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    Ceramic art

    Texas Teapot Tournament celebrates the joy of clay

    Barbara Kuntz
    Jan 13, 2012 | 3:46 pm
    • Meryl Ruth, Frenchie's Tea Tote, A Ceramic Teapot, clay with hardware accents,$800
    • Karen Cruce, left, and Janis Ross
      Photo by Barbara Kuntz
    • Todd Burns, Untitled, clay body with handle of hand-formed copper and steel,$600
    • Jack Rotar, Friends from Another World teapot, clay, $475
    • Kim Millspaugh, Hedgehog, clay, $250
    • Tiffany Moroney, Coral, clay, $450
    • Jack Rotar, Friends from Another World cups, clay
    • Matthew Quinn, Basket Handle Teapot, clay, $325
    • Sigrid Zahner, The Daily Pour, clay
    • Eileen Braun, Soft Serve Teapot, clay, $550
    • Nick DeVries, Satin & Ash Textured Teapot, clay, $185
    • Jose Sierra , La Kapotera, clay, $660
    • Martin Meisel, Teapot with Plum Handle, $700
    • Mike Head, Tea for One, clay, $100
    • 18 Hands Gallery on 19th Street in the Heights
      Photo by Barbara Kuntz

    The joy of cooking may have just met its match. Yes, folks, and it’s the joy of clay. You’ll likely walk away whistling that happy little song, “I’m a little teapot, short and stout,” after attending the Fifth International Texas Teapot Tournament presented by 18 Hands Gallery and the Clay Arts Museum and Educational Organization (CAMEO).

    “Through the years, a pot had to have a spout, a lid and a handle,” Ross notes of the qualities ceramic art judges look for in a piece. “Now, creativity is definitely a must. Some judges won’t even consider a pot as a winner without creativity.”

    “This is is by far the best show yet," says the organization's founder Janis Ross. "Not judging by the number of entries, but by the quality of the work. It’s absolutely outstanding.”

    The celebration of the ceramic arts and artists kicks off with a reception 6-9 p.m. Saturday at the gallery, 249 W. 19th St. in the Heights, and runs through Jan. 29. Opening weekend, visitors will have the opportunity to vote for the 2012 People’s Choice Award.

    The tournament had been held at the Houston Potters Guild until last December, when the group disbanded. CAMEO wasn’t able to take on the mortgage, and unfortunately, was forced to sell the house.

    “So we stepped in and said, ‘Let’s have it here,’” Karen Cruce, founding member of 18 Hands Gallery, says. “And it’s been our pleasure.”

    Cruce and 18 Hands Gallery’s two other owners, Betsy Evans and Katy McKinn, have entries unpacked, catalogued and displayed beautifully in the gallery’s exhibition space. The functional and sculptural teapots traveled to the Heights from England to Florida to Maine to California and, of course, across Texas.

    “You really don’t know what you’ll get with a tournament, rather than an invitational," Cruce comments. “With tournaments, you just send out a call for entries with size restrictions, deadlines. All teapots had to be made within the last two years and made of 65 percent clay.

    “This was the first entry we received,” she continues, holding a small, red gasoline can-shaped piece, casting its perfectly executed glaze and rivet detailing as a slightly rusting metal surface. “With this, we knew we were in for a good show.”

    The 70-plus works are ready for judging before the reception, at which the winners are to be announced. An outstanding tournament participant receives a major purchase prize of $1,000, and one deserving entry is crowned with the Memorial Award, given this year in honor of Paul Soldner, the late revered ceramic artist. The winning submission earns the distinction of joining CAMEO’s permanent collection. Cindi Strauss, curator of modern and contemporary decorative arts and design at the Museum of Fine Arts, Houston, is a juror.

    “Through the years, a pot had to have a spout, a lid and a handle,” Ross notes of the qualities ceramic art judges look for in a piece. “Now, creativity is definitely a must. Some judges won’t even consider a pot as a winner without creativity.”

    In additional to creativity and the three basic elements, judges also examine ceramic teapots for proportion and quality of any attachments to the pot, the feel of the handle in your hand, the thickness and uniformity of walls and, if a functional teapot, its pouring ability.

    “The creation of a teapot is absolutely the top of a potter’s art,” Cruce says. “A teapot calls for every possible skill a potter should know.”

    Perusing the teapots in the gallery, a small adorable hedgehog-shaped teapot catches the eye, as does an entire tea service for two, complete with pot, cups, saucers, stir sticks and tray, all of hand-sculpted clay perfectly replicating white, sun-bleached coral with artistically placed barnacles to boot.

    A pot and matching cups in neon-vibrant orange, green and pink glazes sprout legs for balanced standing. And round, solid-color objects hide but include the basic elements as “inside-out” teapots. Sculptural and functional, 50-50. Thrown and hand-sculpted and a combination of the two.

    Both Ross and Cruce hope guests take home a valuable experience after viewing these works of art: As clay artists, inspiration, and as the general public, a realization that today’s teapots are not your grandmother’s serveware.

    “Humanity has been given the gift of clay,” says Ross. “Every culture and civilization has used clay. It’s a gift, and we should use a gift, shouldn’t we?

    "We at CAMEO like to say, ‘We want all to know the joy of clay.’”

    18 Hands Gallery offers monthly exhibitions and feature shows by well-known and emerging ceramic artists, as well as ceramic artists' lectures and workshops. CAMEO hosts the International Texas Teapot Tournament and Emerging Artists, the latter a show of work by Texas college and universty ceramics professors. The event is set this year for July 21 at 18 Hands Gallery.

