#23
September 1, 2026#25
September 1, 2026
Searchable issue transcript
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FIRE AND CLAY FIRE AND CLAY foothills foothills NC Pottery • Seagrove • Catawba Valley • Moravian • Cherokee • Modern Display until 4/15/24 $10.95 Digest Digest
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Send a check for $32 to: Foothills Digest 3838 Cleary Road Laurel Springs, NC 28644 Name: Address: Phone: Card Number: Expiration: CVV Code: subscribe On the cover: Demmie Stewart turns a pot at Old Salem, in the style of the Moravian Potters.
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4 foothills Digest 3838 Cleary Rd Laurel Springs, NC 28644 Winter 2024 Phone: 828.475.1323 E-mail: editor@foothillsdigest.com Website: foothillsdigest.com Stock by Adobe Stock Created using Adobe Suite Edited with the assistance of Open AI PRINTED IN USA PARTNER COMPANY: ECKARD PHOTOGRAPHIC C A R M E N E C K A R D Editor in Chief Author, unless otherwise noted J O N E C K A R D Principal Photographer J O E Y O S B O R N E Partner S P E C I A L T H A N KS TO : Anna Fariello, Steve Abee "Put it before them briefly so they will read it, clearly so they will appreciate it, picturesquely so they will remember it and, above all, accurately so they will be guided by its light." -Joseph Pulitzer
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5 Dear Readers, I'm so glad you are joining me on this deep dive into North Carolina's pottery. I love pottery. If you love pottery, I hope this issue gives you a deeper understanding. If you don't currently love pottery, I'm hoping that this issue helps change your mind. We will look at the history of pottery across the state, and some of the fabulous potters who are working today, and we'll tell you where to find your next beautiful pot! Happy reading!
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6 Purchase this print & others at EckardPhotography.com/Prints.
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5 Letter from the Editor 8 From Clay to Pots 18 Earthen Bonds 20 Cherokee Pottery 32 Pottery Festivals 36 Catawba Valley Pottery 50 The Beauty of Kiln Openings 58 The Science Behind the Art 60 Catawba Valley's Clay 62 Kaolin Clay 64 Wild Clay 66 From Earth to Art 69 Fire Festival 70 Sustainable Pottery 72 Barry Huffman 74 Pottery Memories 76 A Chat with Mark Guess 79 Edgefield Pottery 84 Moravian Pottery 94 Alternate Firings 96 Groundhog Kilns 98 Seagrove Pottery 118 Pottery and Archaeology 120 Three Jugtowns 122 Pottery Traditions of Western NC 128 St. Asaph's Tradition 130 Face Jugs 132 Setting a Table 134 Making Pots is Good for You 137 Birds of a Feather 138 Clay Virtuosos 154 Additional Reading Table of Contents Table of Contents
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8 Across the rolling landscapes of North Carolina, where the Blue Ridge Mountains give way to the gentle plains, there unfolds a narrative as old as the land itself. This tale is not only etched in the verdant scenery or whispered in the rustling pines; it is a saga of earth and fire, of hands that have coaxed clay into timeless forms. From the coastal tidewaters to the rugged highlands, North Carolina has harbored a pottery tradition as diverse and expansive as its geography. Here, the story of ceramics is not confined to a single region but is a testament to the entire state’s rich deposits of clay and its inheritance of cultural artisanship. As we trace the contours of North Carolina's pottery heritage, we discover a legacy that traverses far beyond local boundaries, engaging with a broader history of human and material connection. From the esteemed Native American potters, whose ancestral knowledge is imprinted in every curve and pattern of their creations, to the myriad of influences that have shaped this craft over centuries, North Carolina has stood as a beacon of ceramic mastery. FROM CLAY FROM CLAY TO POTS TO POTS
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11 EARLY BEGINNINGS: FOUNDATIONS IN CLAY Long before the European settlers set foot on this fertile land, the first potters were already shaping North Carolina's destiny. These were the Native Americans, particularly the Cherokee and Catawba, with a pottery lineage stretching back an astonishing three millennia. Their technique was as pure as it was primal: the coil-building method. Imagine hands deftly rolling clay into sinuous lengths, stacking them in perfect synchrony to conjure vessels of purpose and artistry. Artifacts unearthed today—bowls and jars from the early sixteenth century— speak of a people intrinsically connected to their environment. The indigenous population wasn't merely passing through this mountainous realm; they were leaving behind legacies. The eight fluted points from the Appalachian Summit, as reported by Phil Perkinson in 1973, became silent testimonials of their intimate bond with the land, even 10,000 years ago. When European settlers arrived, they didn't just encounter a bountiful terrain but a treasure trove of knowledge. The majority of North Carolina, with the exception of the coastal plain, was a potter’s dream. Its clay-rich soil provided the foundation for settlers, who, using skills from their homelands, crafted their own unique styles of pottery. These newcomers, whether learning from the Native Americans or infusing their European wheel-built pottery traditions, began a synergistic dance with the earth that yielded more than just utilitarian wares. They crafted stories. While they recognized the functional value of pottery—creating jars, jugs, and vessels that spared them the cost of storage—the true magic was in the cross-pollination of techniques. From the Moravians of Salem, who by 1766 had curated distinctive pottery designs, to communities in the Catawba Valley and Seagrove, the canvas of North Carolina began to fill with various pottery traditions. Yet, amid this tapestry, one thing was clear: pottery was not just about function or even art—it was the soulful reflection of a people and their land. ARCHAEOLOGICAL DISCOVERIES: REVEALING THE DEEP PAST OF THE TAR HEEL STATE The diverse terrain of North Carolina, from its sweeping mountains to its expansive plains, serves not only as a backdrop for natural splendor but also as a vault of human antiquity. These lands are silent custodians of millennia, cradling the secrets of ancient societies and their harmonious existence with the earth. Throughout North Carolina, the echoes of the Paleo-Indians traverse time, their legacy embedded in the soil and their narratives captured in the vestiges of their presence. As archaeologists uncover the subtle imprints of Archaic era humans, each layer unearthed contributes to the complex tapestry of the state's history. The discovery of stone points and primitive tools paints a vivid picture of the daily lives and Crafted between 1000 and 300 B.C. Reconstruction of jar found in Swannanoa Courtesy of ancientnc.web.unc.edu
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12 ingenuity of these early inhabitants. Transitioning into the Woodland period, the storyline of North Carolina's ancient inhabitants takes a creative turn. Here, the earth reveals stories not just of survival, but of expression and craft – the age-old tradition of pottery. This journey into the heart of North Carolina's prehistoric pottery unfolds a saga of artistry interwoven with cultural evolution, showcasing a people intimately tied to the very clay beneath their feet. The Woodland period in North Carolina stands as a significant juncture in the annals of ancient craftsmanship, marking the advent of pottery in the region. The early phase of this period, known as the Swannanoa phase, witnessed the debut of ceramics. These pioneering creations, often decorated with cord-marked or fabric-impressed designs, encapsulate the prevailing artistic sensibilities of the time. As we progress into the Middle Woodland period, or the Pigeon phase, the pottery underwent remarkable refinement. Materials like crushed quartz began to be integrated into the ceramic fabric, leading to a more robust and compact paste. This advancement was coupled with meticulous finishing techniques, notably burnishing the interior surfaces using steatite pebbles, lending a polished finish to the creations. REGIONAL DISTINCTIVENESS AND EXTERNAL INFLUENCES North Carolina's pottery spectrum further blossomed with regional nuances and external influences. The coastal regions, with their distinctive Colington phase, produced pottery that often bore simple stamped designs or punctations. The Piedmont region, on the other hand, showcased the Yadkin phase, characterized by simple, tempered pottery often devoid of surface treatments. Simultaneously, the cultural amalgamation in the region, aided by trade and migration, led to the infusion of external pottery styles. One can witness the influences from the Mississippian culture, especially in the later periods, where complex stamped designs and effigy vessels began to emerge. Pottery in North Carolina was not just an artistic expression; it was intrinsically linked to the daily and ceremonial lives of the communities. Utilitarian pots, used for storage, cooking, and serving, were commonplace. However, certain specialized vessels, adorned with intricate designs or symbolic motifs, likely held ceremonial or ritualistic significance. The presence of burial urns and other such ceremonial pots in archaeological sites underscores the cultural and spiritual importance of pottery. The legacy of pottery in North Carolina offers a window into the lives, beliefs, and artistic endeavors of its ancient inhabitants. Every shard, fragment, and complete vessel unearthed speaks of a time when hands molded clay into functional and symbolic masterpieces
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13 . INFLUENTIAL FIGURES SHAPING NORTH CAROLINA'S POTTERY LEGACY In North Carolina, pottery is more than an art—it's a legacy, passed down through generations, each bringing their own flair, innovation, and passion. Some individuals have left an indelible mark on this tradition, shaping its course and ensuring its survival amidst changing times. Within the rich tapestry of pottery traditions in the Catawba Valley, the name Daniel Seagle stands out prominently. Active in the heart of the 19th century, Seagle wasn't just another potter; he was an innovator whose distinct craftsmanship significantly influenced the pottery landscape of the region. He is especially celebrated for introducing the alkaline glaze, a pioneering technique that brilliantly utilized wood ash and lime to produce a unique finish on pottery. This wasn't merely a decorative choice; it was an innovation that melded function with aesthetic appeal, resulting in pieces that were treasured both for their utility and their beauty. Seagle’s influence transcended his lifetime. His introduction of the alkaline glaze did not just add another method to the potter's toolkit—it set a new standard. As a result, generations of potters who followed in the Catawba Valley adopted, adapted, and revered this technique, making the alkaline glaze an emblematic signature of the region's pottery. Through his work, Seagle cemented his legacy, ensuring that his contributions to the craft would be remembered and celebrated for centuries to come. In the intricate tapestry of North Carolina's pottery heritage, J.B. Cole stands out as a towering figure, inseparably intertwined with Seagrove, one of the most celebrated pottery hubs in the state. Founding the J.B. Cole Pottery in the nascent days of the 20th century, Cole's craftsmanship was marked by an exceptional versatility, creating an array of pieces that ranged from essential utilitarian objects to captivating decorative artifacts. With an unwavering commitment, he was passionate about utilizing local clays and emphasized the importance of preserving and promoting indigenous pottery techniques. Because of this dedication, Seagrove's ceramic works retained their genuine allure, reflecting the profound historical and cultural roots of the region. But J.B. Cole's lasting legacy is not just encapsulated in the exquisite ceramics he left behind; it resonates vibrantly in the enthusiastic community of potters he mentored and galvanized. His seminal contributions transformed Seagrove into a thriving epicenter of pottery, magnetizing both seasoned artisans and eager enthusiasts from various corners of the world. Images courtesy of Leland Little Auctions, Ltd.
