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Jumping to Conclusions
By Peter Souza Jr.
A one-of-a-kind wall work by Peter Souza Jr., built from hundreds of painted wood offcuts — strips, blocks, and fragments layered edge over edge across a square panel. Washes of blue, orange, green, and yellow sit scrubbed and worn into the wood, no piece finished the same way twice. The surface reads flat from across the room and deepens into relief up close.
By Peter Souza Jr.
A one-of-a-kind wall work by Peter Souza Jr., built from hundreds of painted wood offcuts — strips, blocks, and fragments layered edge over edge across a square panel. Washes of blue, orange, green, and yellow sit scrubbed and worn into the wood, no piece finished the same way twice. The surface reads flat from across the room and deepens into relief up close.
Specifications
ORIGIN
United States
PRODUCTION
One of a Kind
DATE
2026
MATERIALS
Wood, Acrylic, Watercolor
DIMENSIONS
L 28” x W 7" x H 32”
WEIGHT
35 lbs
Downloads
Peter Souza Jr.
by Peter Souza Jr.
A one-of-a-kind white stoneware vessel by Peter Souza Jr., its tall cylinder strapped with applied clay strips laid across and down the wall in a loose lattice, some tapering to points, a few rising past the rim. A glossy sea-green glaze settles to olive gold along the raised edges and is flecked with rust across the strips. Part of the Degenerate collection.
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.
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 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 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.
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 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.
by Peter Souza Jr.
A one-of-a-kind tray and cup pairing in slab-built speckled stoneware, finished in light aqua glaze. The tray is reduced to essentials — a rectangle with integral side handles, its working surface impressed with the weave of fabric. The cup sits as its own small cylinder, rim left irregular where the hand released it. Numbered and dated by the artist — a permanent record of when the work was made.
by Peter Souza Jr.
Slab-built stoneware bowl by Peter Souza Jr. The rim rises and folds back on itself, pulling away from the floor in two open arches. Glazed white inside, the speckled clay left raw outside. High-fired. Part of the Degenerate collection.
by Peter Souza Jr.
Slab-built stoneware bowl by Peter Souza Jr. Low and open, the rim torn rather than cut — rising and dipping around the form in ragged peaks. Glazed ochre inside, the speckled clay left raw outside. High-fired. Part of the Degenerate collection.
by Peter Souza Jr.
A one-of-a-kind slab-built bowl in speckled stoneware, lined in gold lustre. Rough by intention, the form keeps the marks of how it was made — visible joins, irregular rim, the hand's pressure visible in the surface. The gold interior catches and holds light against the raw exterior. Numbered and dated by the artist. Part of the Degenerate collection.
by Peter Souza Jr.
A one-of-a-kind lidded box in slab-built stoneware with a yellow-glazed interior. The exterior is left raw — dry, dense, the granules of the clay body visible at the surface. The lid lifts on a small rectangular handle. Numbered and dated by the artist. Part of the Degenerate collection.
By Peter Souza Jr.
A one-of-a-kind wall work by Peter Souza Jr., built from hundreds of painted wood offcuts — strips, blocks, and fragments layered edge over edge across a square panel. Washes of blue, orange, green, and yellow sit scrubbed and worn into the wood, no piece finished the same way twice. The surface reads flat from across the room and deepens into relief up close.
By Peter Souza Jr.
Wall sculpture in wood, acrylic, and latex by Peter Souza Jr. Painted forms stacked and stepped, the climb rendered as material — each block a thing pushed past, each surface the texture of having gotten through.
By Peter Souza Jr.
A small wall sculpture in wood, hammer, and latex by Peter Souza Jr. The hammer mounted at center, painted forms gathered around it — protection and tool, both. The piece holds its title plainly: a kit for the porous, for those who carry too much.
Nothing here is buried completely. Layer moves over layer — orange under green, green under blue — and every pass leaves the earlier ones showing through. A surface built by covering, where the covering never quite holds.
By Peter Souza Jr.
A wall-mounted form built through cutting, joining, painting, and sanding — wood treated as both structure and surface. Acrylic and watercolor wash across the assembled form, holding the marks of two materials in dialogue. The piece reads as record of attention: each layer of paint, each cut and joined edge, evidence of slow making.
Take Me Home
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313-454-1777
Open Saturday - Sunday 12-6 PM
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J Schatz Studio
22005 Van Dyke Ave.
Warren, MI 48089
866-344-5267
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by Peter Souza Jr.
A one-of-a-kind white stoneware vessel by Peter Souza Jr., its tall cylinder scattered with small applied clay triangles that climb the wall in loose, shifting rows. A glossy deep green glaze pools to blue-black around each triangle and streaks down the wall, lightening to moss where it thins. Part of the Degenerate collection.
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