It does not seem like it's been a week since I returned from my Maine trip.  In all honesty, it feels like it's been much much longer (because life is full, isn't it, and fast) and the holidays are right around the corner.

I stayed with my friend Sarah (it is wonderful to be in her serene space- full of light, beauty, texture, and simple, thoughtful details) and had myself a self-styled art retreat.  Every day I woke at dawn and got myself down to the water where I drew, painted, thought, collected tiny shells, striped rocks, saw love everywhere, gazed at clouds, marveled at the changing colors and cool breezes (lo, it is still 90 degrees in Memphis on Nov 1). There was much eating, knitting, visiting friends, and driving around midcoast and downeast, getting my fill of Maine and the sea for another year.

I have so many ideas to explore, but they will wait until after the holidays. 

Later this week I'll be back with a holiday preview and my sale dates for November and December.  I have some family obligations that mean I have canceled my studio sale, but there are plenty of other events around Memphis to make up for this cancellation.

October CSA

Good morning!  Today is the last weekday of our fall break- we've been kayaking, working in the studio and in preparation for teaching in November, resting, working on expanding a treehouse, and shipping out this month's CSA subscription.  Next week I head out for *my* fall break/art retreat and I've tried to pack in as much as possible before heading out.  I thought I'd give you a little preview of this month's work:

While I generally have a bit of a game plan before the CSA is introduced, the real work begins in my sketchbook.  In the past few years I've played around with sashiko embroidery/mending and dying textiles and yarn (and my own clothing) to refresh and transform pieces that had lost their sparkle, were damaged (ripped jeans and a beautiful skein of cashmere that was sadly moth-infested), or were perfectly serviceable but I just didn't like anymore.  These all became canvas for creative embroidery, darning, or transformation by bright ultramarine synthetic dyes and natural indigo vats.  Both the sashiko and dye processes can be unpredictable, slightly messy, and definitely show the hand of the maker.  I've watched my good friends Sarah and Melissa begin their own dye studios (Sarah works with a range of bright colors and Melissa uses natural plant dyes, including my recently transformed indigo yarn, which began its life with me as a bag of insipidly baby blue cashmerino that sat in storage for two years) and admired the range of color and intensity in their work.

And so: this month's work

I threw large noodle/ramen bowls and mugs out of my regular porcelain right as September turned into October and used my pattern tracing wheel on the pieces once they were leather hard (I learned the hard way not to use it on wet clay- the wheel gets "boogered up" and won't turn, but makes a single line rather than ticking marks) making a slow spiral around each piece.  The ticking marks the wheel leaves have always reminded me of a running sitch, which is the first stitch anyone learns when sewing.  It is also the basis of sashiko.  Once the bowls and cups (I attached the cup handles after making the ticking design) were decorated with ticking marks and were on the firm side of leather hard, I painted on my cobalt wash and set them aside to dry a bit longer before carrying them down to the sink to rinse off the excess cobalt.  This is where things get interesting.  Cobalt oxide is such a powerful colorant that even if it looks like all traces of the wash has been removed, it hasn't.  I rinse the pieces under running water, gently rubbing (in one direction) with a sea sponge to remove the wash from the outside of the piece, knowing that the colorant stays in the incised lines, creating an inlay design.  I also know that I never, not ever, remove 100% of it.  After the bisque firing, whatever I didn't remove shows up.  If I'm feeling really ticky, I will put on a mask and sand off the extra cobalt.  This month I decided to leave the excess deposits where they were, much in the same way indigo leaves its mark in varying intensities on textiles.  Some bowls and cups have bright patches of cobalt showing through the clear glaze, and others have fainter blooms left from their rinse.  These didn't show up after the bisque fire but only made themselves known after the glaze firing.