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Within the illustrious history of North Carolina pottery, the Moravians of Old Salem stand out as exemplars of ceramic artistry. Their legacy, deeply entrenched since the 18th century, shines particularly brightly through the seminal contributions of figures like Rudolph Christ. Christ, as a master potter, played a pivotal role in establishing and refining the Moravians' distinctive style. He was instrumental in perfecting intricate slip decoration techniques and championing signature forms such as animal-shaped bottles and the emblematic "Moravian Star." These innovative potters masterfully amalgamated traditional European methodologies with the rich resources of the New World, crafting ceramic pieces that seamlessly blended functionality with aesthetic splendor. The profound influence of Christ and his fellow Moravian potters is undeniably present in today's ceramic landscape. Modern-day potters, while fostering their unique identities, frequently pay homage to the ageless Moravian designs, drawing deep-rooted inspiration from their unmatched artistry. As we trace the lineage of North Carolina's pottery, it's evident that it isn't just about clay and fire. It's about visionaries who molded the future with their hands, leaving behind legacies as enduring and captivating as their creations. North Carolina Pottery Center Display, with Cole pieces and other early Seagrove pottery.
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RESHAPING TRADITIONS: THE EVOLUTION OF NORTH CAROLINA'S POTTERY In the annals of North Carolina's history, the Industrial Revolution stands as a formidable turning point, reshaping its storied pottery traditions. Before this seismic shift, pottery was not just a craft but a necessity. Typically, rich clay deposits in regions like Seagrove and the Catawba Valley fueled a thriving pottery industry, essential in a world yet untouched by industrialization. Then came the age of glass jars, sweeping across the landscape with the unstoppable force of modernity. As these jars became widely accessible, the once-crucial demand for pottery plummeted, almost overnight. This sudden change hit North Carolina's potters like a storm, drying up markets and extinguishing long-standing traditions. In many places, pottery practices vanished, leaving behind only echoes of a once-vibrant heritage. In this crisis, North Carolina's potters faced divergent paths. The Catawba Valley witnessed an extreme contraction of its pottery community, with Burlon Craig emerging as the lone torchbearer. Unencumbered by competition, Craig steadfastly adhered to tradition, crafting pot after pot in the age-old manner. Over decades, his dedication caught national attention, igniting a resurgence of interest among young potters. This led to a renaissance of sorts, with the valley's pottery now bearing Craig's unmistakable imprint—a testament to his loyalty to tradition. Seagrove's story took a different turn. Here, the number of potters dwindled but never to the brink of extinction. The persisting competition, coupled with changing market dynamics, spurred a pivot towards collector's pottery—pieces valued more for their aesthetics than utility. This environment of creative rivalry fostered a hotbed of innovation, attracting more potters and diversifying the region's pottery landscape. Today, Seagrove stands as a vibrant hub of artistic pottery, marked by an abundance of styles and creative expressions.
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Meanwhile, the Cherokee potters navigated these turbulent waters by adapting their styles to appeal to tourists. This strategic shift ensured the survival of their craft through tough times. In recent years, a return to their roots has seen Cherokee pottery once again reflect its traditional styles, preserving a vital part of their cultural heritage. Shiny, black exteriors replaced the traditional smoke patterns, and the pottery became more decorative than functional. The latter part of the 20th century saw a resurgence in interest towards the older, traditional Cherokee pottery styles. While the postcard is labeled “Making Cherokee Pottery,” the woman at left is working on a bead loom. The three artisans are believed to be Cora Arch (Wahnetah); her mother, Ella Arch; and her sister-in-law, Sarah Arch. National Museum of the American Indian, Smithsonian Institution: P29272 Thus, the Industrial Revolution, a game-changer in the truest sense, carved distinct paths for North Carolina's pottery regions. Each area's response to this challenge has left an indelible mark on the state's pottery landscape, shaping a diverse and rich tapestry of ceramic art that continues to evolve and inspire. POTTERY ACROSS NORTH CAROLINA TODAY In North Carolina, the rich soils and cultural tapestry of the entire state have fostered a profound appreciation for pottery. This tradition thrives vigorously, nurtured by a dynamic arts community that honors ancestral craftsmanship while embracing modern artistic expression. The potter's wheel turns across the state, not just confined to the crafting of functional ware, but also spinning narratives, shaping experiences, and sparking dialogues in every finished work. The state is alive with pottery events that celebrate this time-honored art form. Schools like the esteemed Penland School of Craft and the John C. Campbell Folk School, not limited to the mountains but influential throughout the state, exhibit the work of both rising and renowned artisans,
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17 providing education and community engagement through workshops and shows. Festivals and markets, including the famed Seagrove Pottery Festival, the Catawba Valley Pottery Festival and the WNC Pottery Festival become lively hubs for potters to exhibit their creations, foster connections, and revel in collective artistic passion. Attendees at these gatherings are regaled with an array of pottery styles, each narrating a unique story of its maker. From the coastal plains to the Piedmont and up to the Appalachian Range, clay speaks of the state's multifaceted cultures, ingenious craftsmanship, and community narratives. North Carolina's pottery scene reflects not just a record of artistic endeavors but also a dynamic mirror that showcases the evolving aspirations and innovative spirit of its populace. The enduring legacy of pottery in North Carolina is a testament to the state's enduring spirit of resilience and inventiveness. Every pot, be it a product of necessity or an artifact of artistic whimsy, embodies a piece of history, a snapshot of the present, and the aspirations of the artisan. As North Carolina steps into the future, its pottery remains a powerful emblem of cultural continuity. It is a call to preserve our heritage, to seek out new methods and ideas, but above all, to keep weaving stories of aspiration, determination, and splendor. These stories, imprinted in earthenware and stoneware, kiln-fired with ambition, reveal the very essence of North Carolina's heart and spirit. f D M. Anna Fariello is telling the stories of Southern Appalachia. You can purchase her books at local book stores or using the QR code.
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18 Earthen Bonds By Carmen Eckard Assembling this edition of Foothills Digest has been a reflective journey, prompting me to delve into the depths of my fascination with pottery. This introspection has seen me contemplating my personal pottery collection, which is richly adorned with pieces from Catawba Valley, each with its unique alkaline glaze that never ceases to captivate me, as well as some cherished Cole Pottery artifacts that hold a special place in my heart. Time and again, I am drawn to these familiar forms and textures, as if they were old friends with whom I share an unspoken bond—a dance of shadows and light captured in solid form. My exploration into the storied past of North Carolina's pottery has greatly expanded my appreciation for the magnetic pull of this art form. It's as though the very essence of pottery—clay that for millennia was enriched with the water of our flowing rivers, waiting to be dug out of the banks, then given form and permanence by the heat of kilns fueled by the wood of local trees—creates an indelible link to the land itself. This alchemical marriage of the elemental— earth, fire, and water—gives rise to creations that are not just objects of utility or beauty, but vessels that encapsulate the energy and ethos of a specific place and moment in time, echoing with a resonance that is deeply meaningful and personal to me. In my collection stands my favorite piece: a distinguished Rebecca Jug, expertly crafted by Michael Ball, its surface boasting a lizard motif that adds a touch of whimsy to the traditional design. The Rebecca Jug, with its historical significance rooted in the biblical story of Rebecca at the Well, became a cultural icon in North Carolina during the 1930s, capturing the hearts of many—a sentiment clearly reflected in the Cole Family's catalog offerings and the fervent demand they witnessed. This particular form of pottery, with its historical roots and personal significance, continues to hold a place of honor as my preferred choice of craft. My own journey to the rolling foothills of North Carolina was not that of a native born, but rather that of a soul seeking its true home. Originating from Sanford, North Carolina, my early years are laced with fond recollections of the Cole Pottery Store, a place of wonder where, as a child, I would often attempt to catch a glimpse of the magic taking place at the potter's wheel. Those early encounters with the Rebecca jugs that adorned the shelves imprinted upon me a lasting appreciation for this form, which remains a testament to my childhood wonderment. Upon completing my studies at ASU, I was drawn to the Catawba Valley, a move that would prove to be destiny as I became intertwined with
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19 a family who not only appreciated pottery but lived and breathed its tradition. It was Granny Eckard, my beloved mother-in-law, who introduced me to the exceptional work of Burlon Craig—a family friend—and other eminent Catawba Valley potters. She ushered me into the enchanting world of kiln openings, a pivotal experience that marked the beginning of my lifelong passion as a pottery collector. The jug that now sits among my treasured possessions is more than a mere container; it is a chronicle of my life's journey, a testament to the red piedmont clay upon which I walked during my formative years, and a playful homage to our pet lizards. This piece not only embodies the traditional aesthetics of Catawba Valley with its greenish-brown glaze, but it also showcases a mesmerizing pattern of dripped glass and cobalt that I find myself completely enamored with. The refrain "I'm a tar heel born, and a tar heel bred, and when I die, I'll be a tar heel dead," captures the essence of my bond to this region. The profound connection I feel to this land, to its fertile earth, to the state of North Carolina, is a feeling that pottery celebrates in its very form—a manifestation of joy and connection to place that would surely garner Marie Kondo's approval for sparking joy. It is with great hope and earnest intention that through the pages of this issue, you, too, will discover that singular piece of pottery that tugs at your heartstrings, as mine does to me. This edition is crafted as an ode to pottery—a love letter to its timeless art form, and a celebration of the hands that shape it, the earth that gives it, and the fire that breathes life into it.
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ᏣᎳᎩ ᎦᏓᎫᎦ ᎪᎱᏍᏗ ᎤᏬᏚᎯᏍᏓᏅᎢ ᏣᎳᎩ ᎦᏓᎫᎦ ᎪᎱᏍᏗ ᎤᏬᏚᎯᏍᏓᏅᎢ Cherokee Pottery: Cherokee Pottery: Something Made Pretty Something Made Pretty By M. Anna Fariello By M. Anna Fariello "The rich vocabulary of the Cherokee describes “things made” and “things that are made to be beautiful,” but not “art” in the way it is generally known. There is no distinction in their language that separates “art” from other objects made. This is not to say that the things they make are not aesthetically beautiful, but that beauty is only a part of their reason for being." Quote from Of Land & Spirit: Cherokee Art Today , by the author. Pottery is one of the oldest of human activities and, for Eastern Band Cherokee, it is an activity that connects today's community to elders long passed away. Touching, holding, using a piece of pottery, or any craft for that matter, connects us across the bounds of time and space. Taking shape within a potter's hands, a vessel grows outward from a mass of clay, turning, shaping, completing a cycle of creativity that repeats itself again with each new pot made. In the hands of indigenous makers, this cycle contributes to an unbroken tradition of shared knowledge and community production. In Cherokee lore, the water spider was the inventor of pottery. Eastern Band storyteller Kathi Smith Littlejohn explains, “[The water spider] went down to the river and got some mud…and she made a little bowl. And she put it out in the sun/and let it get real hard, and then she tried to put water in it, after she had put it in the fire and made it real hard. And sure enough/she could carry more water that way, and without it leaking like the basket did.” This is how pottery was invented ages ago.
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Traditionally, native potters made round-bottomed cooking pots that could balance in the embers of a fire. This rendering of a Native American cooking pot was made during John White’s Voyage to North Carolina’s Outer Banks. Watercolor painting by John White, 1585. This reconstructed large Middle Qualla jar (AD 1500-1700) was excavated from the Birdtown Mound in Swain County, North Carolina on the western edge of the Qualla Boundary. Photograph courtesy of Research Laboratories of Archaeology, University of North Carolina at Chapel Hill. Archaeologists and ethnologists have their own explanations for the evolution of pottery. In examining excavated clay objects, they’ve identified numerous clay forms including cooking pots, storage jars, gaming pieces, toys, and clay tools. One of the earliest written first person descriptions of Cherokee pottery comes from James Adair’s History of the Indians, published in 1775. “They make earthen pots of very different sizes,” he wrote, “so as to contain from two to ten gallons; large pitchers to carry water; bowls, dishes, platters….They place them over a large fire of smoky pitch pine, which makes them smooth, black, and firm.”
