Carey Mogianesi was born June 1992 in Atlanta, GA, and moved to Augusta, GA in 2006 with her family. She currently remains in the Central Savannah River Area (C.S.R.A.) where she works on her ceramics and artist career. Since childhood, Carey knew that she always wanted to be an artist and that art would play an important part of her life and career. After graduating High school in 2010, Carey joined Augusta University where she was later exposed to the medium of clay for the first time in 2012. She began working primarily with hand building techniques and created abstract sculptural forms and humanoid slab built houses. In 2015, Carey was determined to learn how to wheel throw after visiting her first National Council on Education for the Ceramic Arts (N.C.E.C.A.) conference in Providence, RI. That same year, she obtained an internship at a local pottery shop, Tire City Potters, where she developed important skills in utilizing the potter’s wheel as not only a means for production pottery work but as a tool to create. After the end of the internship, she focused more on developing her skills and abilities as a wheel thrower but deeply missed the connection she felt while hand building. Carey’s artwork drastically transformed after taking a figure sculpture class in the summer. She became influenced by the local folk ceramic artist of the South East and created her own style of face thrown vessels. Carey’s ceramic art developed into what it is today in 2016, by combining her love of the human figure with her hand-thrown pottery she developed her Pot people series. Carey received her Bachelors of Fine Arts and a Museum Studies minor in 2017 and started her business, Third Eye Ceramics, where she continues to make her pot people and utilitarian pottery. My artwork focuses on the innate roles in which a body acts as a vessel through which individualism becomes “it’s” purpose for mobilization. My identity as an art maker is invigorated by exploration and discovery; and, by tactfully syndicating a collection of art ideologies, ceramic methods of making, and strong studio disciplines, I fostered my technique and distinguished craft. What ensued were whimsical ceramic utilitarian sculptures which are individually characterized by humanistic features, subtle gestures, and brilliant glazes combinations. Each vessel, or pot person, assert itself as an active and personable protagonist which fosters a unique experience with the viewer. Instead of remaining a traditional stagnant object to be stared at, my pot people express connections of empathy with the viewer which sanction a unique experience and dialogue.