Kate Roberts is a native of Greenville, SC. She received both her MFA and BFA from the New York State College of Ceramics at Alfred University in 2015 and 2010 respectively. She has traveled extensively and completed Residencies and Internships at Art Centers around the world including Archie Bray Foundation for the Ceramic Arts in Montana, Anderson Ranch Arts Center in Colorado, La Meridiana in Italy, Cite International des Arts in Paris, Project Art in Massachusetts, and most recently organized a residency at Watershed Center for the Ceramic Arts in Maine on Ephemerality in Clay.

Her work has been exhibited in museums such as the Tampa Art Museum, Frick Museum in Pittsburgh, PA, and Everson Museum in Syracuse, NY and included in major exhibitions such as Scripps Ceramic Annual, Parcours Ceramique Carougeois Biennial in Geneva, Switzerland, and most recently at the 10th Korean International Ceramic Biennial in Gyeonggi, South Korea. She has lectured at the University of Washington in Seattle, WA, and the University of Wisconsin in Madison, WI. In addition to teaching, Kate is on the Board of Directors at Studio Potter. She currently resides in Memphis, TN, and is an Assistant Professor of Art at the University of Memphis.

My practice is a meditation on time and its role in the decay of objects and memories. Inspiration is drawn from historical objects, the architecture around me, or a personal relationship. My processes are repetitive and labor intensive; I draw, construct, and weave using materials to depict fleeting, fragile moments and to examine the temporary physicality of an object, space, or idea. The physical properties of my materials - parched, cracked clay and vitreous porcelain - at once delicate and dense emulate states of decay in nature yet are built and mended by hand. This contradiction, of meticulously crafting the ravages of time, is at the foundation of my work. Accumulation and deterioration; solidity and transparency; entrapment and protection; order and chaos are material and organizational polarities that cause the work to teeter on the edge of viability in a perpetual state of in-between. This push and pull, back and forth, parallels our relationship with the natural world. Nature bares life, nature takes life away, humanity resists, but nature in the end has the final say. And without question the cycle begins again. In questioning the consequences, I create work to find the beauty and the unrest in this temporal state.