I found this whole (truly) wabi-sabi process interesting and unsettling.  I generally like precision in my work and the process of using materials like cobalt oxide, glazes, and kilns challenges my notions of what my work should be.  Porcelain reshapes itself during the heat, glazes run or don't run contrary to my expectations, oxides show up where they aren't expected.  Part of a CSA program is accepting what comes, whether as a farm share or in this work, both for the recipients and the creators, and I have to fight the urge to make the work I'm sending out as close to perfect as I can get.  So it's appropriate, this month, that the make-do make-art influences of hand-dyeing and sashiko mending should be my inspiration.  .


St. Francis

I have always felt an affinity for St. Francis- his love for animals and mankind, focus on simplicity, kindness, and letting one's actions speak instead of words.  When my friend Tiffany asked me to come up with a workshop for her Theology and the Arts Institute, I knew I wanted to focus on my favorite saint.

Last week I got my first three samples fired, and all of the bird stamps to finish the fourth sample.  After researching a visual treasure trove of traditional icons and Italian ceramic renditions of St. Francis, I made four stencils to work from so that workshop participants will have a basis to start with for their own tiles.  I finished them simply, with washes of cobalt and iron oxide under clear gloss glazeand with a coating of my flowing celadon glaze.  I watered underglazes down to a watercolor wash consistency for the fourth sample to highlight the birds and St. Francis's outline.  I wanted color for this tile, but not so that it knocked you over. The tile will be bright white, with pops of color.

The class is next Tueday, October 4 (St. Francis feast day) from 5:30- 8.  Signup here

More to share later in the week.  I've been working steadily for some custom orders and inventory for the holidays.  Have a good one, friends!


September CSA

Good morning and happy Friday! My week has flown by.  A special long-time "flickr friend" was in town this week, visiting from Madison, WI, and we had a great time doing some of my favorite "hidden Memphis" activities- from hole in the wall bbq to taking a Mississippi River kayak trip (we were so lucky- the water was just like glass so it was safe to venture out in*) where I showed her my secret clay source, and plenty of down time for her to explore and for me to work like crazy. 

I shipped off my SCA packages on Wednesday- I know I say this every time, but I think this was my favorite yet.  I knew the shape I wanted from the beginning, knew I wanted to have a river theme, knew I wanted to work with inlay.  I couldn't be more pleased with the end result.

These cups and bowls are my favorite English Porcelain.  One day in late August I sat down and threw the whole batch and the clay just SANG to me.  I have been thinking about yunomi, or tea bowls, a lot lately, and I'm sure that I've told you that I prefer cups with no handle so that I can wrap my hands around them and feel enveloped in their warmth.  These little cups are like that, with a flared bowl and gently curved, nearly straight sides, and the bowls are similarly shaped, just larger.  After trimming and smoothing the surface of the clay, I added ticking with my pattern wheel tracer on both the exterior and interior of each piece, and I drew mussel shells, inspired by the shells I collected on the Spring River in Hardy this summer, and some of the large (as big as my hand!) mussels I occasionally find on the Mississippi River. 

Every so often, I go out to my secret clay spot and scoop up a chunk with my paddle.  This chocolate-dark, iron-rich clay is pretty pure in some sections on the banks of the Mississippi.  I discovered that this clay was delightful to work with about six years ago, after acamping trip which included some river play, and brought a bag home to play with.  It's not the best for throwing (though not impossible, but I don't have to skills-or patience- to clean the grit out of it) but it is WONDERFUL for inlay.  I usually float along the harvesting spot until I see a place with deep cracks and flaking between the clay layers.  That's best to work with, and I scoop it up with my paddle and put it into a zip plastic bag with me.  I don't need much, just a handful a month.  I am not generally a brown fan, but there's something so compelling about using such raw materials, collected locally, to tell a story in my work.  On an early iteration of this series I tried painting with the Mississippi slip, but too much detail disappeared under the glaze, so I went back to inlay.

When I use cobalt for inlay, the solution is very watery and I try to only apply it in the incised lines because cobalt is expensive and it gets EVERYWHERE and doesn't show up until it's fired.  I really slopped the Mississippi slip on, though, to make sure I got good dark lines.  After it dried, I scraped it off and then bisque fired the bone dry pieces.

