Artist Spotlight - Bradford Davis
Resident Artist at The Clay Studio
Philadelphia, Pennsylvania
Instagram: @bradfordceramics
Website: bradfordceramics.com
Bradford Davis is a visionary multimedia artist whose work masterfully fuses fibers, metals, and stained glass with wheel-thrown ceramics, creating pieces that resonate with themes of destruction, restoration, and rebirth. As an Army Veteran, ceramics has become both a personal refuge and a profound catalyst in Bradford’s healing journey. His art serves as an outlet for processing emotions and life experiences, providing him with a deep sense of calm and acceptance. The amphora vessel, in particular, stands as a cornerstone of his transformative path.
Spending time with Bradford in his studio was truly inspiring. He opened up about his personal journey, generously shared his ceramic expertise and his aspirations to offer ceramics as a healing practice for other veterans. His mindful creative process and the intentional way he shapes his space cultivate reflection, balance, and healing, infusing both his art and his mission with profound depth.
How long were you a Resident at The Clay Studio?
The residency runs for 3 years and I started in September of 24. So, I’m just over 6 months into it.
Any growth while there or major impacts it had on your work?
The residency is giving me the opportunity to experiment in ways I never would have tried before. I think that’s because it’s part of such a large community of extremely diverse artists and art styles, that it allows for a lot of exposure to processes and techniques I wouldn’t have thought I would enjoy. The biggest change it has made for me to date is my perspective on teaching. I didn’t think I would like teaching as much as I am finding myself enjoying and learning from it.
Why did you choose to move to Philadelphia? Has Philadelphia and the community here made
an impact in your work?
This March will make 10 years I’ve lived in the region. When I was medically retired from the Army, I chose Chester County as a place to put down roots for a few reasons, large group of friends and support networks, and the Coatesville VA is one of the better VA’s in the area. Chester County reminds me a lot of central Kentucky where I grew up. Currently I commute into the city for my residency, and I think the juxtaposition of wooded rural homestead against dense urban cityscape is starting to transcribe into the surfaces of my amphora.
What sets a Bradford Davis piece apart from others?
Resilience. Any of my pieces, sculptural or functional, exist today because of my resilience and extreme stubborn determination to not become a statistic. Simply put, my pieces represent my journey and I’m pretty stoked to get to make them still.
What made you want to get into ceramics?
Honest story, I needed a GPA booster in undergrad. I saw there were ceramic classes over in the art department and I knew the basics, or at least thought I did. The rest is history, in a year I had changed my major. 20 years later I started my MFA at Tyler School of Art & Architecture.
Any personal or cultural influences?
I’ve spent a lot of time thinking of this, especially coming right out of graduate school. The short answer is No, the long answer is Absolutely. I grew up as a low to middle-class kid in rural Kentucky. We weren’t closeknit to my extended family, and I spent most of my time as a child alone or with my brother on the farm. The visits with extended family were so infrequent and often seasoned with levels of propaganda that as a child I never really knew what to believe about “my culture”. Looking back now, it’s clear why I jumped into military culture so readily. It was the first time I felt a sense of belonging and purpose from other people. My work now revolves around personal experiences during war, and the emotions of recovering from war.
Can you walk us through your creative process?
I have to always have something “going” in my mind. Whether that be a series of functional objects, or a sculptural piece. I’m always thinking about a piece – while I’m working on other pieces. Maybe that’s just cause I’m adhdAF. But often times I see the thought process of that mental piece start to express itself in the pieces I’m physically making. Right now, that’s line. Simple fluid line. I’m loving the soft flow of line in the shape of handles and the hard winding lines of deep trim marks that encircle and entrap a vase.
What is your favorite part of the process?
Trimming! Hands down, I love trimming. It’s a reductive meditative process for me that I can really get lost in. I also love documenting photos of the finished pieces. There’s a finality to that, a chance to really look at and critique the piece, not as I wanted it to be – but how it is.
