Preview Gallery August 2015


Adrian King’s pots

Senior apprentice, Adrian King, knocked it out of the park again this cycle. His pots keep getting more beautiful. He writes,

“The summer making cycle always proves to be challenging hurdle to jump. With the temperatures outside well into the mid 90’s, the gears of the workshop continue to grind away. The real test though, is firing the kiln. It is a physical and mental challenge that pushes your body to the edge. Mark often refers to us as athletes. Although we may not be able to run the quarter mile in 46 seconds, we produce over 1,500 pieces of pottery from massive to miniature, cut and stack cord upon cord of wood for the kiln, clean all the necessary pieces of kiln furniture, load, fire, unload and finally sell the pots, all in three to four months time. And like an athlete, every move we make is critical to the final outcome.

We have once again jumped that hurdle, and the hard work has paid off. There are lots of beautiful pots that have emerged from the flame, and we hope you can make it out to enjoy them as much as we do!”


Hamish Jackson’s pots

Hamish Jackson (b. 1989, in Kenilworth, England) holds a degree in American and English Literature from the University of East Anglia. I met Hamish in 2013 at La Meridiana International School of Ceramics in Tuscany where I was teaching and Hamish was working as an assistant. He lives at the other end of Johnny Burke Road with his wife, two cats, a flock of chickens, and a goat.

“My first experience as a production potter was at Winchcombe Pottery in the Cotswolds, England. Winchcombe was founded as part of a larger group of potteries in the early 1800s, and revived as a studio workshop in 1926 by Michael Cardew. Many of Cardew’s forms are still thrown there today, and his legacy runs through the ethic of the place. It’s wonderful to be working with Mark now, who apprenticed with Cardew. The line here is much stronger, through stories from Mark’s time at Wenford Bridge and good habits passed down.

I am relishing the opportunity to throw every day; I can feel the pots improving constantly. Both Mark and Adrian have been very generous with their time, helping me out and demonstrating how they do certain things. It’s been fascinating to participate in loading, firing, and unloading the kiln. I am gaining a deeper appreciation for the slips and glazes in Mark’s repertoire, and how they can be utilized in different spots in the kiln.

I am delighted to be here as Mark’s newest apprentice, and really appreciate the opportunity. I’m looking forward to firing 94 already! “

PREVIEW Firing 93 – August 2015

Holding one of the ash-glazed mugs from Firing 93, I’m reminded of the three great North Carolina traditions that form my American inspirational bedrock. Moravian slip-trailing, the Catawba Valley ash glaze, and salt glaze from the eastern Piedmont infuse this mug with a sense of place, swelling its volume with mirrored craftsmanship, and painting the surface with the track of time.

Each firing produces a great variety of pots, but it’s not until we finally take the pots to the barn after they’ve been cleaned and washed, where Carol then arranges them, that they begin to relax, sitting there all plump and sassy.

Included in this mix are several types of pots I’ve not made for while – pie dishes, casseroles, triangular vases, rectangular slab-made platters, narrow-necked vases, “Turkish” tumblers, and wall vases – as well as the usual lovely barrel and straight mugs, plates, bowls (including ice cream bowls), jars, pitchers, big pots, little pots, and everything in between.

Come down and to the kiln opening this weekend and enjoy the kaleidoscope!