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A century after Adair’s observations, Smithsonian ethnologist James Mooney began visiting the Qualla Boundary. There, Mooney observed a family of three potters who lived in Birdtown, near Bryson City. Uhyunli, Katalsta, and Iwi Katalsta were all part of an extended family of pottery makers. By the time Mooney encountered the group, two of them—Uhyunli and Katalsta—were quite elderly. Even though Uhyunli was 75 and Katalsta ten years older, both were still making pottery. Katalsta’s daughter, Iwi Katalsta (1840 – c. 1926) was the youngest of the three and she was 50 years old. Mooney was impressed to have found a family of potters whose traditions and skills dated back three generations. Mooney was primarily interested in the Katalstas’ pottery because he believed it to be authentically Cherokee. The Katalsta family produced a high quality stamped ware that he claimed resembled archeological specimens. In Mooney’s photograph of Katalsta and her daughter, a small finished pot is sitting to her left. Its rounded body is necked in, flaring out at its upper rim, a visual document attesting to the authenticity of this round-bottomed form. The pot made by Katalsta is comparable to a paddle- stamped jar photographed for a 1903 Smithsonian report.
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Katalsta (left) and her daughter, Iwi Katalsta. James Mooney photograph in the collection of the National Anthropological Archives. Cherokee jar with paddle stamping and notched rim, pictured in the Twentieth Annual Report of the Bureau of American Ethnology, 1903. Twenty years after Mooney made his historic visit, archaeologist Michael Raymond Harrington arrived on the Boundary. By the time of Harrington’s visit in 1908, the elder Katalsta had passed away. Harrington photographed Iwi Katalsta, who not only consented to be photographed, but gave Harrington a step-by-step demonstration of a process that had never before been captured on film. His photo-essay begins with the potter working on the porch of her home and processing clay for use. She is dressed in a calico print, common attire of the time and, like almost any photograph of a Cherokee woman at the 645 Tsali Boulevard Cherokee, NC, 28719 828.497.3103
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As a demonstration, Iwi Katalsta made a pot for Harrington. She began by making a form today referred to as “pinch” pot. Such a modeled form began with a fist-sized ball of clay and was pinched, using the thumbs and fingers, to depress the center of the ball to form the shape of a small bowl. In this photograph, Katalsta has used the pinch method to form the base of a pot that she will finish by coiling. Much of the pottery made by Cherokee people was formed in the round using the coil method. Applying this technique, a potter made a thick rope of clay by rolling it between the hands or over a flat surface. The coil was then wound around a clay base to build up the sidewalls of a pot. Using a polished stone, the potter burnished the pot's surface, leaving a smooth finish. This series of photographs of Iwi Katalsta was made by M.R. Harrington in 1908. Museum of the American Indian Heye Foundation Report, 1922.
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turn of the 20th century, she is wearing a patterned head wrap. While the photographs are in black and white, typically, these cotton headscarves were brightly colored, wrapped over the hair and tied behind the neck. Also typical of her attire is her white overskirt, a form of female garment that was common to native women and Euro-American settlers alike. In these photographs, Katalsta began to build up the sidewalls of her pot. She had carefully laid a rope of clay along the upper edge of the modeled base. Using her thumb on the inside of the pot, she pressed the coil onto the base to create a secure join. She will add additional lengths of clay to raise the sidewalls further. Katalsta demonstrated her use of a stamping paddle on a shaped pot. She was careful to hold the inside of the pot with one hand as she paddled the outside to produce an overall pattern on the vessel’s exterior surface. This step not only had the benefit of adding a decorative element to the clay, but also served to compress it, securing the coils one to the other. Her paddle was carved with grooves that left impressions in the soft clay. Wood paddles, such as these, were used historically and today to mark the pot’s exterior surface. Photograph from the Twentieth Annual Report of the Bureau of American Ethnology. This large open jar, collected in 1885, is believed to have been made by Iwi Katalsta. It is a good example of a vessel that Harrington would call “old style” Cherokee ware. Its base is rounded. Its sidewalls swell outward before tapering in. Overall, its exterior is paddle stamped to produce a soft patterned surface. Research Laboratories of Archaeology, University of North Carolina at Chapel Hill.
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26 Both Harrington, and Mooney before him, believed that the potters whom they observed on the Qualla Boundary were the last makers of traditional Cherokee pottery or what they called “old style” pottery. In many ways, both ethnologists were mistaken, but their ideas do hold some merit. At the turn of the 20th century, the old-style Cherokee pottery made by the Katalstas was giving way to a more “modern” and popular style made to appeal to a growing tourist clientele. Today we think of Cherokee, North Carolina as a popular hub of tourism. With the building of the Blue Ridge Parkway and the Great Smoky Mountains National Park in the 1930s, tourists began to discover the cultural wealth of the Cherokee. Visitation boomed and continues today. The 1940s and 1950s saw the formation of a number of cultural destinations including Oconaluftee Indian Village, Museum of the Cherokee Indian, and Qualla Arts and Crafts Mutual. Visitors come for events like the annual Cherokee Indian Fair and Unto These Hills historical drama. This audience affected the production of pottery, which came to be used for display rather than functional use. The following potters were active during this tourist boom. Lillie Beck Bryson (1876 – 1951) was a Cherokee woman who was raised off the Qualla Boundary in Rabun Gap, Georgia. In 1930, she married former Principal Chief Joseph Saunooke and moved to Western North Carolina where she continued to make pottery for another 20 years. This postcard labeled “Making Cherokee Pottery” shows Lillie Bryson on the porch of her home. Although Bryson was Cherokee, the pottery vase (lower left) is made in the Catawba style. W.M. Cline postcard in the collection of the Southern Highland Craft Guild Archive.
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Natural Natural Elements Elements Of N o r t h C a r o l i n a W e c u r a t e p r o d u c t s f o r a W e c u r a t e p r o d u c t s f o r a n a t u r a l l i f e s t y l e n a t u r a l l i f e s t y l e Our products include: • A full-range of North Carolina grown CBD products • Delta 8 and Delta 9 products • Elderberry Syrup • Organic vitamins & supplements • Honey • Jewelry • Essential Oils • And more! 1 2 2 B o u n d a r y s t r e e t n w L e n o i r , N C 2 8 6 4 5 8 2 8 / 9 2 9 / 2 4 2 0
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Rebecca “Amanda” Wolf Youngbird (1890 – 1984) was born in 1890 and lived on the Qualla Boundary until she was 13, when she was sent away to boarding school in Carlisle, Pennsylvania. Back home in Cherokee in her twenties, Youngbird began experimenting with clay. In 1934, at the Southeastern Fair in Atlanta, Youngbird exchanged ideas with Pueblo potter Maria Martinez, adopting the double-spouted wedding vase as a signature piece. Rebecca Amanda Youngbird. National Archives and Records Administration. The double-spouted Wedding Vase merges two forms into one. Amanda Swimmer explained that after the bride and groom drank out of one side or the other, they threw the vase over their shoulder. “If the vase didn’t break, the marriage would stand,” she said. Wedding vase by Rebecca Amanda Youngbird. Qualla Arts and Crafts Mutual, Inc.
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Maude French Welch (1894 – 1953) was born near Cooper's Creek in the Birdtown section of the Boundary. She had strong ties to the Catawba tribe, east of the Qualla Boundary. Welch learned to make pottery from her Catawba extended family. In the mid 1930s, she taught for a time at the Cherokee Boarding School. Maude Welch, circa 1950. North Carolina State Archives, Travel and Tourism Division Photographic Files; photograph by Bill Sharpe. Flame-smoked vase made by Maude Welch. Qualla Arts and Crafts Mutual, Inc. Charlotte Welch Bigmeat (1887-1959) was steeped in the pottery tradition. When Charlotte married Robert Bigmeat, she forever made the Bigmeat name synonymous with high-quality Cherokee pottery. She had five daughters, all of whom made pottery: Tinie Bigmeat Thompson (1913-1999), Ethel Bigmeat Queen (1916-1942), Elizabeth Bigmeat Jackson (1919-2008), Mabel Bigmeat Swimmer (1925-1991), and Louise Bigmeat Maney (1932-2001). Louise Bigmeat Maney later opened up a storefront studio and called it the Bigmeat House of Pottery. Charlotte Bigmeat is shown demonstrating at the 1948 Craftsman’s Fair of the Southern Highlands in Gatlinburg, Tennessee. Her nametag reads, “Cherokee School Pottery.” Southern Highland Craft Guild Archive. Bear paw. Made by a member of the Bigmeat family. Southern Highland Craft Guild.
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30 Cora Arch Wahnetah (1907-1986) learned the techniques of both coiled and modeled pottery from her mother, Ella Long Arch (b. 1889). She used the coil method to form her pots and paddle stamped them to add a surface design. She was active in cultural preservation, working with the Oconaluftee Indian Village to create authentic pottery demonstrations and joining Qualla Arts and Crafts Mutual artisan cooperative as a charter member in 1946. By the time Cora Wahnetah became a potter in her own right, she was the first potter to produce forms from older pottery traditions. Cora Wahnetah is using a carved paddle to produce a curvilinear pattern. Qualla Arts and Crafts Mutual, Inc.; Indian Arts and Crafts Board photograph. Wedding vase. Cora Wahnetah. Qualla Arts and Crafts Mutual, Inc. Amanda Sequoyah Swimmer (1921 - 2018), a self-taught potter, was born and raised in the Strait Fork section of Big Cove, a remote section of the Qualla Boundary. For many years, she worked at the Oconaluftee Indian Village where she was originally hired to demonstrate finger weaving. She quickly switched to pottery, learning from fellow demonstrators. Swimmer used traditional techniques and tools, never a potter’s wheel. She pressed designs onto the surface of the clay with wooden paddles or incises linear designs using sharp stick. The subtle coloration on her pots came from burning them with different types of wood. Amanda Swimmer demonstrating at the 2010 Cherokee Voices Festival. Photograph by the author.
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Amanda Swimmer shown demonstrating the process of incising using a sharpened stick. Qualla Arts and Crafts Mutual, Inc. Tripod effigy pot. Amanda Swimmer. Qualla Arts and Crafts Mutual, Inc. Today’s Cherokee potters make both traditional and contemporary pieces. Their work can be purchased from Qualla Arts and Crafts Mutual, Medicine Man Crafts, and the Museum of the Cherokee gift shop, among other local shops. In taking home a piece of Cherokee pottery, one brings home an object of both history and creativity and helps sustain a valued tradition. Curator and scholar, Anna Fariello is a former Smithsonian Renwick Fellow in American Craft. Among her publications, she is curator of multiple exhibitions, author of three books on Cherokee crafts, art editor for the Encyclopedia of Appalachia, and co-author of the textbook, Objects & Meaning: New Perspectives on Art and Craft. More information on Cherokee pottery can be found in her book, Cherokee Pottery: From the Hands of our Elders.