What techniques are you drawn to or specialize in?
Oww, I’m not sure. I often feel like the jack of all trades, master of non… when it comes to ceramics. I’d have to say throwing larger forms is something I specialize – or want to think I specialize in.
Any specific types of clay or glazes you prefer to work with?
I started getting back into ceramics during covid, and the only midrange stoneware that was commercially available was Kentucky Mudworks, Iceman. I liked this being from Kentucky myself, so I started using it and haven’t looked back since. It’s great for throwing and for hand building which suits my needs. I also love B-Mix for wood. The way it flashes with near metallic oil sheen surfaces makes me giddy. Glaze wise, I’ve really started digging into underglazes. I love the intense color they give, but I also love seeing them hold up in wood firings.
Any favorite tools?
Yes. And I don’t own it yet, but I got to handle a set recently. The mud tools Petal Knife carving tools. Talk about the beauty of a tool! Out of my own shop, I’m in love with the bat insert system from you all, The Ceramic Shop’s Snap Bat throwing system. It makes quick changing bats effortless, and they really have held up to the abuse I give them.
What currently inspires your pieces?
I think inspiration comes from a lot of places, and changes frequently. And I think that pinning down what your inspiration really stems from is a difficult but worthwhile endeavor. If I was to talk about what inspired me before the residency, it would have been my recovery experience from war. Expressed in larger than life-sized instillations aimed at evoking an emotional state. If I talk about my current inspiration, it’s the joy and simplicity and silly happy nature I’m imbuing in the amphora vases I’m making. This has me contemplating that my real inspiration really is an outward expression of my internal emotions.
What is your favorite piece or project? What makes it special?
To date, my favorite piece I’ve made is “Approach the missing pieces as open doors”. It is a tall thin vase that I cut into around 200 parts – firing each part in a different area of a wood kiln and then stitched back together. I entered the piece into a well known national exhibition “Strictly Functional” The piece is what led to me meeting and connecting with Jack Troy, as he was the juror for that show. That experience and subsequent learning from his writings has really changed my work and approach to work.
How do you balance between experimentation and maintaining a consistent style?
When I find that balance, I’ll let you know. I am 100 percent guilty of experimenting too much, and I’m okay with that. It often leads down rabbit holes I’ll never go down again, but sometimes it sparks a whole shift in my practice.
What do you want to be taken away from your art?
A memory, or rather a connection. I love it when someone starts to tell me of what my work makes them think of, or reminds them of. That mental connection – small or large, fascinates me and makes me smile.
Do you have any advice to give to aspiring artists?
There is a time to be creative – and a time to be critical; never do them at the same time.
What are your long term artistic goals?
Long term, I’d like to teach classes and workshops around as many of the residency centers and craft schools as I can. Building community, friends, sharing food, and maybe even fire some kilns together. There is also a veteran residency out west in Oregon called the LH Project. I’ve got it in my sights.
Any upcoming exhibitions, galleries or markets?
Yes – I’ve got a packed year and its already off to a great start.
- March 21st, I will be at “Tools of the Trade” at NextFab, a hybrid conference designed
for makers by makers, focused on connecting artisans to business resources in
Philadelphia and beyond.
- March 26-th-29 th I will be in Salt Lake City at NCECA with The Ceramic Shop throwing
some pots and catching up with people.
- May 17th to 18th I will be opening my studio in Downingtown, PA up for the annual
Chester County Studio Tour! I’m hosting 5 amazing artists at my studio this year, myself
included – so please look it up for details and come join us.
- May – August, I’m launching Operation Mud. This is a program in partnership with The
Clay Studio and the Dept. of Veterans Affairs teaching ceramic classes to veterans by
veterans. It’s been my pet project since I started at TCS and I’m very excited to see it
launch and grow.
- Rounding out the year, running from Nov. 17th to Feb 13th , I will be having a solo
exhibition at The George School in Newtown, PA.
