The kiln is hot, the shelves are filling, and 2026 is already shaping up to be an exciting year in the studio. We’re honored to be showing in several new galleries and events this season, expanding the reach of the Oyster Studies into spaces that celebrate craftsmanship, coastal culture, and the working waterfront.
We’ve secured gallery space on St. Michaels Road in St Michaels at The Beall Gallery, home of award-winning plein air painter Tim Beall.
Tim’s paintings capture the grit and grace of the working Eastern Shore—sail-driven skipjacks, motor workboats, and the enduring culture of our waterfront communities. His eye for atmosphere and authenticity pairs naturally with my sculptural studies of the Eastern oyster. Together, the paintings and porcelain speak to the same waters—one in brushstroke, the other in clay.
I’m especially excited by how seamlessly our work shows together. There’s a shared reverence for the water and for the people whose lives are shaped by tide and season.
I’m also over the moon about showing my work at The Sportsman’s Gallery, located just up from the market on historic King Street in downtown Charleston. Collectors there have already received an early preview of select works from the forthcoming Lowcountry Oyster Series, set to officially debut in late Summer 2026.
The Charleston audience has embraced these new studies—forms shaped by years on and under the water, now translated into porcelain at a monumental scale. It’s been rewarding to see these pieces find homes in a city so deeply connected to its own maritime heritage.
If you’re in town for the Southeastern Wildlife Exposition, be sure to step inside. The gallery is filled with exceptional work, and it’s a privilege to be included among such accomplished artists.
It’s shaping up to be a strong year—new galleries, new collectors, and the continued evolution of the Oyster Studies from the Chesapeake to the Lowcountry and beyond.
The studio is humming. 2026 is underway.
My sculptures and I will be sharing this beautiful building with some fantastic artists next week. Stop in for a visit. I’d love for you to see what’s been coming out of the kiln.
Located on the corner of Harrison Street and Dover Road in downtown Easton, Maryland, the Framptom Gallery is one of the three venues hosting wildlife artists from all over the country. The festival runs from Thursday the 13th thru Sunday the 16th of November.
Purchase tickets or learn more here!
Ya’ll,
I’m so excited to have received my invite to exhibit my work in the Art Galleries of the 54th Annual Waterfowl Festival in Easton, Maryland on November 14th thru the 16th!
This is a huge deal and I’m so grateful to have the honor of showing my work among some of the best waterfowl and outdoor artists in the country!
I’ll share more details when I know more..
Buy your tickets and plan your visit to Maryland’s beautiful Eastern Shore today!
I hope to see you there.
Cheers-
Jeff
The Waterfowl Festival in Easton, Maryland is a celebrated annual event that showcases the rich heritage of the Eastern Shore, particularly its connection to waterfowl, wildlife, and outdoor traditions. Held each November, the festival has been a tradition since 1971, drawing thousands of visitors to this small town on the Eastern Shore of the Chesapeake Bay.
Wildlife Art: The festival is known for its high-quality displays of wildlife art, including paintings, carvings, photography, and sculpture from renowned artists across the country.
Decoy Carving: Decoy carving demonstrations and competitions are a major attraction, reflecting the region’s historic ties to waterfowl hunting and craftsmanship.
Sporting Activities: The event includes retriever demonstrations, fly fishing exhibits, calling contests, and shooting sports for attendees to watch or try.
Local Culture: It highlights Eastern Shore traditions, with local food (especially oysters and crab), music, and conservation education.
Youth Activities: The festival is family-friendly, with special activities for children, including hands-on crafts and educational programs.
Conservation Mission: Proceeds from the festival support waterfowl and habitat conservation efforts on the Delmarva Peninsula.
The event takes place throughout downtown Easton, with various venues, including the Armory, the Avalon Theatre, and local schools and parks.