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32 North Carolina is a vibrant center for ceramic arts, hosting a variety of festivals that celebrate the rich clay heritage of the region. From the rolling hills of Seagrove to the scenic mountains of Spruce Pine, these festivals not only showcase an array of pottery ranging from functional wares to sculptural artworks but also honor the skilled artisans of the Tar Heel state. Below is a curated list of major pottery festivals in North Carolina, featuring events that embody the charm and diversity of the state's pottery culture, complete with their usual timings and locations for those interested in experiencing the legacy and contemporary pulse of North Carolina ceramics. Catawba Valley Pottery & Antiques Festival - Normally held in March at the Hickory Metro Convention Center in Hickory, NC. This festival and the John C. Campbell Folk School l celebrates the pottery tradition of the Catawba Valley area, including contemporary potters and historical wares. Foothills Digest is a proud sponsor of this event. Celebration of Seagrove Potters Fall Festival and Tour - Typically takes place in November at the historic Luck's Cannery in Seagrove. It features potters from the Seagrove area, which is often referred to as one of the largest communities of potters with the longest continual history of pottery making in the United States. The Mint Museum Potters Market Invitational - This festival usually occurs in September at the Mint Museum Randolph in Charlotte, NC. It brings together North Carolina Pottery Pottery Festiv als Festiv als
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potters to offer their wares and showcase the diversity of pottery in the state. Spruce Pine Potters Market - Held annually in October, potters from the surrounding Blue Ridge Mountains gather at the Cross Street Building in Spruce Pine to exhibit their work. Clay Matters Pottery Guild’s Spring and Fall Sales - These sales events are typically held biannually in Spring and Fall in Charlotte, featuring works by members of the guild. Specific dates can vary from year to year. Cleveland County Arts Council’s Pottery Festival - This festival generally occurs on the first Saturday in November at the LeGrand Center in Shelby, NC. It is a celebration of both traditional and contemporary pottery. WNC Pottery Festival - Taking place in Sylva, this event is typically scheduled for the first Saturday in November. The festival showcases highly recognized artists from across the United States and is held in the picturesque mountain Jackson County. Cedar Creek Gallery Pottery & Glass Festival – Held biannually the first two weekends of April and October for the last 56 years, this festival celebrates pottery and glassblowing demonstrations from artists working on the property and artists from other parts of the United States. For the most current information, it is always best to search for the event name along with the year to find official announcements, as details and dates may vary slightly each year.
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36 Catawba Valley Catawba Valley Pottery Pottery
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37 Catawba Valley pottery, with its distinctive mosaic of earthen browns and subtle green hues, embodies a narrative that extends beyond its physical form. Each piece is a testament to a rich heritage, molded from the fertile clay of the Catawba River—a heritage where the ancient artistry of the Catawba Nation converges with the intricate styles brought by European settlers. These are not just utilitarian objects or artistic treasures; they are storied vessels that carry the weight of history and the resilience of a craft passed through the ages. The unique blend of cultures and the unyielding dedication of artisans have given this pottery a voice, one that speaks of the unbroken bond between the earth's gifts and human expression. The resilience of this pottery tradition is a marvel; it is a chronicle of survival, of the preservation of techniques passed down through the whisper of generations. It mirrors the steadfast flow of the river that gave it life, surviving the march of time and the flux of human history. In the revivalist hands of artisans like Burlon Craig, Catawba Valley pottery experienced a renaissance, a reclamation of its glory, affirming the profound connection between creation and the pulse of the earth. This is the story of Catawba Valley Pottery: a journey through time, a fusion of cultures, and a living lineage of craftspeople who speak through their hands, molding a tradition that stands defiant against the transient nature of the modern world. Catawba Pottery at the Crossroads of Cultures As European settlers began to carve out new homes in the southeastern territories of what would become the United States, they encountered a vibrant tapestry of indigenous cultures. One of the most captivating encounters was with the Catawba Nation, whose pottery-making traditions predated the settlers by centuries. Catawba Nation Pottery, courtesy of Leland Little Auctions, Ltd
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38 By the time European feet touched these shores, the Catawba people had already mastered the art of pottery. Their distinctive creations bore the mark of generations of knowledge, crafted from clay sourced from the banks of the eponymous Catawba River. These earthenwares, burnished to a high sheen and often devoid of the stamped designs prevalent in other southeastern tribes, told tales of the landscape, the seasons, and the very soul of the Catawba people. Women of the Catawba Nation, traditionally the bearers of pottery knowledge, became pivotal agents of a new cross-cultural exchange. They engaged with European potters, and taught them with their own pottery techniques, and passed down a hybrid craft to the next generation of both Catawba people and the settlers. This dynamic exchange ensured that Catawba Valley pottery, even as it evolved, remained a vibrant reflection of a community at the intersection of change and tradition. The Catawba Nation has a continuing pottery tradition today, and modern potters are creating beautiful works in the same style of their ancestors, even digging the clay from the same riverbanks for 600 years. The early settlers of the Catawba Valley, primarily of German descent, journeyed from Pennsylvania via the Great Wagon Westerwald Pottery from 1730, demonstrating the traditions that settlers brought with them. Courtesy of Leland Little Auctions, Ltd. Road, bringing with them cherished Rhineland pottery traditions. These traditions encompassed the crafting of sizable whiskey and molasses jugs, utilitarian milk crocks, and essential kraut jars used for pickling. While the Catawba's coiled pots were primarily hand-built, European settlers introduced the potter's wheel, allowing for greater consistency and the ability to produce larger quantities. The influence of European ceramics, particularly salt- glazed stoneware and slipware, started to emerge in the local pottery. The pottery of the Catawba Nation and early Catawba Valley settlers during this period of cultural melding serves as a testament to adaptability, resilience, and the power of art to transcend boundaries. Each piece from this era not only holds clay and glaze but also a moment in time when two worlds met, learned, and created together. One of the earliest recorded potteries in the Catawba Valley was helmed by Daniel Seagle (ca.1805-1867) of Lincoln County. Seagle's pottery, representing the region's foundational years, was not Catawba Indian Pottery. Courtesy of Leland Little Auctions, Ltd.
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40 just a testament to craftsmanship but also to the perseverance of the craft in the face of evolving societal needs and demands. After Seagle's demise, the legacy was capably carried forward by his son and various apprentices, ensuring the continuation of the craft into the late 19th century. The Seagle name became synonymous with dedication to the pottery tradition, setting a benchmark for quality and craftsmanship in the Catawba Valley. By the 18th century, Catawba Valley had established itself as a hub for pottery production. As settlements grew, so did the demand for pottery. Jugs, crocks, and other vessels were needed not just for households but also for the burgeoning industries, like distilleries, which required large stoneware vessels. Advancements in kiln technology, especially the introduction of the groundhog kiln, enabled Catawba Valley potters to fire larger quantities of pottery with better control over temperature. These elongated, chambered kilns, partly buried in the earth, were more efficient and produced a consistent heat, ensuring higher-quality output. The 19th century saw a surge in pottery production, paralleling the growth of the American nation. As roads and transportation improved, Catawba Valley pottery began to find markets outside the immediate region. Potters became more experimental, introducing new glazes and decorative techniques. Alkaline glazes, using ash or lime, became popular, imparting a glossy, often greenish hue to the pottery. However, the industry wasn't without its challenges. The Civil War disrupted production and trade, but the resilient potters of Catawba Valley adapted and persevered. Post- war, the region saw an influx of potters from other areas, further diversifying the styles and techniques available. This era also witnessed the emergence of other significant potteries that etched their mark on the Catawba Valley pottery landscape. These included potteries operated by the Hartzog family, the renowned Hilton family, and the siblings Harvey Ford Reinhardt and Enoch William Alexander Reinhardt. Each of these families and individuals contributed distinctively to the craft, infusing their own flair and techniques, while firmly rooting their work in the tradition of the Catawba Valley. Their potteries, known for their distinctive designs and impeccable quality, played a pivotal role in elevating the status of Catawba Valley Pottery to a respected art form.
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41 Towards the end of the 19th century, with the advent of industrialization and mass-produced containers, there was a sharp decline in the demand for handmade pottery. And this is where Catawba Valley Pottery could have faded into the annals of history. It very nearly did, save for the work of one man. It was Burlon B. Craig, a man whose hands danced in the rhythm of clay and fire, who emerged as the steward of this Catawba Valley pottery heritage. Born in 1914, not into a lineage of potters but to the pastoral serenity of Lincoln County, North Carolina, young Craig's initiation into pottery was a serendipitous trade-off. James Lynn, a neighbor, imparted the nuanced techniques of Catawba Valley pottery to Craig in exchange for the lad's help in chopping wood. This humble beginning soon turned into an unquenchable passion. Above, Reinhardt Brothers Pottery. At left, Daniel Seagle Pottery. Images courtesy of Leland Little Auctions, Ltd. Below, Jon Eckard's photograph of Burlon Craig.
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43 Diving into the heart of Catawba Valley pottery, Craig acquainted himself with the two pillars that defined the art. First, the use of alkaline glazes, a combination of ashes, crushed glass, and clay slip. Tradition holds that the glaze was originally from China, this unique formula was shared with Charleston through 18th-century French Jesuit missionaries. Charleston potter, Abner Landrum, became privy to this formula and introduced it to Edgefield, South Carolina, in the early 19th century. From there, it is said, the distinctive glaze found its way to the Catawba Valley, sealing its place in the region's pottery heritage. It’s a unique blend of seven parts wood ash, five parts ground glass, and two parts clay. The second pillar was the iconic “groundhog kiln.” Mirroring the dragon kilns of ancient China, this structure was built partially underground. Its subterranean design, culminating in a chimney above ground, was a marvel of primitive engineering. Loading this kiln was no simple task. Potters would crawl into the chamber, passing pots deep into the structure, placing them meticulously on wooden boards. When fired, temperatures inside would soar above 2,000 degrees Fahrenheit. Post World War II, the tapestry of Craig's pottery journey grew more intricate when he acquired the pottery complex of Harvey Reinhardt, a renowned potter in Vale, North Carolina. This included the oldest continuously running groundhog kiln, a testament to time and tradition. Yet, for Craig, the tools and kilns were just the stage; the real magic lay in the technique. As he famously remarked, "Well, nobody done teach you to do this. You got to do it yourself. You got to get your hands in the mud." His commitment to innovation and experimentation was evident every time his kiln was fired. Out of the approximately 500 pieces inside, a handful would be dedicated to artistic explorations, be it new glazes or intricate decorations. These exploratory ventures birthed some of Craig's signature styles, such as the “swirlware” and the face jugs, both of which spoke of both tradition and Craig's unique touch. As consumer needs shifted with the advent of modern technology, Craig's pottery adapted, reflecting the changing tides. The face jugs, an ode to African traditions and believed to ward off evil spirits, emerged not just from Craig's reverence for the past, but also from his keen business acumen. These jugs occupied minimal kiln space but fetched higher profits, a testament to Craig's efficiency as an artist-businessman. However, it wasn't just about profits. Craig was a storyteller, and each piece of pottery was a chapter from the grand narrative of Catawba Valley. His artistry didn’t go unnoticed; following his participation in the 1981 Folklife Festival, he surged in popularity. Collectors vied for his pieces, so much so that kiln unloadings became a significant event, necessitating crowd management. The Smithsonian Institution, too, recognized his genius, showcasing his work. Image courtesy of Leland Little Auctions, Ltd.