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    dive in

    Houston designer dishes on Tulum-inspired look of chic Montrose cocktail lounge

    Emily Cotton
    Jun 12, 2026 | 12:00 pm
    1111 cocktail lounge interior
    Photo by Par Bengtsson
    Tulum's cenotes inspired the monolithic central bar.

    Globally-recognized luxury design firm Nina Magon Studio’s continued foray into the realm of hospitality has wowed Houstonians once again. The Architectural Digest, Elle Decor, and Forbes favorite introduces an immersive experience unlike anything else in the city. Unlike Magon’s previous, ultra-glamorous hospitality projects 5115 Saks Fifth Avenue and Cocody, her latest concept is unlike anything yet seen from the designer. Organic in nature, pared down, and entirely unpretentious, the new 1111 cocktail lounge in Montrose is a masterpiece of escapism.

    1111 (read as “eleven-eleven”) is the latest concept by nightlife impresarios Army Sadeghi and Brandon Duliakas (Clarkwood and Melrose). Featuring cocktails created by bartenders who worked at Mexico City’s world-renowned Handshake Speakeasy and cuisine by chef Emmanuel Chavez of Houston’s Michelin-starred Tatemó, it’s only fitting for the interior spaces to be helmed by an elite designer as well. The result is a brilliant trifecta of offerings poised to satiate the most sophisticated tastes.

    While food and cocktail menus look squarely to Mexico City for their source material, Magon chose to venture the path less traveled. Stepping away from her signature polished and glamorous aesthetic, the interiors of 1111 are decidedly earthy, naturalistic, and even primal. Inspired by the cavernous sunken swimming holes, known as cenotes, outside of Tulum, earthy greens, warm taupes, terracotta hues, oxidized tones, and muted stone textures evoke the raw beauty of Mexico’s landscapes.

    “It was very fun, because we were able to get to be very creative and create something that is different from our portfolio to show the extent of where design can go and how we can bring authenticity from other cities into our hometown of Houston,” explains Magon. “You feel like you’re in a space that doesn’t necessarily feel like you’re in the glamour of Houston; we wanted something more authentic to Mexico.”

    Anchored by a monolithic central bar, the open-concept space utilizes seating and tables of various materials and scale to accommodate any of the lounge’s many functions. Textural Venetian plaster in shades of the deepest greens drench the walls and ceilings, lending a cavernous quality to the overall atmosphere. Along one wall, a dramatically-curved overhang draws the eye back to the central bar, where a recessed ceiling gives way to a cascade of backlit flora and fauna, harkening to the idea that guests are gazing up through a void in the earth.

    “When you’re in a cenote, you have rays of sunlight coming through from the foliage, and so that’s what we’re emulating. Everything is done with that thought in mind,” says Magon. “It feels like this underground — not in Houston — feel that we were going for. The design is unexpected, and with the unique, big play on lighting, it’s very unlike Houston.”

    The heavy use of drapery, extensive architectural curvature, and cinematic lighting throughout continue the idea that the space is deep underground, with light merely sneaking in through cracks and voids. To soften the space, warm wooden panels are strategically positioned to provide both form and function. Laser-cut patterns were inspired by a design Magon admired in Mexico City. Though originally cast in stone, Magon’s backlit interpretation is equally striking.

    In residential settings, the use of decor and accessories helps define a space and set the desired tone. Restricted by the realities of 1111, where a DJ starts spinning at 9 pm, and patrons move more freely, Magon parlayed this limitation into a grand opportunity. Along the eastern wall, 18 custom, backlit niches create an illuminated gallery of vintage Mexican pottery — each piece chosen by Magon and her team.

    “It’s all vintage pieces, and the pots really bring in that originality of Mexico,” explains Magon. “We only used natural materials. Anything that’s glamorous, you’re not going to see here.” This naturalistic theme continues with the organic yarn wall hangings, and eagle-eyed patrons will notice the subtle mountain landscape — and other clever shadow-play — dyed into the wall-hung works.

    To keep the low lit, earthy vibes from becoming too monotonous, Magon chose a bright terracotta and bone color palette for the restrooms. All too aware that mirror selfies are highly de rigueur, the hallway is a colonnade of recessed full length mirrors leading up to the burst of color waiting beyond the doors. Bright terracotta plaster, oversized mirrors in organic, fluid shapes, stone vessel sinks, draped foliage, and fire-baked floor tiles in playful patterns beckon patrons to take advantage of the flattering rosy lighting.

    “We always want, in everything we do, a photo moment, a place where everyone takes photos,” explains Magon. “I didn’t want green everywhere. I wanted it to be a different experience, because everything in this space is an experience. From the moment you walk in, to when you’re seated, to the cave portion of the cenote, it’s all a different experience and different view point of this lounge. So, in the bathrooms, we wanted to make sure we weren’t missing any moments. Terracotta is very prevalent in Mexico City, and that’s why we wanted to bring in that terracotta color to the hallways and bathrooms — everything is fresh.”

    The entire interior concept was conceived of the instinctive desire to escape the everyday. From its sculptural architecture to its richly layered materiality, 1111 stands as one of Nina Magon Studio’s most immersive hospitality projects to date, an environment where bold design vision and cultural authenticity converge in a deeply sensory experience.

    “I’ve been wanting to do something like this for the last three years, just based off of my travels,” 1111 co-owner Army Sadeghi tells CultureMap. “I felt that Nina, with her strong residential portfolio, would be a unique opportunity for everybody to collaborate on a big stage — being hospitality — and I think she delivered. We worked very closely with her team, and they did a great job throughout the process — I think they nailed it. They created a space that’s a unique, sculptural, architectural sort of luxe space that hasn’t been seen in the country.

    1111 cocktail lounge interior

    Photo by Par Bengtsson

    Tulum's cenotes inspired the monolithic central bar.

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