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There is an inherent paradox when working with so responsive a material as clay. Traces of touch - fingerprints, knuckle marks - are formed, moment by moment, with relentless fidelity. Such intimate contact of hand and clay remains far beyond the process, beyond even the life of the artist; it is a permanent record of human impermanence.
The Dreaming Tree (image #6) is part of In the Balance: Moments of Change and Becoming. May 2026, St, John's Parish Hall, Alameda.
https://www.susannahisrael.com/copy-of-exhibitions
Anagama Head is in The Color Network Family Album for NCECA’s 60th conference Volumes in Detroit, Michigan, March 2026. Anagama is a wood-firing process from Japan, intensely collaborative, which is why I chose this piece for The Color Network exhibition about intergenerational mentorship between established and early-career ceramic artists of color.
https://www.susannahisrael.com/copy-of-exhibitions?lightbox=dataItem-milvgbtu
Saltmarsh (see image #5) is in the April-May 30 Ceramic Sculptors show, in conjunction with the 2026 California Conference for the Advancement of Ceramic Art, Davis California.  https://natsoulas.com/currentexhibitions/30-ceramic-sculptors
Mais bien sur!! My interview, "Susannah Israel: Ceramiste Activiste," with writer Scott Hutchins is featured in the March/April La Revue de Ceramique et du Verre. You can read the entire piece online at this link (select the option feuilleter un extrait) https://ateliersdart.com/numero-267-de-la-revue-de-la-ceramique-et-du-verre/ Â
"The Dreaming Tree" (see image #6) is a full donation to In the Balance: Moments of Change and Becoming. 2026 Annual Show & Fundraiser, Parish Hall, St John's Episcopal Ministries, Alameda California.Â
ttps://www.susannahisrael.com/copy-of-exhibitions
