From MFA – Visual Art

Artist statement from 2018 evolved into new meaningful ceramics

Visual Art for me is about having a voice.

I use it as a platform to address real life is concerns, and experiences. To shed light on addiction , on sleep, and to commemorate a friends life and passing. It manifests in ceramics and printmaking, but the documentation of the artwork will reach more people than the vessels I make ever would. 

The picture or video of the piece or process is valued more today than the art I create or technique employed. I have fought against this by fostering community through ceramics and local engagement. Ultimately, ceramics should be experienced, touched, visceral and felt. They are so much more than a picture of a pot on a computer screen.

Art has the power to create conversation, provoke emotional responses, and bring people together. By challenging social stigmas and expectations I aim to create works that are empowering expressions of truth. Art helps me find meaning in the obstacles I face. 

It takes courage to walk towards an uncertain future, but for me that feels like freedom.

Finding inspiration from my Medalta Artist Residency experience

July 02 – August 04 2018

My father past away from cancer right after I left Medalta, so that experience was lost in the grieving process for awhile. My adventure at Medalta was a month long mentorship with Christopher Reid Flock in July 2018. My incredible experience at Medalta set the tone for my ceramic work for the next few years. Inspiring me to continue educating myself on atmospheric firing techniques and apply for grad school. Learning from the other artists as you watch them work in person is very different than instagram right? Our group was asking lots of questions and we were helping each other through feedback.

The group planned our time firing the soda kiln so we could get multiple firings. The work that I had came out of the soda kiln transformed from a bisque cup into a spiritual vessel of influence. It was crazy how much spraying soda in the kiln at a certain time in the firing process, transforms some pieces and ruins others.

I was shocked at how fast the clay dried in the prairie dry heat. My mother’s family was from the Regina, Saskatchewan area, so it was cool learning more about where my grandmother grew up in Canada. I was connecting with part of my cultural heritage and it was magical. Unfortunately, we were supposed to be the first group of artists staying in the BMO Artist Lodge. Construction had fallen behind schedule from the holiday week in July and we are sorry but you need to find your own housing. That part was a shit show for me. I stayed in a hotel across town and then eventually rented a place at the college for a decent rate. I did sleep in my car a few nights and I was cranky about it.

I’m reflecting back on my month long mentorship residency with Christopher Reid Flock. Located at the SHAW International Centre for Contemporary Ceramics part of the Medalta International Artists in Residence (MIAIR) Program located within the Historic Clay District, in Medicine Hat, Alberta, Canada.

My incredible experience at Medalta set the tone for my ceramic work for the next few years.

I then went on to earn a 10k scholarship from VCFA based on the merit of my artwork.

2019 Graduate Student Biennale

The clay STudio, PHILADELPHIA, Pennsylvania USA

My family wanted me to fly back to Vermont but I had my car and a carload full of tools and ceramic work in Medicine Hat, Alberta. I was determined to drive back

Tony Hansen and Tim the vice president took care of all my belongings and shipped them to Montreal for me. I also ordered a truck load of clay.

I went back to Vermont and spent time with family. My father was waiting for me to come home so he could say goodbye.

and bought a Bailey propane gas kiln so I could continue learning about atmospheric firing. After spending the summer learning about high fire clay bodies such as Plainsman’s P700 a beautiful porcelain clay body. It’s consistency is soft enough to use right out of the box. Unlike Polar Ice which is finicky and needs a few steps before you can start making with it. Both clay bodies have translucent qualities. The P700 glows slightly blue after a reduction firing with natural gas. Polar Ice is a mid fire cone 6 clay body, which can be fired to high fire temperatures in a gas/wood fired kiln. It has more of a white/yellow glow to its translucent fired form.

Back on Vancouver Island I missed a few opportunities to fire my ceramic work in a wood firing Anagama kiln. My exposure had been limited to pit firing, raku firing, and electric/oxidation firing. My home studio had two electric kilns. After buying several used kilns, and receiving a grant from the Nanaimo Art Council. I was able to afford my first used kiln with a digital controller. This technology made me not fear the firing process so much. I think a certain amount of fear is healthy when using a kiln, that has a month’s worth of your work in it.