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45 These photos of Burlon Craig were taken by Jon Eckard circa 1998. In the first photograph, he wedges his clay. In the second, he uses a ball opener. In the third, he turns the pot, and on this page, he puts finishing touches and regards the photographer. These are the only photographs that show the whole process of Burlon Craig throwing a pot.
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46 By the twilight of the 20th century, Craig stood as one of the last bastions of traditional Catawba Valley pottery. His belief in the art's resurgence and his mentoring of the next generation, like Kim Ellington and Charles Lisk, ensured that the ember of tradition wouldn't extinguish. Today, his legacy echoes in the hum of the potter's wheel in Catawba Valley. The annual Catawba Valley Pottery and Antiques Festival stands as a testament to Craig's indomitable spirit and love for the craft. The man might have seen himself as an "old farmer that makes some pottery," but to the world, Burlon B. Craig is the guardian of a heritage, a bridge between epochs, and an icon of American artistry. The intricate balance between adhering to age-old techniques and embracing new innovations has been a hallmark of Catawba Valley potters. This dynamic blend of old and new is what has made Catawba Valley Pottery so captivating to both aficionados and the general public. Its unique designs, the tactile allure of the clay, and the stories each piece holds are an embodiment of the region's cultural and historical fabric. The horizon of Catawba Valley Pottery stretches wide with promise, as the venerable art continues to thrive, evolving with the times while holding steadfast to its soulful heritage. The craft's durability and dynamism owe much to the foundations laid by pioneers like Burlon
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47 Craig, whose hands shaped more than clay—he shaped a future. In his wake, a lineage of skilled artisans has risen, each leaving their indelible mark on the legacy of this earthen tradition. Among these modern custodians is Charles Lisk, a potter who carries the torch with a reverence for the old ways yet dares to dip his fingers into the clay of innovation. His work speaks a contemporary language that resonates with both purists and new audiences, bridging gaps and threading the past with the present. Steve Abee's name, too, is etched in the valley's evolving pottery narrative. His creations, like those shown in the kiln on the previous page, are a dialogue between creator and earth, a testament to the craft's enduring allure. Abee's work retains the raw, elemental nature of Catawba pottery while speaking to the aesthetics of a new era, inviting onlookers to partake in a dance of ancient rhythms remixed for contemporary sensibilities. These artisans, including Lisk, and Abee, are the new guardians of Catawba Valley Pottery's legacy, ensuring that this age-old craft remains a dynamic part of the region's cultural fabric. This is not simply an art form; it is a living heritage, continuously reshaped and enlivened with every turn of the potter's wheel. Their dedication to the craft is evident in each piece that emerges from the kiln, a blend of tradition and innovation. As they carry this tradition forward, their work ensures that the rich narrative of Catawba Valley Pottery will endure and flourish for future generations, burnished as brightly as the glaze on each unique creation. WPCC.EDU (828) 448-3500 1001 BURKEMONT AVE, MORGANTON Achieve Success! Experience the pioneering spirit that awaits you.
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This was painted by Folk Artist Arie Taylor, who grew up surrounded by pottery in the Catawba Valley. The art depicts her memories of attending Burlon Craig's kiln openings. She is part of a strong lineage of artists, with her mom being Minnie Reinhardt and her daughter being Audrey Sherrill, both accomplished artists. You can buy their art at Etsy at etsy.com/shop/jagartist.
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50 The Beauty of Kiln Openings The Beauty of Kiln Openings By Steve Abee-Catawba Valley Potter I fire my groundhog kiln three times a year, and each time is exciting. From the loading, to the hours of stoking the fire, and days of cooling, the process remains extremely traditional. People tell me that they relished the days of Kiln Openings, of longing for the anticipation and the excitement of seeing the new pieces the potter had made. And these reminiscences reminded me of the days when I would visit the Craig homestead when he would open his kiln to reveal his creations. It was 1988 when I was first introduced to Burlon Craig's pottery. I was 19 years old and had been asked by a co-worker to join him at one of Burlon's Kiln Openings. My co-worker had shown me a couple of pieces that his wife had picked up at one of these events and honestly, I didn't see the attraction. But I soon learned why so many people appreciated Craig's artwork. But, at that time, I had no idea that the trajectory of my entire life would be forever changed by what I was about to experience. My co-worker explained to me that Craig's Kiln Openings started at 8:00 AM on a Tuesday, which I thought was odd that he would sell his works on that day of the week and that early in the day. He also explained to me that to be able to get a good piece, we needed to get there at 5:00 AM to get a good spot in the line. Now, I really was thinking "This is so odd". However, both my co-worker and myself informed our employer that we would be a few hours late getting to work that Tuesday, without telling them the specific reason for our tardiness.
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51 That next Tuesday, I arose at 4:00 AM to see what all this fuss was about. When we arrived I was astonished! It was 5:00 AM, on a Tuesday and there were lines of vehicles on both sides of the road leading to Craig's pottery shop. There were already around 100 people there waiting for the event to begin. As my co-worker and I approached the crowd, he informed me that I should try to get to the front of the line to gain access to see the pottery. I thought to myself, "I don't want to cut in line if people had gotten there first". But I took his advise and proceeded to the crowd that had accumulated. As I approached, I understood what my co-worker meant by "Try to get to the front". There wasn't a line at all, rather it was rows of people packed together like sardines looking forward at the pottery. I couldn't see the pottery from the back of the rows of people, so me being small in stature, I decided to "weasel" my way through the crowd, inching closer to what everyone was looking at. As I worked my way to the front, I overheard many conversations among the people talking about Craig and his pottery, and the fascinating process of creating it. They were talking about his creativity, how he would find and dig his clay from creek banks, how he made his glazes from glass that he crushed himself, how he fired his pottery in a wood-fired ground-hog kiln. I was amazed at what everyone was saying and I had to see his creations. It took me quite some time, but eventually I reached the front of the crowd. What I saw was astonishing! At the front of the crowd, Burlon had stretched a 40 foot rope from his pottery shop to the bumper of an old pickup truck. On the other side of the rope sat over 200 pieces of pottery in various sizes and shapes ranging from 3 inch tall miniatures, to 5 gallon jars and jugs. Many of the pieces were just placed on the ground, spaced apart just enough to carefully walk through. Some medium sized pieces were sitting on makeshift tables re-purposed from large power line cable spindles, while the miniatures were placed on wooden plank benches supported by fire logs.
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54 Many of the pieces had multi-colored swirl patterns that wrapped around the pots, resembling a barber pole. Others had distorted face features, snakes, and flower designs on a background color of glassy lime green glaze that seemed to have dripped down the sides of the pots. The pieces sparkled in the early morning sun light. It was breath-taking to see the array of pieces that exhibited the creativity that Burlon Craig had put into his art. As the moment approached 8:00 AM, you could feel the tension and excitement building in the crowd; everyone seemed to be on edge. At around 7:50 an elderly gentleman stepped out a back door of the pottery shop and made his way to the edge of the pottery displayed on the ground and propped himself next to an old model A Farmall tractor. He was of robust
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55 stature but slightly hunched over and I thought, "This must be the man himself". A couple people approached him as he sat down, but the majority of the crowd was intently focused on the display of pottery that lay before them. A few moments later, Burlon stood up and began walking to the rope's edge that was tied to the pottery shop. The crowd became deadly quite. Without any fanfare, welcome, or speech, he simply grabbed the rope with his right hand, and in one single motion, raised his left hand, dropped the rope, and said in that unique southern draw, "Alright!".
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56 What happened next was a bit of a blur. It was like a stampede. The crowd rushed in as if they were fleeing a burning building; pushing, shoving and grabbing their newest most valuable possessions. It rattled me so much that it took me a few seconds to realize that I better grab a piece or two before I got trampled, or worse, not get anything. Within 20 seconds, every piece that had been laying on the ground and on the tables was now residing in the hands of the crowd. It happened so fast I wasn't even sure what I had picked up from the yard, and really, it didn't matter, just as long as I got something. After a few minutes, the crowd composed themselves and began lining up to pay for the items they had picked up.
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57 Far left, Burlon Craig Face Jug. This page, Steve Abee Face Jugs. Images of Facejugs courtesy Leland Little Auctions, Ltd. I too made my way to the line while trying to wrap my mind around what just happened. It was something I had never experienced but I knew I had to dive deep into this world of pottery. That one fateful Tuesday morning, at 8:00 AM, changed my life forever. It wasn't so much that Burlon had sold every piece so quickly, or even that people adored him and his work. It was the conversations that I had been listening to while waiting among the crowd. The HOW he created his work was the most intriguing thing to me; digging his clay from creek banks, turning his pots with a pottery wheel powered only by him kicking the treadle wheel, making his glazes from crushed glass bottles, and firing his pottery in a kiln built from hand-made fire bricks. This adventure had awakened something inside of me that I didn't know existed. I needed to learn as much as I could about Burlon and his style of pottery making. This was my calling. I will be forever grateful that my co-worker asked me to join him on that brisk Fall morning. Thank you Steve Norman, my friend, for introducing me to my future. Steve Abee-Potter At Foothills Digest, we have been consistently impressed by the remarkable work of Steve Abee, an artisan whose dedication to the rich tradition of Catawba Valley Pottery is both evident and inspiring. It's clear to us through his work and ethos that Steve harbors a deep respect and passion for the heritage of this unique pottery style, as well as a forward-thinking vision for its future. Steve's creations stand out as they make a bold statement in the world of pottery, all the while adhering strictly to the traditional methods that define Catawba Valley's legacy. His ability to blend the old with the new, to respect tradition while infusing his work with a modern sensibility, is nothing short of extraordinary.
