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Cheryl Tall

Biography to Display: 

1946 Born New Jersey


2003 Creative Arts Residency, Banff Centre for the Arts, Banff, Canada

2004 Creative Arts Residency, San Miguel de Allende, Guanajuanto, Mexico

2005Artist Residency, Watershed Center for Ceramic Arts, Newcastle, Maine

2006Creative Arts Residency, Schulte Ceramic Studio, Prescott, Arizona

2007Banff Centre for the Arts, Banff, Alberta, Canada

2008International Ceramics Center, Kecskemet, Hungary

2009Watershed Center for Ceramic Arts, Newcastle, Maine

2011Banff Centre for the Arts, Banff, Alberta, Canada

2012Independent Ceramic Studies, Rome Italy

2013Independent Ceramic Studies, Hong Kong, China and Osaka, Japan

2014Classical Sculpture Studies, C.R.E.T.A. Art Foundation, Rome, Italy


Studio Ceramist


Chreyl Tall is known for narrative sculptural work made with a soft responsive clay that encourages repetitive shingle like finger marks.  This unique texture and blended color palette serves to unite her body of work and gives her characters a look that can suggest armor, petals or scales. 

Because of the softness of the clay, only 5" can be built in a day.  She builds the clay slowly, working in a spiral coil-pinch technique until the need for a separate layer is reached.  At this point, Tall creates a ‘lego-like’ connector on the inside of the piece so it becomes modular which allows ease of assembling the sections into the complete unfired work. After the assembly is completed, the sculpture is dried, coated with powdered copper and terra sigillata, and fired 14 hours in the kiln. Sometimes additional firings are needed, so the whole process can take from 6 weeks to 3 months. The resultant surfaces resemble a richly textured abstract painting.  The colors are subtle, reminiscent of an ancient tapestries.  The sculptures are contemporary narratives that reference mythology and folktales.

Tall is influenced by the writers Joseph Campbell (The Power of Myth) and Gaston Bachelard (The Poetics of Space) as well as her Masters Degree teachers Ron Fondaw and Robert Chambers, and the many workshop and residency program teachers including Jim Leedy, Rudy Autio, Richard Notkin, Akio Takemori, Ann Currier, Paul Soldner, Peter Voulkos, Lana Wilson, and Kris Nugent.


Public Collections to Display: 

Arizona State University Art Museum, Tempe, Arizona

Brevard Art Museum, Melbourne, Florida

Burroughs-Chapin Art Museum, Myrtle Beach, South Carolina

Ceramic Research Center, University of Arizona, Tempe, Arizona

Foosaner Museum, Melbourne, Florida

Gangjin International Ceramic Museum, Gangjin, Korea

King-Size Ceramic Museum, Shanghai, China

Penn State Colleges, Pennsylvania

Palomar College, San Marcos, California


Bibliography to Display: 

The American Art Collector, Alcove Publications, Berkeley, CA 2010.

Cook, Morgan. "Extreme Art Pushes the Limits.” North County Times, September 28, 2009.

Cox, Petey, “Bacardi Exhibition Marks Group’s 40th Anniversary.” Kendall Gazette, August 23, 1990.

Cushing, Val, ed. The Ceramic Design Book: A Gallery of Contemporary Design. Asheville, NC: Lark Books, 1999.

“Form and Imagination.” AMOCA, article, Ceramic Art & Perception January 2008.

“Form & Imagination.” AMOCA Exhibition, Review, Ceramic Review, The Magazine of Ceramic Art and Craft 231 (May/June 2008).

Form and Imagination, exhibition catalogue.  Pomona, CA: American Museum of Ceramic Art, 2007.

“Form and Imagination.” AMOCA, Pomona, CA, Ceramics Monthly

(August/September 2007).

“Form and Imagination.” AMOCA, American Craft (October/November, 2007).

“Form and Imagination.” AMOCA, West Coast Peddler, September 2007.

“Form and Imagination.” AMOCA, ArtScene 27, no.1, (September 2007).

“Form and Imagination.” AMOCA, American Style (October 2007).

“Free at the Center.” Clay Times (September 2005).

“From the Dream to the Studio.” The Times Argus. (February 2, 2001).

Galloway, Julia and Ray Hemachandra, eds. 500 Vases: Contemporary Explorations of a Timeless Form. New York, NY: Lark Crafts, 2010.