Learning to use a kiln sitter, which is a semi-manual safety mechanism that flips the power off once the pyrometric cone bends enough. Indicating that the kiln has reached the appropriate temperature. my kiln had a lot of use from other people I mentored or needed kiln space in the community. Let’s just say when potters get impatient and fire clay that isn’t dry it becomes like a grenade in a kiln (sometimes). A student of mine learned a valuable lesson, when work gets rushed and impatience wins… you jeopardize not only your own work but anyone else’s work in the kiln. The lid had some S cracks from a bad screw/bracket design and that explosion ruined the kilns efficiency.

I replaced most of the kiln parts like fuses and it still wouldn’t work. This was a huge problem for me because I fired all my work in my home studio, as I was still finishing art school. Eventually I was able to definitely test/prove that it was in fact the cracks in the lid that prevented the kiln from reaching temp. Trial and error learning takes time. Not only was I in Art school but my only income came from selling my work in a couple art galleries and a local coffee shop.

Donna from Vancouver Island Pottery Supply introduced me to the President of Plainsman Clays. I pitched him an idea of allowing me to help them build a social media presence. Initially he said no, because he needed to get permission from the board. I offered to do it for free or until they had time to evaluate my proposal and assign a value to it. It took a few months but eventually the board understood that this service was important to the customers and could be a tool for the future. After months of working with Plainsman Clays, I was able to afford a new Cone Art Kiln.

My first MFA installation at Vermont College of Fine Arts had a segment of collaborations with three of the artists at Medalta. Erin Berry, Steven Osterlund, and Alexander Borghesan. That speaks to the cohesion that Mentor Christopher Reid Flock had achieved with us. He encouraged us to PUSH through our discomfort, fears, and inadequacies.

I had the pleasure of touring the new BMO Artist Lodge. I cooked dinner for all of us, and then we watched a movie together in the new lodge. It was really an honor to cook my family’s fresh marinara sauce just cherry tomatoes, basil, and garlic. I prepared Caprese salad a classic dish from Capri, Italy made with fresh mozzarella, Basil, and tomatoes. My father Antonino Di Ruocco was a world famous chef from Capri, Italy. This was my way to show my dad that he was in my thoughts.

Graduate Student Biennial 2019

The Clay Studio
137-139 North Second Street
Philadelphia, PA 19106

Currently on display from:

May 31, 2019-July 14, 2019


Timelapse of my installation at The Clay Studio in Philadelphia, PA. USA

for The Graduate Student Biennial Exhibition 2019.

The Clay Studio | Graduate Student Biennial 2019

Ciro Di Ruocco




Medium & Materials:
Porcelain, hand blown glass, LED light

15" x 7" x 31"


I was deeply moved by “how understanding our past informs our present and, more importantly, our future.” As I researched Whitman’s work, I loved seeing how he celebrated everyone; even the “The opium-eater reclines with rigid head and just-open’d lips” from his poem “Song of Myself.” This poem is often used in the recovery community to teach addicts/alcoholics that they need to forgive and love themselves. I also identified with his ability to be of service to others in an advocacy capacity. “You shall listen to all sides and filter them from your self.” I reach global audiences through contemporary activist art that touches people’s emotions and gives a voice to those who are most vulnerable. I believe graduate studies are reserved for people who aspire to change the world, and this is what I am doing.


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Listener’s Choice Part B | Picks From The First 500 Episodes | Episode 500B


Paul Blais:

I went to the mic and asked for the listeners to send me their top picks from the first 500 episodes and what part of the episodes really made and impact. For some of the people who wrote in I was able to call them and have a short conversation, and for others I read their email. Either way, this episode is dear to my heart. I hope you enjoy it.

Ciro: I will reflect on this later… Right now I’m off to demo for my friends at The Mud Studio

The Mud Studio

961 US-2, Middlesex, VT 05602













The Potters Cast | Mentorship | Ciro Di Ruocco | Episode 490

It was a very special honor to be a guest on The Potters Cast with my mentor Paul Blais.. talking about mentorship.

