Images of mugs for sale, and other news

Hi all,

I know it’s been a while since a blog post, but here I am! I thought I might tell a little story about where and how I’m living these days, and promote some pots that I have for sale.


As some of you may know I’m living and working in Brasstown, NC where I’ve just started as the Clay Studio Coordinator for the John C. Campbell Folk School (link provided) I took a job here in 2019 as the Event and Volunteer Coordinator, helping to develop a volunteer program and taking over the annual Fall Festival, as well as a number of other events. Then, you know, COVID and 2020 and all that. In March we began working remotely here at the Folk School, and by June it was apparent that there would have to be some layoffs. Without the prospect of events for the remainder of the year, and with the school facing an 80% decrease in revenue, I was furloughed in July. AHHHHH!

Unemployed and barely settled here, I struggled with the next step, but through the generosity of locals and in combination with some part time work and federal funding I was able to stay on in Brasstown.

Soon enough the Folk School offered me another position for which I was well suited: The Clay Studio Coordinator. I’m happy to begin the position and help bring some life to the clay studio once the Folk School can safely open sometime next year.

Because of all of this and in spite of my own struggles I have somehow found the bandwidth to begin making pots, and I’ve been sharing some of those pots over on my Instagram page. You can check in on me over there, see some process shots, and find out about work for sale. blessings to you all and i hope you have a safe thanksgiving!

Red Lodge Part11: Cody images

Back on March 16th we made the last leg of our 3 day journey from PA to Red Lodge, late at night, drifting into town from Cody, Wyoming at around 1:30am. I was driving that night, and had no idea of the beauty that lay behind the dark as we sped through Wyoming and into Montana. Until yesterday! We made a day trip south on US Highway 120, retracing the route from that last night, down into the land of Buffalo Bill. I was just awestruck by the beauty! These photos, of course, do no justice to the majesty of what we saw. Though I was apprehensive to take a break from the studio, we all needed it, and I'm glad we went!
above, looking northwest from US 120 in Wyoming.
above, looking southeast coming home from Cody. I was struck by the similarity that the southern side held with The Badlands.
above, image taken near Belfry, Montana.
We stopped near the crest of the hill just south of Redlodge. This is looking back down toward Bearcreek, Montana, on US 38.
We got back to it today, and we'll be making our last push towards firing the train kiln.
Best to you all!
Cheers!

Red Lodge Part 4

A view of Rock Creek behind the studio from a walk I took on Monday.

Some green peaking through the water.
A few pictures from the days events!
The 5 to 6" creamer and sugar sets aren't quite done, but here is a picture of them with colored and flashing slips. I made 3 more baskets today and will get handles on the new ones tomorrow.
I settled on a thinner rim for the baskets that seems to echo the rims of the pitchers and jars.
I like the set in the bottom right hand corner of the photo above,
though I'm still tweaking the handle!
These are the discoveries we get to make when we slow down a bit. It must be the elevation.
The 4 inch bottles will get trays too, made from the Death Valley dark stoneware.
See you tomorrow!

Moving right along...


This bottle was fired with my friend Scott Cornish, in his 2 chambered train/bourry box/cantenary arch wood/soda kiln west of Slippery Rock near New Galilea, PA.

These bottles were gas/salt fired back in 2008. They are the reason I keep returning to the
flask form.

fresh thrown bowls, drying on the ware cart.
Bisqued bottles await firing. Wood, Gas Salt or Reduction. So many choices.
I have been returning to a couple of successful forms. This time last year I was in the same space and things feel familiar. This time of year I end up making pots that relate to what's happening, like beer tankards, whiskey bottles, jugs, big soup bowls and bread plates. Aint much to do round here when the weather turns sour, except eat, drink and make pots...I think I'll stay.
The white slip on the bowl forms are a version of
Val Cushings S O T:
30 Grolleg
20 XX Sagger (the original called for EPK)
20 T-6
30 Custer
I wanted to see what ball clay would do to this slip. I've used it in/on all kinds of pots and firings. Though it tends to peal away from pots when you brush it on a leather hard pot, I have had success with dipping and pouring it on leather hard or brushing/wiping it on wet pots on the wheel. It has worked quite well on plates with shell flashing. The substitution of ball clay in the recipe may affect the flashing affects. The flashing comes from the high alumina content of the 70 percent kaolin slip(and the atmosphere of the kiln), but I'm thinking the changes will be minimal. I'm hoping the ball clay will aid in leather hard application. Time will tell, as we'll be firing soon. I've been using SOT on half of the work, including some pots I'll fire with a celadon or tenomoku glaze in reduction. The slip will fire white under a clear or glossy glaze.
The flasks(5 of the 12 I made) have been bisqued and are ready for a fire. They were made with a light firing stoneware and then dipped in a slip made from Laguna's B-mix for cone 10. My friend Donn uses B-mix, and orders it dry in 50 lb bags, so I'm trying it as a slip. All in due time.
I will most likely gas/salt fire this work here in Smicksburg. I hope to keep a few for other firings, as I've posted before.
Well, that's enough for now, I hope. Stay warm!





Jugs







Here are a few new pots in process. I've been working in the downstairs studio of Donn Hedmans pottery near Smicksburg. Donn has graciously offered me space in his super nice studio with a beautiful view. I'm making plenty and bisquing work for future firings. Out at Brush Valley, I don't bisque, so I thought I would store away a few dozen pieces that I can take to other folks firings in the coming months.
As for this recent work, I've been trying to hold back on my urges to use the colored slips and linear decoration that I usually include in my work. I struggle to not over decorate forms such as these jugs. The shapes, hopefully, will stand alone.
I have return to this form over and over through the years. I have always been intereste in historic jugs and the change in their shapes that trace the development of the industrialization of clay manufacturing. The closer you get to the 1900's, the flatter and straighter the jug shapes become. The more graceful forms of previous centuries leave wasted space in a kiln where the bellies meet and can be difficult forms to make. The early American jug shapes reference their German and English counterparts, with full bellies, long graceful necks and and a narrow foot.
I am also searching for relevance in these forms in today's day and age. How do these jugs fit in to contemporary life? Well, maybe they don't and maybe that's EXACTLY why we need them. These simple containers echo a time of simplicity. Not necessarily an easier life, just different and simpler. I hope I'm not stuck in the past but I think those folks made some nice jugs.
Wishing everyone Happy Holidays over the coming months...