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Pottery, transcending the realms of mere art and craft, is a profound scientific expedition into the world of natural materials and transformative processes. This art form is an embodiment of the intricate interplay between the earth's raw gifts and the finesse of human skill, where clay—a simple, yet deep expression of the earth—is artfully transformed into elegant and robust creations by skilled artisans. This extended exploration into the science of pottery delves deeper into the nuances of clay compositions, the alchemical magic of kiln firing, and the rich, mineral-infused glazes. It pays particular attention to the unique clay bodies and distinctive glazes of North Carolina Pottery, especially exploring the fascinating science behind salt glazes. Clay: The Geological Tapestry of Pottery The foundation of pottery is clay, a story deeply rooted in geological history and artisanal craft. In Seagrove and surrounding areas, potters unearth 'red clay', tapping into the iron-rich Triassic sediments found in Lee and Moore counties. This iron-tinted clay, mirroring the hues of the Piedmont landscape, is prized for its robust character and vibrant coloration. Grey clay, harvested from local creek beds, is traditionally used in stoneware, valued for its strength and resilience post- firing. We see this clay used in the Catawba Valley Tradition. In higher elevations, the erosion of feldspar and mica deposits reveals kaolin, a prized soft white clay essential in creating porcelain and fine ceramic pottery. Kaolin's purity and flexibility make it a favored choice for artisans crafting delicate and intricate pieces. The diverse clays of North Carolina, each with its unique properties and origins, offer potters a rich tapestry of materials to express their artistry and connect deeply with the land. Each vein of good clay has birthed a thriving pottery tradition, and the story of pottery can't be told without talking about the clay. The Firing Process: A Crucial Transformation in Pottery The transformation of clay in pottery is a critical process involving multiple stages. Initially, at temperatures below 400°F, the water within the clay evaporates. As the temperature increases to around 1,000°F, the clay undergoes a significant change, releasing its chemically bonded water and becoming more porous. The final transformation occurs at temperatures near 2,000°F, where the clay particles vitrify and sinter, evolving into a durable, glass-like substance. This complex process is essential in converting the malleable clay into a strong, permanent piece of pottery. The Science behind the Art
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Exploring the Science of Salt Glazes and Other Glazing Techniques Glazes are vital in pottery, adding color, texture, and a waterproof finish. Composed of silicates, alumina, and various fluxes, these substances melt together in the kiln to create a glossy coating. In regions like Seagrove, the journey of glaze innovation began with the use of salt glazes, a technique where salt is introduced into the kiln at high temperatures, vaporizing and reacting with the silica in the clay body to form a unique glassy surface. Artisans have expanded beyond traditional salt glazes, experimenting with a myriad of minerals to enrich the color palette and textures of their pottery. This includes the use of feldspar, which introduces silicon and aluminum for the glaze's glassy phase; zinc, enhancing brightness and aiding in the melting process; red iron oxide for earthy tones; black copper oxide for deep greens and reds; and cobalt oxide for its signature deep blue. Catawba Valley’s Alkaline Glazes: A Distinctive Tradition Catawba Valley is particularly renowned for its alkaline glazes, a practice with roots in Eastern traditions, adapted and refined in North Carolina. These glazes utilize fluxes like wood ash or lime, rich in alkali metals, to lower the melting point of the glaze mixture, achieving a glossy finish at more modest temperatures. The interaction of these glazes with the region's unique clays produces a spectrum of hues, from olive greens to rich browns, often with a streaked or variegated appearance. This distinctive look has become synonymous with Catawba Valley Pottery, marking it as a highly collectible and revered art form. Pottery: A Confluence of Science, Art, and Tradition Pottery, though outwardly a craft of simplicity, is deeply rooted in the intricate science of material behavior and chemical transformations. From the geological formation of clay to the complex chemistry of glaze development, and the physics of kiln firing, pottery represents a sophisticated dance of natural elements, masterfully sculpted by human knowledge and creativity. The tradition of North Carolina's pottery, rich in unique clay deposits and innovative glazing techniques, transcends mere utility, capturing the spirit and heritage of its environment. As an evolving craft, pottery continues to fascinate and inspire, bridging the gap between past and present, tradition and innovation, art and science. This rich tapestry of elements makes pottery a captivating and enduring form of expression, cherished by both artisans and collectors alike.
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60 Tucked away in the embrace of North and South Carolina flows the meandering Catawba River, a sentinel of Southeastern American beauty and tradition. As it snakes its way from the picturesque Blue Ridge Mountains and winds through varying landscapes, emptying eventually into the Wateree River, it paints a tale of ecology, culture, and an enduring legacy—pottery. The very lifeblood of the Catawba Valley's pottery tradition pulses through its riverbeds: an extraordinary clay, rich and versatile. Not just any clay, the soil extracted from the riverbeds of the Catawba is a masterclass of nature’s alchemy. Bathed by waters that have sustained dense hardwood forests and provided sanctuary to myriad wildlife, the clay has absorbed a wealth of minerals over millennia. This mineral bounty transforms it into an ideal candidate for pottery, infusing it with characteristics that potters have cherished for generations. Why, you ask, has this clay achieved near-legendary status in the potter’s world? When subjected to the fiery embrace of a kiln, the Catawba Valley clay emerges not just unscathed, but enhanced. It boasts a resilience essential for utilitarian pottery, with an unmatched ability to endure high temperatures without a whimper of a warp or crack. This tenacity ensures that the pottery remains a faithful companion in households, withstanding the test of time. Yet, its practical prowess is only half the tale. The clay, in its artistic dance with glazes, unveils a visual symphony. Rich in iron, it often adopts warm, inviting earth tones. But its pièce de résistance is its interaction with alkaline glazes. This union often births the signature greenish tints, a hallmark of many Catawba Valley masterpieces. Catawba Valley Clay comes in both light and dark varieties, and potters use both, as you can see in the swirlware jug made by the Reinhardt Brothers. You can also see the clay as it looks in the ground to the left. It's part of an art installation at Starworks, created by Josh Copus called "Clay Landscapes." In essence, the Catawba River does more than nourish the landscapes it graces; it bestows upon the region a legacy. A legacy molded by artisans’ hands, fired in traditional kilns, and celebrated in homes far and wide—the unparalleled artistry of Catawba Valley pottery. Catawba Valley 's Catawba Valley 's exceptional clay exceptional clay
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Kaolin clay, a fine and predominantly white mineral, plays a crucial role in the world of pottery and ceramics. Known for its high kaolinite content, it stands out for its purity, plasticity, and ability to withstand high firing temperatures. This makes kaolin clay ideal for crafting fine porcelain, renowned for its beauty and strength. The clay's significance extends beyond practical applications; it serves as a medium for artisans to express cultural narratives and preserve traditions. North Carolina's relationship with kaolin clay is particularly notable. The state's varied geology, especially in areas like Cherokee and Jackson Counties and the Appalachian region, harbors rich deposits of this valuable mineral. These deposits have been instrumental in shaping the pottery and ceramics industry both historically and in contemporary times. Here, kaolin clay is more than a raw material; it's a driver of artistic innovation and economic growth. Mines across Western North Carolina, known for their high-quality deposits, contribute to the region's reputation in the pottery world. Among these, the Webster Clay Mine in Jackson County stands out. It has established itself as a premier source, producing kaolin clay with ideal properties for high-quality porcelain and fine ceramics. This clay's impact on the local pottery scene is profound. The abundance of kaolin in Western North Carolina has played a pivotal role in shaping the region's pottery styles and techniques. From functional earthenware to delicate porcelain, the versatility of kaolin clay has enabled artisans to experiment with a range of forms. This adaptability of kaolin has been essential in preserving traditional pottery practices, linking potters with their cultural heritage. One notable area in North Carolina's pottery history is Jugtown in Buncombe County, known for its functional pottery. This locality, distinct from other Jugtowns in Moore and Catawba Counties, leveraged the local kaolin clay to create utilitarian wares. The clay's presence allowed for a diversity of pottery styles, showcasing its versatility and the skill of regional artisans. The export of North Carolina's kaolin clay to England in the 18th and 19th centuries added a global dimension to its story. The renowned Wedgwood company utilized this clay, enhancing the quality of its fine pottery, like what is shown at left. This trade brought regional and international acclaim to North Carolina's kaolin, reinforcing its significance in the ceramics world. The story of kaolin clay in North Carolina is a rich interplay of geology, artistry, and heritage, continuing to inspire new generations of potters and artists.
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Photo Courtesy of Hunter Library, Western Carolina University At left, photo courtesy of Leland Little Auctions, Ltd.
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64 In the realm of ceramic arts, "Wild Clay: Creating Ceramics and Glazes from Natural and Found Resources" stands out as a definitive guide for potters seeking a profound connection with the very earth they sculpt. The book serves as a comprehensive manual for those aspiring to source, process, and utilize wild clay, drawing from the extensive knowledge and experiences of authors Matt Levy, Hitomi Shibata, and Takuro Shibata. Matt Levy brings a geologist's perspective to the craft, his work profoundly influenced by the rich geological tapestry of St. Paul, Minnesota. Drawing clays from Lake Superior and the Mississippi River Basin, Levy's approach is a testament to the deep relationship between the local environment and artistic expression. Hitomi Shibata, originating from Japan and with a rich background in Fine Art & Craft, carries with her the traditional potting techniques of Shigaraki, one of Japan's most famous pottery towns. Her journey led her to North Carolina, where she, alongside her husband Takuro, enriches the pottery scene with her profound craftsmanship and understanding of wood firing techniques. W ild C lay : W ild C lay : C reating C erami C s and g lazes from n atural and f ound r esour C es C reating C erami C s and g lazes from n atural and f ound r esour C es
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65 Takuro Shibata, also hailing from Japan, marries his academic background in Applied Chemistry with the traditional apprenticeship he pursued in Shigaraki's esteemed pottery studios. As the director at STARworks Ceramics, he has been instrumental in fostering a creative and sustainable approach to ceramic arts in Seagrove, North Carolina. Together, these authors encapsulate a global perspective on the timeless art of pottery, emphasizing the significance of wild clays. "Wild Clay" is more than just a guide; it is a visual celebration of the craft, richly illustrated and meticulously detailed, providing valuable insights from prospecting and testing to the final creation of pottery. The book not only equips readers with practical skills but also encourages a deeper appreciation of the ceramic materials and the narratives they hold. A review from an enthusiastic reader lauds the book for encapsulating the authors' expertise, making it accessible for both budding and experienced ceramicists. "Nothing can replace the hours and years needed to grasp the potential of the wild materials around us," the reviewer notes, emphasizing the invaluable guidance that "Wild Clay" offers. For those unfamiliar with the intricacies of wild clay, the book presents a thorough history in the United States context, paired with a glossary for easy comprehension of material properties, issues, and defects. For the experienced potter, the book is a treasure trove of technical advice and advanced knowledge, aiding in reducing lab time frustrations and enhancing the joy of creation. As the review highlights, "With the tables and images provided, readers will gain an understanding of glaze and clay chemistry so they can troubleshoot issues related to their experience." "Wild Clay" thus stands as an essential resource for anyone on the ceramic journey, advocating for sustainability, creativity, and the intimate bond between the artist and their environment. It is not just about shaping clay but about being shaped by the clay's story and history, about carrying forward a cultural legacy through the touch of one's hands and the fire of one's kiln.
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Based in the heart of North Carolina's verdant landscape of Star North Carolina, Starworks has emerged as a hub of artistic innovation and tradition in pottery and beyond. Operating since 2009 as a 501(c)(3) nonprofit organization, Starworks is more than just a ceramic supply company; it's a dynamic community dedicated to promoting sustainable rural economies and preserving the region's rich natural and cultural heritage. Starworks Ceramics, a distinct arm of Starworks, stands as the United States' only ceramic supply company that specializes in native wild clays of North Carolina. The Ceramics Shop is run by Takuro Shibata, who cowrote "Wild Clay: Creating Ceramics and Glazes from Natural and Found Resources." Each clay body is carefully sourced from various geological locations within the state, embodying a deep respect From Earth to Art: The Story of Starworks Ceramics and North Carolina's Wild Clay Legacy
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and connection to the land. Their Wild Clay Series showcases the diverse North Carolinian soils, offering artists unique textures and colors that mirror the area's geological past. Close to the historic pottery community of Seagrove, Starworks Ceramics has developed a harmonious relationship that blends tradition with modernity. This synergy has led to the creation of unique clay blends like the East Fork Red, sourced from the East Fork River, and the New Catawba 10 from the Catawba Valley, reflecting local pottery traditions. Additionally, Starworks Ceramics processes distinct clay bodies like the iron-rich Dark Star 10 and the silica-abundant New Seagrove 10, perfect for wood and salt firing techniques. Their commitment to sustainability and community-centric ceramics is further highlighted in the book "Wild Clay: Creating Ceramics and Glazes from Natural and Found Resources," co-authored by the Shibatas and Matt Levy. Beyond its clay series, Starworks enriches the regional cultural landscape by collaborating with artists, organizations, and businesses, hosting workshops, demonstrations, and lectures. Starworks also includes a Glass Studio, offering rental space, workshops, and classes for glass artists, alongside community events like Hot Glass Cold Beer. Starworks' offerings extend to a Ceramic Supply Shop, Café & Taproom, and the School House Gallery, fostering an immersive artistic experience. The Starworks Clay Studio offers residency programs and workshops, nurturing a space for education and collaboration among artists. FireFest, a two-day festival at Starworks, celebrates the role of fire in art creation. It features guest artists in ceramics, metal, and glass, conducting demonstrations, artist talks, and performances. The event includes workshops open to the public, live music, and food trucks, creating a vibrant community atmosphere.
