarily on pages one through five of the website.  (See the page bar at the bottom of the screen)  Older works that are still available are mostly on pages five through eight.  As always, free packing and shipping are available for works purchased from the website.  Thank you for taking a look at the new work and for your continued support!   

Trimming the foot on a pot at Fire Arts, summer 2008
Sorting out the pieces after firing.
Leather hard pots drying on the balcony of the barn at Watershed, summer 2007
Glazed and fired pots, Watershed, summer 2007
A selection of works from 2006 made at the WATERSHED CENTER FOR THE CERAMIC ARTS, Edgecomb, Maine.
Applying slip to a hand-built form, #40.
The title Watershed Summer just comes from the fact that I spent the month of July this year at the Watershed Center for Ceramic Arts, in Edgecomb, Maine.  Watershed is a very low key place for serious ceramic artists to pursue their work in an environment without restraints of any kind.  Renting the space for the month, it was necessary to create a small space in which to work, on the second floor of an early 20th century chicken barn adapted as studio space, and join in the community of fellow artists in the spirit of experimentation and exploration.  With limited facilities, a very helpful staff and a beautiful setting, the total environment provided a restful retreat from the city and a chance to explore and experiment to produce a body of new work.  Continuing my theme of vegetal-form jars and sculptures in high-fired stoneware, I had the opportunity to fire all of my work in a small gas fired cantenary arch soda kiln.  I enjoy the extra depth that the soda gives to high-fire glazes creating un-expected results, along with the active involvement with the firing
The new work appears on the first five pages of the website.  All of the pieces are signed and dated and this year's work is also inscribed "WS" for Watershed.  I have added dates to all of the descriptions of the pieces on the website, since the illustrated work now spans several years since 2002.  Inquiries about the pieces are welcome.  I am happy to include packing and domestic shipping as part of the purchase price.  Thanks for visiting this site! 

I was able to fire this small kiln three times during the month.  This year's work totaled fifty-three pieces.  I enjoy the rather dramatic way the kiln looks when it is approaching maturity at cone 10.  The intense heat, 2400 degrees fahrenheit, some smoke from the reduction and the addition of the soda, all add to the drama of the firing, particularly at night.  Firing is the part of ceramics that I have both the most respect for and fear of.  Regardless of how many times I have fired kilns, each one is different and things can occur, over which you have very little control.  I can only rely on my experience and intuition to guide me in the process.  By the third firing, I was feeling fairly confident with this small kiln.   
Unloading the kiln at SUNY, August 2004
A graduate of the ceramics and sculpture programs at Ball State University, Muncie, Indiana, I began my work in clay as an apprentice to Alan Patrick at the Bethel Pike Pottery, Albany, Indiana. I continued my training at Haystack Mountain School of Crafts, Deer Isle, Maine and at Indiana University, Bloomington, Indiana. For over ten years I owned and operated pottery studios in Noblesville and then, Westfield, Indiana, producing functional stoneware and porcelain. In 1987, I decided to take a sabbatical from my studio work and moved to New York City to further my studies and participate in Sotheby's American Arts Course. This led to a position at Sotheby's as Vice President in the 19th and 20th Century Decorative Arts Department. I continued in that capacity for fifteen years, leaving in July 2003.

While at Sotheby's and after a ten-year hiatus from clay, in the summer of 1997, I had the opportunity to resume my studio work in ceramics by once again attending Haystack during my summer vacation. I continued to attend three-week sessions there for the next five years. In 2002, I was able to work once again at the Bethel Pike Pottery. It was during this period that the first significant work from my current series was produced. In 2003 and 2004, Mary Roehm, head of the Ceramics Department at the State University of New York (SUNY), New Paltz, invited me to be artist-in-residence during the summer sessions there. This wonderful opportunity gave me the time and space to focus and advance my work in new directions. The continued exploration of this single theme, has brought with it seemingly unlimited options for variations.

Having a background as a production potter, I enjoy using the wheel as a tool for expediting the assembly of pieces. At times the pieces employ multiple parts and other times the plain surfaces enable me to experiment with glaze techniques and textures. I currently have choosen to work exclusively in high-fired stoneware. Hand-building and assembly have become increasingly important to the complexity of the forms. While the historical precedent for gourd-form vessels originated with dried out hollow natural forms, that later became the models for the earliest potters, it is the volume and sense of containment that I am most interested in adapting. The stems, either handles or finials, present an opportunity to create a gesture or attitude, and provide a sense of whimsical movement on each piece. I am not making any attempt to create realistic copies, but rather am interested in inventing new forms using modern ideas of cloning and transposing disparate elements onto shapes and surfaces that might have some familiarity, yet are slightly askew in some way. While there is a long heritage of vegetal-form ceramic vessels in both Eastern and Western ceramics, hopefully my work is an attempt to produce a hybrid of my own experiences and feelings about working with clay. The fact that these pieces universally remain vessels, whether functional or not, is important to me.