Gibbons, Marie, ed. Sole Purpose, The Shoe as Contemporary Ceramic Art.  Denver, CO: Dirty Page Press, 2008.

Gunter, Veronika Alice. 500 Figures in Clay Ceramic Artists Celebrate the Human Figure in Clay. New York, NY: Lark Books, Sterling Publications, 2014.

Heft, Caren. For the Birds: Artists Examine Aviary Abodes. Racine, WI: Racine Art Museum, 1990.

Hopper, Robin. Making Marks: Discovering the Ceramic Surface. Iola, WI: Krause Publications, 2004.

Kilnger, Christine. “Cheryl Tall.” Interview, Critical Ceramics Online Magazine, 2008.

Lark Books. 500 Handmade Dolls: Explorations of the Human Form. New York, NY: Lark Books, Sterling Publications, 2007.

________. 500 Animals in Clay: Contemporary Expressions of the Animal Form. New York, NY: Sterling Publications, 2006.

“Leucadia Artist is Sculptor of ‘Tall’ Tales.” Coast News, June 22, 2012.

Lippai, Emery, “Exposition a L’Alliance.”, Alliance Francaise (March 1990).

Marger, Mary Ann. “Crafts Are Making Art Statements.” On the Town, St. Petersburg Times, July 3, 1992.

Mass, Andrew. Florida Craftsmen. Tampa Museum of Art, 1991.

McHugh, Gene. 500 Paper Objects: New Directions in Paper Art. New York, NY: Lark Crafts, Sterling Publications, 2013.

Miller, Willi. “Tall Travels.” Ceramic Monthly (June 2000).

“NCECA Exhibition.” Clay Times Magazine (May 2001).

Parrish, Matthew. “Arrested Motion One Place in Many.” Williamsport, PA: Williamsportart Blogspot, July 29, 2009.

“Personal Mythology: The Artwork of Cheryl Tall.” Fine Art Ceramics (2003).

Peters, Lynn.  Surface Decoration for Low-Fire Ceramics. Asheville, NC: Lark Books, 1999.    

“Politics and Clay.” Studio Potter Magazine (June 2001).

Sanchez, Mary. “Potter’s Wheel Reveals Natural Talent.” The Islander News, October 28, 1982.

Schwann, Gary. “Sculptor Headed for Success.” Palm Beach Post, November 7, 1999.

Schwartz, Judith. Confrontational Ceramics. New York, NY: Rizzoli, 2008.

Softic, Tanja. “Valencia Exhibit Illustrates the Artistry in Craft-Making.” Orlando Sentinel-Star, August 1, 1993.

Stroppel, Alice. "The Archetypal Sculptures of Cheryl Tall.” The Figurative Artbeat, 2009.

 “Artists of South Florida.” Studio Potter Magazine (June 1998).

Tall,Cheryl. Winged Manor. Camp Hill, PA: Sunbury Press,  2011

“The White Queen at San Diego Botanic Garden.´ January, 10, 2013.

Turner, Anderson, ed. Throwing and Handbuilding. Columbus, OH: American Ceramic Society Press, 2008.

Turner, Elisa, “Folk Art Finds Home at Two Local Galleries.” The Miami

Herald, October 3, 1990.

Wilson, Lana. “Cheryl Tall’s Techniques.” Clay Times Magazine, September 2002.

Yuskos, Norma.“Cheryl Tall:  Building Large Scale Work in Sections.” Pottery Making Illustrated (November 2004).


CV or RESUME: Click Here to Download
Source: Artist


Artist's Studio: Cheryl Tall Art Studio


Typical Marks

Painted on with black underglaze on bottom of piece or incised with a sharp tool on bottom of piece.

Harlan and Olivia Fischer, Long Island, NY
Photo: Bruce Tall
Harlan and Olivia Fischer, Long Island, NY
Photo: Bruce Tall
Dancing Man Teapot
Date: 2012
Materials: Earthenware
Method: Hand-Built
Surface Technique: Glaze
Courtesy Treadway Toomey Auctions
Courtesy Treadway Toomey Auctions
From Darwin to Divinity
Form: Sculpture
Photo: Bruce Tall
Form: Sculpture
Photo: Bruce Tall
Swan Boat Teapot
Materials: Earthenware
Method: Hand-Built
Surface Technique: Glaze
Courtesy Treadway Toomey Auctions
Courtesy Treadway Toomey Auctions

Citation: "The Marks Project." Last modified April 28, 2019.