I'm quite pleased with how these turned out- even more so when my visiting friend commented that the glossy clear glaze on the white porcelain looked pearlescent, like the nacre on the inside of the shells.  I'm quite sure that I will continue to play with this shape and the Mississippi slip inlay, and I still have some ideas bumping around in my head about the mussel shells, which I've loved ever since I was a child, spending vacations floating on Arkansas rivers with my family.

gouache on paper, from my sketchbook

gouache on paper, from my sketchbook

There are still several cup slots open for this CSA and one bowl remaining, which I opened back up after several requests, but I'll close that again after the end of this weekend. 

Have a lovely weekend friends.  Thanks for reading!



*note- it is NEVER safe to go out in the Mississippi River without a life jacket, without a boat, without at least one other person.  I am adventuresome but extremely cautious and I never venture out into the main current and if there is a lot of barge traffic, I don't go out at all.  My husband is has 25 years paddling experience, my friend Martha, who was with us Wednesday has 16 years experience paddling in the big river, and I have been a canoe-lover for the past 18. I wouldn't kayak in the Mississippi by myself.  This was your recreational kayaking PSA

playing in the studio

The school year has begun, and with this beginning, I'm getting back into my regular work routine.  The studio is getting a big clean out/clear out/rearrange.  I'm discovering stashes of unfinished work, hidden bags of clay, sketches that were abandoned in the flurry that is summer. I'm looking back at old work, flipping through sketchbooks, tweaking glazes and shapes I've loved (or not).

Last year, before my sweet assistant had her baby, several bags of dark, speckled clay arrived in my studio and have been sitting, waiting.  In all my years of throwing, I've never used a dark clay body.  I started out with a white stoneware and quickly moved to porcelain-like bodies, then quickly onto porcelain itself.  My early clumsy pots, thrown and fired in a community center,  were thick, uneven, and white, covered in bright primary glazes.  I didn't like the idea of staining my clothes with darker clays, and once I brought my pottery practice into my home studio, I REALLY didn't like the idea of having to completely clean up or switch out my tools when I changed clay bodies.  I craved the pop of color against the white clay (and still do).  A few weeks ago, while cleaning up the studio, I spied those two lonely bags of clay and grabbed them, wondering about another iteration of my speckled egg work.

One thing I'll say about this stoneware is that it's FAST.  Work flies off the wheel. No coaxing, no slumped walls from using too much water or throwing too thin, no finicky gauging if the clay is right for trimming.  I'm not entirely won over, but there may be some potential. Here are the first four pieces I tested, coated in white and aqua porcelain slip:

None of these pieces feel like me yet, but I do like how the magnesium speckles show through the slip and glazes.  Here's a contrast between the porcelain speckled egg slip, made with granular rutile (on the bottom) and the slip-coated speckled stoneware.  It's worth exploring a bit longer, I think.

In other news, I'm closing my fall CSA tomorrow.  There are a few bowl subscriptions left, and several cup subscriptions. 10% of all sales go to support Louisiana flood relief and recovery. 

In September I'm participating in the Cooper Young festival for the first time in over ten years.  I'll debut a new line of small giftware then- more about in the next week or so. I'll be on the east leg of Young Ave, across from the yoga studio and right in front of Java Cabana.  Come start your holiday shopping early!  I'm also planning my pre-holiday open studio sale- Nov 11-13.

Finally, I'm leading a workshop on Oct 4 at Memphis Theological Seminary as part of their Theology and the Arts Institute.  We'll be celebrating St. Francis' feast day, making a bas-relief tile icon.  It's a one-afternoon workshop, and I'll have templates available so everyone will be able to participate regardless of their experience with clay, sculpture, or art-making.

Have a good rest of your week, friends!