Visiting Talbot County, Maryland offers a charming escape to the heart of the Eastern Shore, where historic towns, scenic waterways, and a relaxed coastal lifestyle create an unforgettable experience. Anchored by picturesque communities like Easton, St. Michaels, Oxford, and Tilghman Island, the county is ideal for leisurely exploration. Visitors can stroll brick-lined streets filled with boutiques, art galleries, and waterfront restaurants, or embark on a sailing excursion along the Miles River and Chesapeake Bay. Rich in history and maritime heritage, Talbot County also offers cultural attractions such as the Chesapeake Bay Maritime Museum and seasonal festivals like Easton’s Waterfowl Festival. Whether you’re kayaking through serene coves, savoring fresh local seafood, or simply watching the sunset from a dock, Talbot County delivers the perfect blend of relaxation and discovery.
Dimensions- 15″ X 12″ X 4″
Glazed Domestic Porcelain
The oyster of study came from a close friend and mentor, Captain Mike Richards. He was given a bucket of oysters by Captain Ed Farley of the Skipjack H.M. Krentz. The Skipjacks of the Chesapeake Bay are among the last commercial sailing vessels in North America.
Dredging oysters under a massive mainsail and jib is a uniquely Chesapeake Bay endeavor, a time-honored tradition that has shaped the region’s maritime heritage for generations. Many of the remaining Skipjacks are over 100 years old, their weathered wooden hulls carrying the stories of countless oyster harvests. Designed with a wide beam and shallow draft, these remarkable boats were built specifically for navigating the Bay’s intricate network of oyster-rich tributaries. Today, Skipjacks remain a symbol of the Watermen’s deep connection to the Bay, preserving a way of life that continues to endure despite the passage of time.
From Wikipedia..
The skipjack arose near the end of the 19th century. Dredging for oysters, prohibited in 1820, was again made legal in 1865. Boats of the time were unsuitable, and the bugeye developed out of the log canoe in order to provide a boat with more power adapted to the shallow waters of the oyster beds.
The bugeye was originally constructed with a log hull, and as the supply of appropriate timber was exhausted and construction costs rose, builders looked to other designs. They adapted the sharpies of Long Island Sound by increasing the beam and simplifying the sail plan. The result was cheaper and simpler to construct than the bugeye, and it quickly became the predominant oystering boat in the bay.
Debate remains to this day about the origins of the name. Some speculate it came from a name New England fisherman called the flying fish, bonita. Still others claim it is derived from an archaic English term, meaning an “inexpensive yet useful servant.”
It was COLD yesterday, but I love a cold kiln day! I enjoyed hours of warmth next to the ol’ 88 on the wrapped front porch with snow on the ground. I’ll be firing the glaze tests you can see in the background today. Perhaps an afternoon beer in my balmy little space. Friday!
17.25″ X 13 X 6.5″ bisque fired domestic porcelain
..of and to the kiln on this beautiful Eastern Shore morning.
Yesterday, while 3 pieces cooked to cone 05, I experimented with some glaze application techniques for the shell interiors. The challenge with trying to create some amount of accuracy is working with the unpredictability of glazes, underglazes and stains. Once fired, those things almost never look the same as they did during the application process. So, to the boneyard we go.
On average, I loose 30% of the green or unfired pieces to cracking. The natural oyster is so varied in it’s texture and thickness and clay doesn’t dry evenly when the thickness is too varied, especially at this scale. The most vulnerable areas are the lips where the difference of 1/16″ could mean a solid candidate for an ultimately finished piece or another addition the the “boneyard” under my wife’s buffet in the foyer of our home.
I actually only fire a few of them. Most of those that crack or are just plain bad get rendered back into clay. I still have a never-ending supply of failed but fired pieces to experiment with.
Once I’ve gleaned what I can from the glaze experiments they go back to the “yard”. In the case of these four examples, I see they’ve spilled over into the living room. As you can see, when they fail during glaze firing to cone 6, they fail spectacularly.
Stay briny, my friends.
Jeff