Ciro Di Ruocco is an emerging visual artist/curator, splitting his time between studios in Nanaimo, BC, Canada and his hometown of Duxbury, Vermont. Ciro’s work in ceramics is complimented by an affinity for printmaking and surface/ texture design. Ciro combines a utilitarian sensibility with a contemporary street art aesthetic, fusing his own imagery to create works that are inspired by our daily lives. Ciro is currently an MFA candidate at the Vermont College of Fine Arts.

North By Northwest CBC Radio Interview

Ceramics artist Ciro Di Ruocco takes on the opioid crisis

with Matthew Parsons


I would like to extend a warm thank you to Sheryl McKay and

Associate Producer Mathew Parsons for having me on the show.


In Canada:

USA | International :

addiction advocacy art art & design artist blog British Columbia Canada CBC ceramic ceramics ciro DiRuocco creativity fear feelings handmade honesty Hope journey klout love manager marketing motivation mural music music festival Nanaimo Narcolepsy Opioid Crisis Potter Pottery Project Sleep ROTW2014 Sleep sleep in social media summer truth vancouver island vancouver Island Pottery supply Vancouver Island University Vermont visual art Visual Artist

Reflecting on A_Dog Day 2017 (No.4) Part 1 of 3

Celebrating the life of Andy Williams aka DJ A_Dog in Burlington, Vermont, USA.

I heard somewhere in my travels that as a community we get sick or we get healthy together. What I witnessed Saturday August 26, 2017, was a community of people coming together in memory of Andy Williams. Skaters, DJ’s, artists, friends, and family. A community of people commemorating a Burlington icon, featuring both established and emerging talent.

For myself, it was a dream come true. Participating in this year’s event was truly an honour. Thank you to The Friends For A_Dog Foundation for approving my project and allowing me the creative freedom to create an installation that held true to my vision.

‘Timeless DJ A_Dog’

‘Timeless DJ A_Dog’ is a mixed media art installation. A medium mash-up of ceramics and printmaking. Translucent porcelain skateboards with screen printed images of DJ A_Dog. Displayed using plexiglass, wood pallets and salvaged wood. The structure and decks were illuminated by LED lights that were sound responsive to the music.

How on earth did I come up with this idea/ concept?

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The Renaissance of Kendall Patrick.

June 3rd:

I witnessed an amazing spectacle at the new Showroom location in Duncan, BC! I was witnessing something fresh. A change had taken place. Kendall Patrick and the Headless Bettys were not only entertaining the crowd but captivating it. Instead of the normal on stage banter, there was improvisational theatrics. They played new tunes and demonstrated how talented they all were. Taking turns dazzling the audience individually and as a group.

As their manager, I was shocked. I threw down the gauntlet to them last week and said: I want new songs and I want you to have fun with it. They did that and more.

Most days in our private life I am three roles constantly interchanging between the lover, manager, and very dramatic premadonna artist.

When I am working on the pottery wheel I convince myself this mug might just save the world.. It’s like an artistic god complex.
I find it very hard to be objective of my own work when that creative mojo is pulsating through me. It feels sacred.

On nights like June 3rd I don’t question my purpose or direction in life. It’s clear to me that I am right where I am supposed to be.

At the encore of last nights performance an older gentleman went up to the stage and whispered something to Kendall. I could see in her face that she didn’t know what to do.. The gentleman who I had never seen before requested a slow song as the encore. Kendall did her best to handle the situation and almost turned down the request. Without hesitation I yelled… You better take that man’s request! She played her singer/ songwriter heart right out. The whole crowd appeared to be holding their breath. The man that had made the request was now glowing. He was now a solidified true fan. It could have gone a different way.

My mother would always refer to the customers at the ristorante needing to be fulfilled and leave feeling special. They might then tell one or two of their friends. If they left mad or unsatisfied you could guarantee they would tell at least 5 people and might not ever comeback. The customer is not always right, but they deserve to feel as though they are. It’s a rotten business in that sense.. No room for excuses or alibis.