Daniel Murphy is a studio artist and associate professor teaching ceramics at Utah State University, Logan, Utah.
Murphy has presented his work in ninety-eight exhibitions, including six in conjunction with the annual conferences of the National Council on Education for the Ceramic Arts (NCECA) while working as faculty since 2003 at Utah State University. Some of his individual exhibitions include works presented at Tong-In Auction Gallery in Seoul, Korea and Braithwaite Fine Arts Gallery at Southern Utah University in Cedar City, UT.
While at Utah State University, Murphy has made forty-three presentations at universities and art centers throughout the world, and has exhibited and presented at three wood fire conferences. In addition, Murphy was an organizer and Master of Ceremonies for the international wood fire conference entitled, Twenty + One Years of the Tozan Kiln held at Northern Arizona University Art Museum in Flagstaff, AZ. Heâ€™s been awarded Researcher of the Year and Artist of the Year in the college of Humanities, Arts and Social Sciences at Utah State University in Logan, UT.
Murphy has twenty-nine years experience firing wood-burning kilns and recently conducted a wood firing at the Truro Center For the Arts, Castle Hill, Truro, Massachusetts. Upcoming events include 50 from 6 at the Braithwaite Fine Arts Gallery, Southern Utah Museum of Art, Southern Utah University, Cedar City, Utah and the first Bi-Annual Wood Fire Symposium, winter 2015 at the Red Lodge Clay Center, Red Lodge, Montana.
My ceramic vessels are created swiftly and directly on a slow
spinning potter’s wheel. I usually work in series, developing
one body of work at a time. My goal is to make gestural
vessels that reflect my presence in the finished form. This
results in families of pots that are inevitably related, yet each
piece stands as a unique one-of-a-kind vessel. After the
pieces are made most are fired without applied glazes to
stoneware temperatures in wood-burning kilns. Colors and
textures on the ceramics result from the interaction of wood,
fire and clay. My hope is that each successive generation
produces a better piece. I feel a connection to contemporary
as well as ancient ceramics, and strive to create objects that
will withstand the test of time.