Dog days of summer

Hello!  How has your summer been?  Ours is flying by.  School begins again in just under a month, and I feel like everything is in a whirlwind.  I'm trying to slow it down and notice the little things while exploring new ideas through my cup club (I tell you, after making 20+ of the same thing you really work out the kinks of a design and have a definitive answer to the "do I really want to make this" question) and filling the orders that come in.  I have been continuing to paint every day as part of my #the100dayproject (today is day 85. I am happiest when I paint daily, I've discovered) and have begun dipping my toes into social justice issues and advocacy in my city. So much good is going on in Memphis- creatively, environmentally, socially- plugging in is important and an essential part of work-life balance.  Because I tend to fall more heavily on the work side of things rather than the life side, I'm opening myself up to opportunities to engage and seek equality.  In work related events, I've got a few things on my calendar, the first of which is this weekend:

I'm joining my friend Martha Kelly again for a little weekend open studio sale THIS WEEKEND. She has some travel plans in the near future (as do I- I'm looking forward to a Maine getaway in October) and I'm in the middle of having my house repainted, so we decided to hold a little summer celebration at her studio.  Friday 5-8, Saturday 11-5:30 at 1780 Autumn St in midtown we'll have work to show and sell. We joked that we'll have pups (her dear Mr. Darcy, my Buddy, above, is not really a sale dog, and Ajax, well, he does this whenever guests come to our door), pottery, prints, paintings, and Pimm's.  Open to the public!  Martha has some new prints from her recent trip to Paris as well as a new Old Forest print of the phlox grove in Overton Park.  She has also done a reprint of her wonderful Overton Park print which almost always sells out.  As for me, I have plenty of cups, bowls, small plates, bud vases, and teapots, plus a very small number of my new birds egg pieces! Come say hello!

Next week, my DIY pottery class at Me and Mrs Jones continues! There are still spaces available, and I was so pleased with the work my last class made!  I especially love this blue and white eyelet "print", and I have to say, the more I see the flowing celadon glaze in action the better I like it.  I'm doing a lot of play with this woodgrain and celadon glaze right now for another project.  More on that later.

Next week, I'll unveil the July cup club.  I think I love them, but they're fairly time intensive and will definitely be a limited run item. 

Enjoy your summer days, friends. See you soon.

and all the sudden, June is gone

Well.  June was a whirlwind.  So much happened.  An impromptu artist demonstration at a farmer's market, participated in Overton Park's Day of Merrymaking festival, I taught a handbuilding class, had a mini-getaway that turned into a full week's unplugged (and carless) kayaking vacation on the South Fork Spring River in Hardy, Arkansas.  Between that, I worked steadily on my 100 days of painting in my sketchbook and made a few dozen cups for my cup subscription.

This is part of the batch, taken on a day so humid it fogged my camera.  Romantic cups!  I am really happy with these cups and plan to keep them in stock.  I mixed up a big batch of porcelain slip with aqua mason stains (a few different ones, so each batch will be different, which, frankly, I'm ok with.  I think I'm all through with thinking that everything has to match) and a bit of granular rutile to create the speckles and brushed the slip onto the cups.  I wish that the speckles has bloomed a bit (it's what I imagined), but they didn't, and that's fine.  The glaze finish is the satin matte I use with my stone pieces, and I really really liked that finish.  I think I'll play with this a bit more and see if I add the rutile to the glaze if it will bloom, but if not, it doesn't.  The overall effect of these cups is much more subtle than my old speckled cups, but I'm much happier with both the look and the entire production process of this second version.

I have a few unfinished cups in my studio (I shipped out the first half before our trip and had the extras waiting to be slipped and fired) and I'm planning some bowls and small plates to go with in the coming weeks. 

Looking ahead, I am planning a home sale on July 15 and 16 (because that extended vacation involved an unexpected car repair bill!), and I'm teaching at Me and Mrs Jones again on July 20. The class is not yet listed, so check back for more details!

ALSO when we were vacationing, I bought a basic set of oil paints, just on a lark.  It has been almost 20 years since I've painted in oils and in some ways it's like getting back on a bike.  You kindof know what you're doing, but you're also likely to fall spectacularly.  I'll share my early oil sketches, plus some of my Hardy inspiration, a little later.