Invitations for my shows of the past three years
Recent Work, Fire Arts, Inc., South Bend, Indiana, opening September 22 - October 29, 2009
Down to Earth, Philip Sartore Collection, Richmond Art Museum, August 23 - October 11, 2009
White Work, New Work in Porcelain, Liz O'Brien, New York, NY, opening November 20, 2008 
Strange Fruit, La Motta Fine Art, Hartford, CT, September 26-November 1, 2008
New York Ceramics Fair, National Academy of Design, January 15-20, 2008
Watershed 2007, New York City, reception, November 8th, 2007, 6-9 pm
Recent Work, Liz O'Brien, New York City, opening October 8th, 2007, 6-9 pm
New York Ceramics Fair, National Academy of Design, New York City, January 16-21, 2007
Watershed Summer, New York, November 9, 2006
New York Ceramics Fair, National Academy of Design, New York City, January 17-22, 2006
Still Strange, New York City, December 3-10, 2005 
Locally Grown Gourd-Forms, Ragamont House, Salisbury, CT, November 26-December 10, 2005
Recent Work, Lupine & Co., Northeast Harbor, Maine, August 11- 15, 2005
A Clay Cornucopia, Longhouse Reserve, East Hampton, NY, August 6 - September 25, 2005
New Talent 2005, WEISSPOLLACK, New York City, January 20 - February 5, 2005
Stranger Still, New York City, November 4, 2004 
Ex-Patriot Hoosier Potters, Indianapolis Art Center, Indianapolis, Indiana, March 2004
Alumni Show, Ball State University, Muncie, Indiana, March 2004
From Hoosier Hands, Richmond Art Association, Richmond, Indiana, August 22 - October 10, 2004
Strange Harvest II, New York City, November 1, 2003
Strange Harvest, New York City, November 1, 2002
All Indiana Pottery, Richmond Art Association, Richmond, Indiana, September 9 - October 21, 2001
South Bend Tribune, September 20, 2009, "Settling down with art, sculptor finds niche", by Ken Bradford, Section D 3 

Arts Everywhere, Fall 2009, "Spotlights, Gregory Kuharic" by Evan Gillespie, p. 28
Town & Country, January 2009, "Celadon Redux", p. 68
Gourmet, November 2008, "Over The Top", by Shelley Wiseman, p. 122 illus.
Town & Country, October 2008, "Gourds to Go", by Doris Goldstein, p. 88
Vogue, August 2008, "Green Acres", Hamish Bowles, pp. 210-211
Art & Antiques Collector's Sourcebook, Winter 2008, "Glazes of Glory", by Marilyn Fish, pp. 52-57
Style 1900, Antiques & Interiors, Winter 2007, Vol. 20, No. 4, "The French Connection", by Jason Jacques, p. 50
Vogue Living, Fall/Winter 2007, Natural Selection, p. 64
Art & Antiques, November 2007, "100 Top Treasures", 11 Fit for a Pharaoh, p. 91
American Ceramics, Volume 15, Number 2, p. 78, advertisement
Style 1900, Summer/Fall 2006, "The Art of Pottery", pp. 52- 55  
Departures, January/February 2005, Gorgeous Gourds, p. 53
"O" At Home, Winter 2005, The After Party, p. 98

Ball State University Museum of Art, Muncie, Indiana, Gift of Alan Patrick
Cincinnati Museum of Art, Cincinnati, Ohio
The Haan Museum, Lafayetter, Indiana
Richmond Art Museum, Richmond, Indiana, Philip Sartore bequest

Present       Independent private appraiser and art consultant specializing in 19th and 20th century works of art, studio potter               

2008            Fire Arts, Inc., South Bend, Indiana

2007            Watershed Center for the Ceramic Arts, Edgecomb, Maine

2006            Watershed Center for the Ceramics Arts, Edgecomb, Maine
2005            Independent studio work, Bethel Pike Pottery, Albany, Indiana
2003-2004    Artist-in-Residence, SUNY, New Paltz, New York
2002-2003    Independent Studio work, Bethel Pike Pottery, Albany, Indiana
1997-2000    Appraiser on "The Antiques Roadshow", WGBH, Boston, MA
1997-2001    Haystack Mountain School of Crafts, Deer Isle, Maine
1988-2003    Vice President, 19th and 20th Century Decorative Arts, Sotheby's, New York
1987-1988    Sotheby's American Arts Course, New York
1981-1985    Ceramics Instructor, Indianapolis Art League
1977-1987    Greg Kuharic Pottery, Noblesville and Westfield, Indiana
1974            Graduate Fellowship, Indiana University, Bloomington, Indiana

1973            Haystack Mountain School of Crafts, Deer Isle, Maine
1970-1977    Apprentice and employee at Bethel Pike Pottery, Albany, Indiana
1969-1974    Ball State University, Muncie, Indiana, BS in Ceramics and Sculpture

Inquiries can be directed to:

Greg Kuharic

417 Edgewater Drive

Mishawaka, Indiana 46545

574 404 6863

917 913 9779

The work can  be viewed on the website or at the above address.

Photography by Ben Cohen