Notifications of Acceptance: by Friday, October 27 | Exhibition Opening: Saturday, January 13, 6:00-8:00 pm | Exhibition Dates: January 13 - March 23

Submitted work must have been created within the last two years and have not been exhibited at Baltimore Clayworks. Open to any form of functional or sculptural object or installation, and clay must be the primary material. Enter up to three (3) pieces. All exhibited work must be for sale and available for the duration of the exhibition. Original accepted work only and no substitution.

$25 for up to three pieces

In the case of sale, 50% of the retail price will be paid to the artist, and 50% goes to the gallery. Artist is responsible to shipment/delivery of the accepted work.  

Work must arrive at Baltimore Clayworks Gallery by Friday, August 25. We pay for return shipping if the piece does not sell.

Submit up to two images of each piece you are entering. Images should be in square format; 1800x1800 pixels of 300 dpi as JPEG. No text on images. Each file name must be labeled with the artist's three initials in the order: LAST, FIRST, MIDDLE (use "X" if no middle initial) and the corresponding number from your entry. (ex. Arther Clay Potter would be "pac1.jpg") If you submit alternative or close shot of the same work, you should label the images with "a" and "b." (ex. "pac1a.jpg" & "pac1b.jpg") Baltimore Clayworks reserves the right to photograph work and uses the submitted images of accepted pieces for the purpose of publicity, promotion, education and documentation in printed materials, website and social media.

Jabbur holds an M.F.A. (Ceramics, Ohio University), a B.A. (Graphic Design, Virginia Tech), and is currently Associate Professor of Art (Ceramics) and the Department Chair of Art & Art History at William & Mary in Williamsburg, VA. His work highlights actions and events that enrich lives and encourage all-too-rare moments of reflection and celebration. As I consider applications, I have no preference for a single style or approach.  I hope to see examples that emphasize practical form and function, sculptural exploration that maintains functionality, and metaphorical teapots that may not function at all—the so-called “teapot as sculpture.” I welcome teapots made with any clay bodies, firing methods, and forming processes. My hope is an exhibition that represents the diverse range of teapots being made in contemporary ceramics.