Happy Fourth, friends!


My goodness, I didn't expect such a response.  Thank you, thank you!  I'm planning my goodies for you all as I type-- I am so excited about this upcoming period of creativity and experimentation and your reactions to them--and I'll have a welcome letter off to you next week after Urban Barn Market is under my belt!  Merci!

Spring is winding its way into summer

I have a lot to share with you today.  First, I'm thrilled to be participating in Urban Barn Market again mother's day weekend.  I've been working my little fingers off throwing and firing and glazing (and I'm so grateful to good friends who helped me get through a kiln crisis with firings and repairing BOTH of my kilns right before my Sea+Stone show opened.  I will have a whole new batch of my hand-made oyster pieces, and I added some sweet little blue mussel shells, as well.  If you ask me VERY sweetly I'll pull out my Iris Apfel glasses for you, too!

Because I used slips so much in working with my sea + stone collection, I began thinking about other applications for colored slip and the silky satin clear glaze I made for those pieces.  Over the past year I've been more than a little obsessed with clouds and how to render them in watercolor.  Last week I mixed some of my cobalt wash into porcelain slip and coated this little plate with it.  I thought about underglazes for the clouds, but I am out of white underglaze, so I mixed a little more plain porcelain slip and painted clouds.  My green underglazes, on my desk from my (soon to return) Overton Park project, are on the bottom of this little plate.  This is both not at all what I expected and exactly what I'd hoped- I'm working on becoming more process oriented- and I'm looking forward to playing with this colored slip painting more this summer.

Speaking of summer, I'd like to introduce you to an idea that came from a conversation I had with a friend several years ago.  We were both members of a CSA, which, as you know, is a subscription with a farm.  He and I talked about forming a local subscription for art, but life and other projects got in the way and our plans languished.  Because I've worked so much this year on different projects, hit all sorts of roadblocks, and have had a tough time with middle school parenting, I decided to take the summer "off" from production.  However, I know myself well, and I know that I have about 10 days of not making pottery before my fingers get itchy and my eyes get twitchy.  I also know that there are several ideas I'd like to explore more in depth without committing to a new product line.  To meet both of these needs, I'm offering a Summer Cup Subscription.  This is limited to 15 subscriptions, which I plan to deliver to subscribers on the 3rd week of June, July, and August.  If this goes well, I'll offer another for the fall and winter.

The subscriptions are $100 for local customers and $130 for out of town customers.  I'll send you some sketches and images at the beginning of each month the whet your appetite, and your cups will be a variety of shapes and sizes at a discounted price.  Some months I'll make mugs, some months tumblers, and maybe a month of oversized teacups.  If you are interested but not quite ready to commit to a subscription, I will have at least five of each style available at the end of the subscription period at a slightly higher price.  If you're interested, please check here for more details, and remember to use coupon code SUBSCRIPTION to waive shipping, because it is factored into your base price. 

As always, thanks for reading and I look forward to seeing y'all again soon!

Sea + Stone: Opening

The opening of Sea + Stone is tonight.  With the help of two fabulous, wonderful friends, I hung all of the pieces on Wednesday afternoon.  It is a complete departure from my "regular" work, but it speaks from my heart.  Here's a sneak peek:

Oysters- most are hanging where you can touch and see the front and backs

Oysters- most are hanging where you can touch and see the front and backs

Tidepool- so hard to get good photos on the wall!

Tidepool- so hard to get good photos on the wall!

The platter is one of the functional pieces in this group.

The platter is one of the functional pieces in this group.

These big blue mussel platters (there are two) were some of my favorite pieces in this show.

These big blue mussel platters (there are two) were some of my favorite pieces in this show.

I didn't photograph most of the watercolors, but I enjoyed the process of making them - and all of this work- tremendously. 

Tonight's opening reception is from 6-8, and the show will be up until early June.