In my previous profession as a classical guitarist my materials were sound and time. Now, as a ceramic artist, they are clay and space, but the underlying quest is the same: reaching for the eloquent gesture that speaks to the psyche and lifts the veil for a moment. As Leonardo put it, “shaping the invisible.”
Over three decades, my work has been included in fairs, museum shows, and private collections across the U.S. In 2024, a full-page New York Times story enabled me to expand my workshop and find new collectors nationwide.
Alongside my solo work and design collaborations, my studio teaching practice supports professional development of the next generation.
STEPHEN PROCTER
WHY LARGE VESSELS?
Large clay vessels have always enchanted me. Their physicality evokes a visceral response, and they radiate a quality of presence that imparts gravity to the spaces they occupy. My practice investigates the evocative power of scale, curve, and volume.
Through decades of experimentation and research I gradually refined the techniques and skills that allow me to create the work I make today. The vessels emanate a quality of presence that comforts, uplifts, and inspires — and that rewards the effort and devotion required to make them.
MORE ABOUT STEPHEN PROCTER
Is Your Garden Missing Something? You May Need a Large Pot (or Several).
Article by: Margaret Roach in The New York Times
An imposing work of pottery can be as important to the design of a landscape as any well-placed plant. And no, we’re not talking about flower pots.
Vermont’s Stephen Procter Sculpts Garden Vessels That Sometimes Elicit Emotional Reactions
Article by: New England Home
Discover how Stephen Procter's monumental stoneware vessels create moments of beauty, contemplation, and meaning within the landscape.
Workshop Recap
A Quiet Conversation Between Indoors and Outdoors
Winter Elegance with Sculptural Vessels
Ceramic Congress 2025