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One-of-a-kind works, vessels, sculpture, and wall pieces by Jim Schatz, Peter Souza Jr., and J Schatz Studio — including works from current and past exhibitions.
Wall Art
By Jim Schatz
A stoneware wall installation of 100 hand-formed tiles, mounted across four wood-panel sections. Through scale, repetition, and surface, the work positions queer male embodiment as sacred and transformative, holding ephemeral gestures in lasting form. Clay becomes both archive and altar. Exhibited as part of Season Fair's Special Projects at Michigan Central, Detroit, 2025. Co-conceived with Peter Souza Jr.
By Jim Schatz
A continuation of the Radical Presence series — a nine-month labor composed of glossy and matte stoneware tile sections adhered to a six-section wood panel frame. Four figures in green, blue, yellow, and red fold and rise across a white field, bodies held in gesture and balance. Built and finished by hand in the studio. Numbered and dated by the artist.
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.
Instinctual and learned by necessity. The human process of finding a path to the other side. Requiring the skill and wit necessary for survival and claiming life prizes.
By Peter Souza Jr.
A vertical wall sculpture in wood, acrylic, and watercolor. The forms gather and disperse — figures held briefly together, painted in soft washes. The piece carries the doubleness of its title: things lost and things kept, the act of finding what gets returned and what doesn't.
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.
By Peter Souza Jr.
A tall vertical piece in wood, rope, pulley, and acrylic by Peter Souza Jr. The pulley as both function and image — a mechanism for holding, lifting, hauling something into place. Painted forms gather around the working hardware, the assemblage at once tool and figure. The piece keeps its title's urgency without resolving it.
By Peter Souza Jr.
A small constellation of painted forms in wood, acrylic, and watercolor. The artist describes the piece as "an ongoing exercise in organizing chaos and respecting randomness." Color and shape stand in for skyline, density, the honest disorder of a city block.
By Peter Souza Jr.
The costume set down. Blocks and slats hold their positions on the panel, but the same wash moves over all of them — one color running through what used to be separate performances. What's left when the effort of appearing stops.
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.
Sculptures
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, 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
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, 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 Peter Souza Jr.
A standing assemblage of driftwood, found glass spheres, rope, and watercolor by Peter Souza Jr. Each element gathered before being arranged — wood pulled from water, glass found and held, rope knotted by hand. The piece reads as figure, instrument, and totem at once, holding together without resolving into any single thing.
By Peter Souza Jr.
A small standing sculpture in wood, acrylic, and watercolor by Peter Souza Jr. The forms read as figures gathered close, painted in soft washes that hold the light. The piece carries its title openly — a quiet figuration of holding on.
By Peter Souza Jr.
A vertical sculpture in wood, acrylic, and watercolor by Peter Souza Jr. Smaller than the larger assemblages but holding the same vocabulary — gathered forms, painted surfaces, careful joins. The piece reads as both vessel and figure, an object that suggests something held or remembered.
Suspended
by Jim Schatz with J Schatz Studio
A suspended ceramic composition of 34 stoneware orbs in glossy bright white glaze, held in place by hand-knotted jute rope. Each orb is thrown perfectly round and high-fired to 2200°F, where it settles into an imperfect ellipse — a gesture to the handmade nature of ceramics, finished in a flawless white surface. Studio-cast and finished by hand. Numbered and dated by the artist.
by Jim Schatz with J Schatz Studio
A suspended ceramic composition of 13 stoneware orbs secured to each other by stainless steel grommets and hung from a single stainless steel cable. Each orb is glazed in one of the studio's thirteen signature colors — slate grey, olive, light aqua, pink, bright white, sun yellow, ginger, orange peel, sumac red, midnight blue, walnut brown, plum, and burnt red — arranged by the color principles of Johannes Itten. Each orb is thrown perfectly round and high-fired to 2200°F, where it settles into an imperfect ellipse. Studio-cast and finished by hand. Numbered and dated by the artist.
by Jim Schatz with J Schatz Studio
A suspended ceramic composition of 66 individual stoneware shapes finished in platinum lustre, hung on six stainless-steel cables in a circle. Each cable carries eleven shapes; the surface is mirror-bright, catching and reflecting the light around it. Studio-cast and finished by hand. Numbered and dated by the artist.
Vessels
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
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
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 Jim Schatz
A set of textured stoneware bud vases in a white glaze, each finished by hand and unique in form. The dimensional surface holds the light across the white, giving quiet sculptural weight to a single stem or a small grouping. Watertight and made for use — each vase stands alone or gathers with the others.
Tabletop
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
Part of Radical Presence, Gestures is a limited series of ceramic plates featuring unique photo mural imagery drawn from the body in fragment — hands, feet, touch, contact. Rendered in a brown tonal palette on glazed ceramic, each plate becomes its own field of attention: personal, symbolic, quietly charged.
