New
Recently arrived works at the gallery — new lighting, objects, and outdoor pieces from Jim Schatz, Peter Souza Jr., and J Schatz Studio.
Objects
by Peter Souza Jr.
A one-of-a-kind stoneware vessel by Peter Souza Jr., built from torn slabs pressed and folded into a crumpled body that opens to a ragged crown of peaks. A mottled blue glaze breaks brown over the speckled clay and pools glassy in the folds. Part of the Degenerate collection.
by Peter Souza Jr.
A one-of-a-kind white stoneware vessel by Peter Souza Jr., its tall cylinder built over with applied clay strips, some laid flat, some looping free of the wall, many rising past the rim in uneven prongs. A glossy rust glaze pools dark in the seams and runs to honey along the raised edges. Part of the Degenerate collection.
by Peter Souza Jr.
A one-of-a-kind stoneware container by Peter Souza Jr., a short cylinder built up with torn scraps of clay pressed onto the wall, a few folding out past the rim. A glossy olive glaze covers the speckled body and breaks brown along the torn edges. Part of the Degenerate collection.
by Peter Souza Jr.
Woven stoneware tray by Peter Souza Jr., built by hand from strips of speckled clay. The strips cross in an open grid, the openings wide and square at one end and narrowing to slots at the other, their ends running past the edges and bent up and down. Brown glaze clouded with pale blue over a fine cloth texture, the clay left raw at the cut edges. Part of the Degenerate collection.
by Jim Schatz
Slab-built white stoneware, finished by hand in layered glaze. Each bowl reduces form to essentials: a circle, a half-moon, a split disc, held inside a field of color. The work sits between serving ware and still life.
Each piece is titled by the glaze recipe that produced its surface, a record of how the work was made. One of a kind, 12 inches in diameter.
by Peter Souza Jr.
Slab-built stoneware tray by Peter Souza Jr. The walls lift from a rectangular floor and the rim is torn rather than cut, breaking into ragged peaks. Glazed deep cobalt across the interior and over the rim, the speckled clay left raw below. High-fired. Part of the Degenerate collection.
By Jim Schatz
24 hand-formed ceramic tiles in lava finish
Presented as part of Radical Presence, The Body, Repeated extends the exhibition's meditation on queer embodiment, touch, and material presence through a gridded field of ceramic relief. Across 24 hand-formed tiles, the body appears in fragments — repeated, interrupted, and reassembled — so that the composition unfolds as both image and structure.
The lava finish lends the surface a muted, flesh-like warmth, drawing attention to contour, shadow, and the intimacy of the hand-worked clay. Both architectural and vulnerable, the piece occupies a space between mural, relief, and sculptural drawing.
Each tile is signed by J Schatz. Unique work.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz and Peter Souza Jr
A wooden totem rising from a stoneware base. Hand-built clay forms glazed and high-fired in the Detroit studio, set onto carved and sanded wood. Part of a series of seven, each totem holds the same formal vocabulary while reading as its own variation. Made collaboratively by Jim Schatz and Peter Souza Jr. — clay and wood in conversation, neither artist's hand alone, the work emerges through the back-and-forth of two practices. Signed by both artists.
by Jim Schatz
Part of Radical Presence, Figure Study Eggs is a series of porcelain eggs featuring photographic mural imagery and hand-drawn figure studies. Intimate in scale and sculptural in presence, each piece carries the body across a curved surface — extending the language of the exhibition through form, image, and touch.
Each egg is one of a kind.
by Jim Schatz with J Schatz Studio
Ceramic egg bank by Jim Schatz in a rustic glaze — warm browns and ambers pooling and streaking over the egg form, a single coin slot cut at the top. Glazed and high-fired. No two glaze surfaces alike.
by Jim Schatz and Peter Souza Jr.
Part of Radical Presence, Honcho 1986 is a limited series of ceramic plates drawn from archival Honcho magazine imagery and typography — including fragments of Peter as cover model. Cropped, intimate, and graphic, each plate transforms a singular image fragment into a lasting ceramic object.
Each plate is part of an edition of 40, with every image unique to the series.
by Jim Schatz
Gestures is a series of stoneware plates made as part of Radical Presence. Each plate carries a photographic transfer of the figure. The earlier plates crop close — the body in fragment, a torso or a limb held at the edge of recognition. The later plates open out to the whole figure, a single pose caught mid-hold.
The image sits in the glaze rather than on it, rendered in oxide tones of brown. The halftone screen leaves its own texture in the surface. No two images repeat.
Made in two diameters, 8" and 11". Each plate is built and finished by hand in Detroit, and numbered and dated by the artist. Edition of 100, each image unique to the series.
by Jim Schatz
A ceramic box in the form of a resting head, with a fitted lid and concealed interior. The exterior is finished in a rustic glaze that gives the surface depth, warmth, and the presence of age. The interior opens into a contrasting light blue chamber that introduces color, intimacy, and surprise. Both sculpture and container, the piece moves between object, relic, and keepsake.
