The Ohio Artist Registry (OAR) is an exciting opportunity for artists to share their work, connect with the creative community, and establish an online presence—all on a free, virtual platform! The OAR encourages artists working in all art forms, throughout Ohio and beyond,  to create a profile, which allows them to better promote themselves and their work. Being listed in the OAR provides artists with new opportunities to share their work with clients, galleries, patrons, and audiences. A listing in the OAR does not confer an endorsement, approval, or verification by the Ohio Arts Council.
For more information, contact Kathy Signorino, artist programs director, at or 614-728-6140.

2024 Ohio Artist Registry Juried Exhibition

Chrissy Trout

Director of Operations Queen City Clay


Chrissy Pinelli Trout is originally from Ashtabula, a small town on Lake Erie in northeastern Ohio.  She received her B.F.A with a concentration in ceramics from Miami University in Oxford, Ohio in 2004.  She is currently an instructor and Director of Operations at Queen City Clay in Cincinnati, OH, where she lives with her husband and two children.  Chrissy has been with the studio since 2005, and during her time there has been invested in developing classes, supporting the studio community, and working to improve and expand the educational experiences that QCC offers.  Chrissy’s personal work has evolved over the years from sculptural figurative pieces to functional slab-built forms.  She enjoys experimenting with multiple surfacing techniques, as her work tends to cycle based on what she’s currently teaching.

Artist Statement

My current body of work has evolved from experimentation with darting and folding thin slab forms.  I find joy in little details, like how altering the shape or size of the pieces I’m cutting out of the clay ever so slightly can have a big impact on the resulting form.  With a nod to the reference of sewing patterns, I often show the viewer where I’ve cut the clay apart and “sewn” it back together through hand painted stitch marks.  Opting for soft, quiet surfaces, such as a satin-matte glaze or terra sigillata, allows me to showcase the form without the distraction of an overly complicated surface.  I want the user to notice the subtle curves and changes in direction that result from the alterations and experience how that may fit in their hand or interact with a tabletop, encouraging a desire to touch.