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FireFest at Starworks has become a pivotal event for the arts community, especially for enthusiasts of glass, ceramic, and metal arts. This two-day festival, set in the artistic mecca of Starworks, celebrates the elemental role of fire in art creation. Scheduled for April 5 and 6, 2024, FireFest is a vibrant showcase of creativity and craftsmanship. The festival features a dynamic array of activities, including demonstrations, workshops, and open studios in ceramics, glass, and metal. Renowned guest artists are invited to demonstrate their skills, engage in artist talks, and participate in stunning fiery finale events. Each year, a massive ceramic sculpture is created on- site. This sculpture, fired in a specially designed petal kiln, will be revealed in a blaze of glory on Saturday evening. This annual festival at Starworks is not just an event; it's a celebration of the transformative power of fire in art, bringing together artists, c o n n o i s s e u r s , a n d the community for an unforgettable experience.
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The Art of Green Craftsmanship: Celebrating Sustainable Pottery in a Modern World In the face of an escalating environmental crisis, the age-old craft of pottery emerges as more than a testament to human artistry. It represents a profound commitment to sustainable living. As we grapple with the pervasive threat of disposable plastics endangering our oceans, soils, and air, the world of pottery offers a glimmer of hope. This art form is a perfect amalgamation of ancient traditions and a forward-thinking environmental ethos. Every stage, from the initial touch of clay, rich with the earth's essence, to the nurturing warmth of the firing kiln, embodies the possibility of crafting in harmony with nature. The Timeless Elegance of Catawba Valley Pottery: A Legacy Enriched by the Earth In the lush green foothills of North Carolina lies Catawba Valley, a region renowned for a pottery tradition steeped in time, nature, and a deep-seated respect for the environment. The local artisans of this valley, through a profound bond with their land, harvest clay directly from the life-giving riverbeds. This practice bestows each piece with a distinct texture and soul that mass-produced clays cannot replicate. The entire pottery process in Catawba Valley, from shaping to glazing, is a testament to a commitment to Mother Earth. The wood- fired kilns represent a deliberate choice to minimize ecological impact, while the glazes, concocted from locally sourced materials and recycled glass, transform each ceramic piece into a dual expression of art and sustainable practice. Starworks Ceramics: Pioneering Sustainable Practices in Pottery In the quaint town of Star, North Carolina, Starworks Ceramics is revolutionizing the pottery industry with its environmentally conscious approach. This organization, though small in size, plays a crucial role in promoting sustainable practices. They focus on harvesting wild clay throughout the state, ensuring that their footprint on the environment is as minimal as possible. Their dedication to sourcing local materials not only contributes to the unique aesthetic of their ceramics but also serves as a beacon for low-impact, eco-friendly craftsmanship in the world of pottery.
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71 Green Energy Park: Where Artistic Vision and Environmental Responsibility Meet Nestled in Jackson County, the Green Energy Park (GEP) stands as an emblem of innovative sustainability. At the heart of GEP’s mission is the remarkable initiative to harness methane gas from local landfills—a potent contributor to greenhouse emissions. By repurposing this gas to fuel their kilns, GEP demonstrates a powerful synergy between artistic creation and environmental stewardship. The park's Anagama Kiln, with its roots in ancient Japanese pottery traditions, is a marvel of this synergy. It operates on a blend of sustainable fuels like wood and waste vegetable oil, bridging the gap between historical pottery techniques and contemporary environmental objectives. GEP's dedication to community involvement is palpable, as it regularly opens its doors to the public, inviting them to witness and participate in the sustainable art of pottery. A Journey Towards Sustainable Transformation in Ceramics In our quest to mitigate the environmental impact of single-use plastics, pottery emerges as a compelling alternative. Incorporating pottery into our daily lives represents a shift from the transient to the enduring, from the artificial to the natural. This movement isn’t merely a choice; it's an essential step towards environmental sustainability. Pottery offers an array of practical applications, from kitchenware to decorative items, providing a sustainable and aesthetically pleasing replacement for plastic products. The initiatives spearheaded by Catawba Valley, Starworks Ceramics, and Green Energy Park are indicative of a broader movement within the realm of ceramics. This movement beckons us towards a future where each piece of pottery tells a story of creativity, respect, and care for the environment. As artisans spin their wheels and fire their kilns, there is an underlying hope that this green renaissance will continue to grow. The aspiration is for more artists, communities, and industries to embrace these sustainable practices, ensuring that the art of pottery remains a harmonious and sustainable symphony for future generations to appreciate and continue.
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72 Barry Barry An Ode to an Artist, An Ode to an Artist,
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73 In the world of Southern traditional and folk pottery, few names resonate as profoundly as that of Barry Gurley Huffman. Born in 1943, Huffman has spent a lifetime exploring, documenting, and creating art that speaks volumes about the rich tapestry of Southern culture. Her work extends beyond the mere act of creation, delving into the heart of what makes folk art a vital thread in the fabric of American heritage. Huffman's affinity for pottery is not just a professional pursuit but a personal passion. Her celebrated tome, "Catawba Clay: Contemporary Southern Face Jug Makers," offers a clear window into this passion. It stands as a testament to her deep connection with Catawba Valley Pottery, an art form that traces back to the indigenous Catawba people and was revitalized by potters in the American South. Together with her husband, Huffman became a pillar of the Catawba Valley Pottery Show, contributing significantly to its growth and success until their retirement. The Huffman household itself is a living museum, showcasing one of the largest Catawba Valley Pottery collections known. In Huffman's home, pottery transcends its utilitarian origins, each piece a story, each jug a character frozen in fired clay, crowding every tabletop and mantelpiece with their silent narratives. Beyond pottery, Huffman's brushstrokes have also captured the solemnity and grace of rural churches in a collection of paintings coupled with insightful commentary, revealing another layer of her artistic repertoire and her commitment to preserving the soul of Southern Americana. In her books like "Lafone Living Art" and "Hand-in-Hand: Visions & Voices of North Carolina Folk," Huffman offers readers a profound understanding of the cultural and historical significance of folk art. These works not only feature her meticulous research and engaging prose but also showcase her ability to see through the eyes of the artists she profiles, presenting their life achievements in a context that honors their contributions to the rich tapestry of folk tradition. Huffman's love for pottery is not merely an aesthetic appreciation but a deep-seated reverence for the craft and its role in cultural expression. In her own words: " Allen and I have focused on the history and the arts and crafts of the Catawba Valley because we have been happy here. Having a strong sense of place - the traditions and the culture - helps you center your life on important issues. Stand on the rich clay that can be formed into vessels for food preservation, then lift your eyes to the beautiful rolling hills and distant mountains. You are bound to the land and to the people, to the earth and to the artists.” Barry Gurley Huffman's collection shows that the art of pottery is never static; it is a living, breathing chronicle of Southern life. Her contributions have undoubtedly shaped the landscape of folk art and will continue to inspire both aficionados and artists alike. In Huffman's hands, clay becomes a canvas, and history molds into a shape that speaks, resonates, and endures. Gurley Gurley Huffman: Huffman: a Collector and an Author a Collector and an Author
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74 COSMETIC, IMPLANT ANDCOMPREHENSIVE DENTISTRY(828) 328-5581 221 13th Avenue Place North West, Hickory
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75 Pottery Memories Pottery Memories with Granny Eckard with Granny Eckard In recent years I have come to enjoy pottery and have a collection of various styles. My favorite is Catawba Valley. Old Catawba Valley pottery has a unique glaze that even I have learned to spot. There are numerous potters still practicing in our area between Catawba and Lincoln counties. When I was young my grandma had lots of Catawba Valley pottery that was utilitarian. She had only a cast-iron skillet, kettle, and pottery. I don’t remember any modern stainless cookware. She used pottery to make kraut, churn butter, keep milk in the spring box, and store molasses. About 20 years ago I was presented with my grandma’s molasses jug - lucky me. I think that was the beginning of my love of pottery. I have snake jugs, just because they are fun; and I have a small collection of old utilitarian. Several of these pots were made by my ancestors. There were three roots of my family who were potters from northern Lincoln County: The Seagles and Reinhardts who were from my Dad’s maternal side and the Propsts who were from my Dad’s paternal side. Dad told a story of being a boyhood friend of Burlon Craig. When they were young teens, these boys worked for a spell at a kiln. Burlon learned to turn pots and Dad learned to make glaze. Dad regretted that he did not learn to operate a potter’s wheel. (Of course, he could have done that even later in life because he learned lots of other skills.) As Burlon was getting up in years and slowing down his pottery making, Dad took me down to his kiln and I commissioned several pieces which I still have - they have appreciated 300%. These were from the last firing of a “total” Burlon Craig. Not until about 10 years ago was I able to witness the actual firing of pottery and opening the groundhog kiln. It was a memorable moment. When I looked inside, all the pots were glowing red hot like they were on fire. My young grandsons have shown an interest in turning and firing pottery. They own a wheel and an electric kiln. I am interested to see what they can do with this craft.