Closed, it reads as a compact sculptural form. Opened, it becomes an interior space — protective, personal, quietly reverential.
by Jim Schatz
Part of Radical Presence, Handstand pairs a gold lustre ceramic figure with a weathered wood base. Suggesting a body lifted in motion, the piece balances play, tension, and presence in a compact, one-of-a-kind object — reflecting the exhibition's interest in intimacy, material contrast, and expressive form.
by Jim Schatz with J Schatz Studio
Expansive and grounded, Plateau vessels echo the broad planes of the earth. Their forms hold stillness and presence, anchoring space with quiet strength. Each is a study in horizontality — balancing surface and depth in a way that feels both elemental and timeless. Hand-built in white stoneware with a textured surface; watertight; one of a kind. Part of the ongoing Organica series.
by Jim Schatz with J Schatz Studio
Slab-built white stoneware, finished by hand in layered glaze. Each platter reduces form to essentials: a circle, a half-moon, a suspended shape, held inside a field of color. The work sits between serving ware and still life.
Each piece is titled by the glaze recipe that produced its surface, a record of how the work was made. One of a kind, in three diameters.
A cast porcelain bud vase from Gestures, shown in Radical Presence. The gourd form is glazed white and carries a single photographic figure across its belly, printed in a fine halftone dot that sits under the glaze in deep oxblood. Each of the three vases holds a different pose, so no two carry the same image. Narrow neck, sized for a single stem.
A one-of-a-kind stoneware vessel by Peter Souza Jr., its cylinder wrapped in an irregular lattice of applied clay strips that cross and overlap, breaking the rim in short uneven prongs. A glossy green glaze pools dark in the seams and thins over the raised work; the raw clay is left bare at the foot.
A one-of-a-kind stoneware vessel by Peter Souza Jr., its cylinder built over with applied clay strips — straight and wavering lines that cross, ladder, and rise past the rim in uneven prongs. A green glaze mottled with bronze and brown pools in the seams and breaks amber along every edge of the raised work.
A one-of-a-kind stoneware vessel by Peter Souza Jr., its cylinder wrapped in horizontal bands of applied clay that overlap and taper as they circle the form, like binding pulled tight around it. A glaze of pale green and soft blue moves between the bands, pooling turquoise in the recesses and warming to yellow-green over the raised work.
by Jim Schatz with J Schatz Studio
A pure cylindrical form finished in layered hand-glazed washes. The surface shifts between softness and saturation, with rustic tones that suggest mineral deposits, weather, and time. Each vessel is unique, with subtle variation in color, movement, and mark. Studio-cast and finished by hand. Watertight.
by Peter Souza Jr.
Round tray and six cups by Peter Souza Jr., hand-built in stoneware — raw, speckled clay outside, with interiors and rims glazed a deep blue-black that breaks and drips at the edges. The canvas texture of the building process stays in the surface. Each cup takes its own slightly different form. One of a kind, built and finished by hand in Detroit.
by Peter Souza Jr.
A serving set by Peter Souza Jr. — six slab-built cups on a rectangular tray. The cup interiors and tray surface are glazed a deep cobalt blue; the exteriors are left raw, the speckled stoneware showing through. Each cup folds slightly where it was shaped, no two alike. High-fired.
Lighting
by Jim Schatz with J Schatz Studio
New combinations of the Dot Dot Dot Pendants, now installed at Take Me Home. Same sculptural logic as the original: stacked ceramic forms punctuated by a single exposed bulb, the final dot of light.
Three styles in high-gloss color. Olive, Sun Yellow and Light Aqua, stacked three high. Pink on its own, a single dot and its glow. Purple, Sumac Red and Orange Peel, the tallest of the three.
These are the pieces as installed, finished and ready, one of each.
A pair of pendant lamps by Peter Souza Jr., each built from hundreds of hand-rolled stoneware links joined into a chain sleeve that gathers tight at the crown and falls open below. Unglazed buff clay, high-fired, hung on fabric cord with brass fittings and a porcelain socket in a copper housing. Light passes through the mesh and throws the pattern onto the room. Cord is cut to your electrical installation; custom installation is required and not included in the price. Part of the Degenerate collection.
by Jim Schatz
Organica Cactus Table Lamps treat the cactus silhouette as a sculptural language — each piece hand-formed in stoneware and finished in a distinct glaze. Small in scale and powerful in presence. A side table, console, or bedside object.
by Jim Schatz
The Geometria Table Lamp treats simple geometry as a sculptural problem — intersecting ceramic volumes resolved into a single cubic base. Subtle variations in glaze and surface make every piece different within the edition. Paired with a white linen shade that diffuses the light, the lamp reads equally as object and illumination.
Outdoor
by Jim Schatz with J Schatz Studio
The same iconic egg form as the standard Egg Bird House, now in three premium textured finishes — bronze, graphite lava, and metallic black. Each surface has an earthy, tactile quality that brings a different presence to the garden. The 1⅛" entry hole attracts chickadees, wrens, and smaller birds while keeping house sparrows out. Released as a tighter run of 25 per year. Originally designed in 2005 and made by hand in the studio every year since.
Take Me Home
1533 Cadillac Blvd., Suite 102
313-454-1777
Open Saturday–Sunday, 12–6 PM
Contact or book an after-hours appointment
J Schatz Studio
22005 Van Dyke Ave.
Warren, MI 48089
866-344-5267
Contact or book an appointment
by Peter Souza Jr.
A one-of-a-kind stoneware vessel by Peter Souza Jr., a single slab of speckled clay wrapped into a cylinder and left overlapping at the seam, its edge standing proud of the rim. A band circles the lower wall, and a bright marigold glaze covers the speckled body, yellow inside. Part of the Degenerate collection.
Questions? Terms & Conditions