Each plate is part of an edition of 100, with every image unique to the series.
by Jim Schatz
A five-piece place setting from the Radical Presence series, hand-painted on high-fired stoneware. Five figures of the male form move across the plates and bowls — in orange, pink, ochre, and blue — each drawn by hand, each setting one of a kind. Hand-painted and finished in the studio. Signed and stamped by the artist.
by Jim Schatz
A five-piece place setting from the Radical Presence series, hand-painted on high-fired stoneware. Five figures of the male form move across the plates and bowls — in ochre, blue, orange, yellow, and red — each drawn by hand, each setting one of a kind. Hand-painted and finished in the studio. Signed and stamped by the artist.
by Jim Schatz
A five-piece place setting from the Radical Presence series, hand-painted on high-fired stoneware. Five figures of the male form move across the plates and bowls — in olive, blue, yellow, orange, and pale blue — each drawn by hand, each setting one of a kind. Hand-painted and finished in the studio. Signed and stamped by the artist.
A pour-over coffeemaker and matching mugs in high-fired stoneware. The coffeemaker filters into the carafe below; it brews two mugs of coffee. Studio-cast and finished by hand in the J Schatz Studio in Detroit. Speckled stoneware body, Metallic Black finish. Sold as a set or as individual pieces.
by Jim Schatz with J Schatz Studio
A series of one-of-a-kind platters extending the Geometria vocabulary to the table. Slab-built by hand from white stoneware and finished in layered, hand-glazed surfaces, each piece reduces form to essentials — a circle, a half-moon, a suspended shape — held inside a field of color. Each piece is titled by the glaze recipe that produced its surface — a permanent record of how the work was made.
Utilità bowls with glossy interiors, glazed exteriors, and unglazed bottoms — sealed with a heavy stoneware lid for storage, baking, and serving. Studio-cast and finished by hand. Available in two sizes. Oven safe to 450°.
by Jim Schatz with J Schatz Studio
A set of slab-built platters in organic, amorphous forms — each shaped freehand, each different. Hand-formed from speckled stoneware and finished in a layered hand-glazed surface. Each set is one of a kind, stamped and signed.
Utilità bowls with glossy interiors, glazed exteriors, and unglazed bottoms. Studio-cast and finished by hand. Available in two sizes — small for prep, large for serving and baking. Oven safe to 450°.
by Jim Schatz with J Schatz Studio
A set of three slab-built platters in graduated sizes — small, medium, and large. Hand-formed from speckled-buff stoneware and finished in a transparent glaze that lets the specks of the clay body read through. Each set is one of a kind, stamped and signed.
by Jim Schatz with J Schatz Studio
A set of three slab-built platters in graduated sizes — for amuse-bouche, salad, and dessert courses. Hand-formed from speckled-buff stoneware and finished in a transparent glaze that lets the specks of the clay body read through. Each set is one of a kind, stamped and signed. Part of the ongoing Mod series.
Planters
by Jim Schatz
A one-of-a-kind planter in slab-built stoneware, raised on four exterior posts that extend below the body as legs. A rustic glaze pools darker at the joins and rim, keeping the marks of how the piece was built. Numbered and dated by the artist. Part of the Degenerate collection.
Glossy stoneware planters inspired by the classic Roman goblet form. Each planter is a chalice-shaped vessel raised on a pedestal foot, with drainage and a watertight base. Studio-cast and finished by hand at J Schatz Studio in Detroit.
Accessories
by Jim Schatz
Tall hand-built vessel by Jim Schatz, with two looped handles and a cracked, glazed terracotta surface — earthen orange pooling into rust, the clay fissured and crazed like dried ground. One handle area carries a kiln crack that formed in firing; the piece remains fully functional and is sold as-is. One of a kind, built and finished by hand in Detroit. From the 2026 Degenerate Collection.
by Jim Schatz
Tall hand-built vessel by Jim Schatz, with two looped handles and a crazed, glazed terracotta surface — earthen orange pooling into rust, the clay fissured like dried ground. One of a kind, built and finished by hand in Detroit. From the 2026 Degenerate Collection.
by Jim Schatz
Tall hand-built vessel by Jim Schatz, with two looped handles and a crazed terracotta glaze — earthen orange pooling into rust across the body, the surface reading like dried ground. One of a kind, built and finished by hand in Detroit. From the 2026 Degenerate Collection.
by Jim Schatz
Tall hand-built vessel by Jim Schatz, with two looped handles and a fissured terracotta surface — rust deepening over earthen orange, the glaze crazed in the firing. One of a kind, built and finished by hand in Detroit. From the 2026 Degenerate Collection.
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 Jim Schatz
A one-of-a-kind ring holder in slab-built stoneware. The vessel is enclosed by a hand-built picket of ceramic posts; a T-bar and an upright ring rise from the wall to receive jewelry above. Each element is built and joined by hand — the irregularities of pressure, kiln, and finish kept visible in the surface. 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.
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J Schatz Studio
22005 Van Dyke Ave.
Warren, MI 48089
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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.
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