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Embracing Pottery in Life's Second Act: A chat with Mark Guess Beside a tranquil creek, surrounded by the gentle hum of nature and the playful antics of his goats, Mark Guess finds a profound sense of serenity. This idyllic setting is more than just a home; it's a creative sanctuary where Mark, after a full career as a state trooper, has embarked on a new journey as a potter. His story is a testament to the beauty and benefits of pursuing passions later in life, illustrating that it's never too late to start a new chapter. Mark's hands, once accustomed to the rigors of law enforcement, now skillfully shape clay on his potter's wheel. The transition from state trooper to potter may seem stark, but for Mark, it's been a journey back to his roots, to a pace of life that resonates with the rhythms of the natural world around him. The creek's gentle flow and the goats' playful energy infuse his workspace, bringing a sense of calm and focus that is palpable in each piece he creates. Pottery, for Mark, is not just an art form; it's a medium of reflection and meditation. The process of centering clay on the wheel mirrors his own centering in life. Each pot he throws is a blend of patience, precision, and a little bit of serendipity—much like life itself. His works are not just objects of beauty but symbols of a life lived with intention and mindfulness. Starting a new venture later in life comes with unique advantages. With years of experience and wisdom, Mark approaches pottery with a maturity and perspective that enriches his craft. There's a certain freedom in pursuing a passion after retirement, unburdened by the pressures of making a living or proving oneself. It's about the pure joy of creation, the pursuit of a hobby that ignites one's spirit, and the fulfillment of personal aspirations. We asked him why he chose to create pottery. He had a lot to say on the topic, and we were happy to listen. " I've always watched my Granny Ila Bolick create things. She came from a family where all her brothers and sisters had some artistic talent. As much as I wanted to carve, draw, paint, I never could get it. I was at a fall festival about three years ago and saw some pottery displayed. I asked the lady how she did this stuff and she explained. I stopped by Gary Mitchell’s place and asked if he taught lessons, he then pointed me in the direction of Rodney Smith and there it began. Anyone who has ever been in the military, law enforcement, EMS, or Fire has seen some pretty nasty things that you can’t unsee. I was on a Fast Attack Submarine, worked several years in a prison until I got into NC Highway Patrol school (where I got the name Caveman for running barefoot), so I have seen my share of destruction. I found this is a way for me to relax, and tone down which has always been hard for me to do. Once I began to make stuff it was great, once I began to give things to people and see the happiness it brought them, I was hooked. Once
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while I was at Caldwell DSS, I had the opportunity to give a piece of pottery to a little girl in middle school who was placed in foster care. She had experienced nothing great in her life but parents who didn’t care for her, and an arrogant principal who was relentless to punish her at school for stealing his piece of cake because she was hungry. When I picked her up, she had three trash bags of items, which were all clothes. It took a while to find her placement, so she and I talked quite a bit. The day I took her to her foster home, in a different county, starting a different school with all her anxiety I presented her with a piece I made just for her. I explained that although she may seem to have nothing permanent in her life, she now had this. No matter what home she went to, what problem she faced, this was hers to look at and know that someone cared for her. It was like I had given her a million bucks. I then realized just how powerful clay in my hands was. I keep tabs on her through her Social Worker to this day making sure she has what she needs, and one thing she takes care of is her piece of pottery. When I’m at my creek, in my basement, or wherever I have some clay in my hands it is the best feeling in the world. I do this because I love it. If I could build a pottery school for unfortunate children, trauma victims, or just anyone who needs an escape I’d do it. If old Frank Costanza had a wheel, he wouldn’t have had to yell Serenity Now so much 😉 . I encourag e everyon e t o tr y somethin g ne w n o matte r you r age because my only regret in pottery is not finding it sooner. If you want to find a path to learn then I’m on Facebook under my name or Caveman Pottery and willing to help anyone I can. It is hard to express the exact reasons why I chose pottery this late in life, but I’m very happy I did. Met some wonderful people, met a few who had no problem telling me how great they were too. I don’t do this for nothing more than the enjoyment of it. Will I ever be that super famous artist, nope. Will people knock down the doors of a festival to grab my latest creation, probably not. Will I continue to make things so that someone will hopefully enjoy it, you better believe it." Mark's journey into pottery is a vivid reminder that life's second act can be just as fulfilling, if not more so, than the first. It's a celebration of lifelong learning and the joy of discovering new passions at any age. In the quiet of his creek-side studio, with the soft bleating of goats in the background, Mark Guess shapes more than just clay; he shapes a narrative of continual growth and the timeless beauty of starting anew.
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79 In the gently rolling terrain of western South Carolina, the Edgefield District paints a picture that's as deep and textured as the clay beneath its earth. At the heart of this district lies a pottery tradition, not just born from the land's rich deposits but also shaped by the hands, hearts, and histories of its inhabitants. Edgefield's pottery narrative is one of family ties, artistic innovation, and the profound contributions of those enslaved. A Land Blessed with Bounty Edgefield's rise as a pottery epicenter wasn't just a twist of fate. Beneath its feet lay a treasure trove: deposits rich in kaolin and feldspar. These natural resources were the primary ingredients for stoneware pottery. As artisans began to recognize the potential of these local materials, a pottery movement began to take root. More Than Business: A Community's Pulse While many regions had craft traditions, what made Edgefield's pottery scene unique was its close-knit fabric of familial bonds. It wasn't just about pots and profits; it was about kin. Most potteries in Edgefield were helmed by individuals who were intricately linked by blood or marriage. This created a beautifully complex dance of collaboration and competition, with techniques, secrets, and innovations passed down, refined, or reinvented across generations. Edgefield Pottery Photos courtesy of the Metropolitan Museum of Art.
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80 The Unsung Heroes: Enslaved Artisans In the depths of America’s antebellum South, beneath the apparent tranquility of western South Carolina's gently undulating landscape, an extraordinary tale of skill, resilience, and silent rebellion was being crafted. This is the story of the enslaved artisans of the Edgefield District, whose remarkable legacy in pottery is embodied in the figure of David Drake—an African American man who, in spite of the brutal constraints of slavery, emerged as an artisan of exceptional caliber. Born in the dawn of the 19th century, David Drake came into the world as property of the Drake family, his life anchored to a plantation in South Carolina. The first legal acknowledgment of his existence surfaces from a document dated June 13, 1818, where he is merely described as "a boy about 17 years old country born," a term denoting he was born on American soil rather than Africa. Throughout his life, Drake would be among the 76 enslaved individuals toiling within the confines of Edgefield's twelve bustling pottery factories. It was here, in Pottersville, within the humming enterprise owned by Harvey Drake and his business partner Abner Landrum, that David’s journey in pottery began. Landrum, also a local newspaper publisher for "The Edgefield Hive," is speculated to have taught Drake to read, using the Bible as his textbook—a daring endeavor, as teaching an enslaved person to read was a criminal act, punishable by law. Despite the peril, Drake’s literacy flourished, a skill he would later weave into his ceramics. The trail of David Drake’s life is a patchwork of ownership and oppression. Upon Harvey Drake's death, he passed into the hands of Rev. John Landrum and subsequently to Landrum's son, Franklin, under whom his treatment, by historical accounts, was especially harsh. It was a grim period, punctuated by a significant silence in his work—no poetry from his hand is recorded during these years. And then, amidst the looming shadows of his existence, emerged a peculiar and heartbreaking clue to the life he endured: at some stage, Drake lost a leg, possibly as a brutal penalty for his insubordinate acts of literacy. This award-winning children's book simply and beautifully tells the important story of David Drake, also called "Dave the Potter," "Dave Pottery," or "Dave the Slave." It has received both the Caldecott Award and the Coretta Scott King Award. Dave the Potter: Artist, Poet, Slave, by Laban Carrick Hill is an excellent read.
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81 Drake’s narrative, however, was not to be stifled by tragedy. In 1849, Lewis Miles, who owned the 'Stony Bluff' factory, became Drake's new enslaver, and it was in this chapter that Drake's artistry truly blossomed. His production surged, and the verse that graced his pots grew in frequency and depth—his jars often carrying heartfelt poems alongside his name, date, and the initials "LM" for Lewis Miles. The Civil War ended in freedom for David Drake, and he took the surname of his first enslaver, appearing in the 1870 Census as "David Drake, Turner." By the 1880 Census, his name was absent, suggesting that he had passed away, his life's work left as a testament to his endurance and talent. Drake’s pottery is robust, yet elegantly simple in form, his pieces ranging from utilitarian storage jars to massive pots capable of holding 40 gallons, their proportions balanced, their surfaces smooth and inviting to the touch. On these, he etched poignant reflections of his inner world, such as on a greenware pot dated August 16, 1857: "I wonder where is all my relations Friendship to all and every nation." This verse encapsulates the essence of an artist who, despite being ensnared within an inhumane institution, could still express hope and a yearning for universal kinship. Drake’s inscriptions offer us a window into the soul of a man who leveraged the only platform he had—his pottery—to assert his humanity and intellect. Fast forward to the modern era, and David Drake's creations are no longer commodities exchanged for a pittance; they are treasured artifacts of American history, with individual pieces fetching upwards of $50,000, and as much as $1,000,000 at auction. His legacy continues to be celebrated and examined in exhibitions and literature, with his life and works serving as subjects for scholarly and artistic inquiry.
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82 His oeuvre is now part of America’s cultural patrimony, housed within the esteemed collections of major institutions such as the Smithsonian's National Museum of American History, the National Gallery of Art, the Metropolitan Museum of Art, and beyond. These vessels are not merely relics of the past but are enduring voices that speak of the indomitable spirit of their creator, serving as a profound reminder of the complex tapestry of American history and the unnamed many who contributed to it. David Drake’s story is emblematic of the countless enslaved artisans whose names have vanished in time but whose skills shaped the narrative of American craft. It is a story of art as a form of resistance, of a silent poetry inscribed in clay, and of a legacy that transcends the boundaries of time, bearing witness to the remarkable resilience of the human spirit. Exhibitions "Hear Me Now: The Black Potters of Old Edgefield, South Carolina" is a compelling exhibition currently touring notable museums, showcasing the ingenuity of African American ceramic artistry from the 19th century. Presented at The Metropolitan Museum of Art, the exhibit is a profound collection of approximately 60 ceramic objects, including those crafted by the esteemed enslaved potter-poet David Drake. It provides an in-depth look at the stoneware production of the Old Edgefield District, set against both the historical backdrop and the contemporary responses it has inspired. But you can find Dave the Potter pieces much closer to home! The Museum of Early Southern Decorative Arts (MESDA) , located in Old Salem, is home to several pieces by Dave the Potter. Several are shown below, and their most impressive piece is shown on the previous page.
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83 We are the preferred providers of oral surgery, wisdom teeth removal and dental implants for many area employers. No matter where you live or work, you’re close to one of our offices. David J. Darab DDS, MS, MBA Paul E. Richardson DDS Jesse Onekhena DMD, MD Alex J. Krisko DMD, MD
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84 Moravian Pottery Moravian Pottery In the heart of North Carolina, amidst the rhythms of the 18th century, the Moravian community emerged as an influential force in both cultural and artistic spheres. Renowned for their devout faith and disciplined lifestyle, the Moravians are perhaps an unlikely source for some of America's most distinctive and vibrant pottery.
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86 This juxtaposition of austere living with the creation of exuberant earthenware forms the essence of Moravian pottery. This craft, with its intricate designs and meticulous craftsmanship, not only stands as a testament to the community’s artistic prowess but also offers a unique window into their daily lives and values. Join us as we delve into the rich tapestry of Moravian pottery, where history and artistry interweave seamlessly. The The Moravian Moravian Community Community The Moravian community's roots can be traced back to the Protestant Reformation in Europe. Originating from the teachings of Jan Hus, who paved the way for figures like M a r t i n L u t h e r, t h e M o r a v i a n s c o n f r o n t e d p e r - secution. This forced them to seek sanctuary in various regions, ultimately establishing themselves in what is now the Czech Republic. Driven by religious passion and missionary dedication, they ventured into new territories, culminating in the foundation of numerous settlements worldwide. Gottfried Aust Plate Courtesy of MEDSA
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87 In the mid-18th century, fueled by their enduring faith and the pursuit of religious freedom, the Moravians directed their attention towards North Carolina. In 1753, they established Bethabara, marking their first foothold in the region. Not just a settlement for spiritual refuge, Bethabara also became notable for its pottery industry, with figures like Rudolf Christ contributing to its budding reputation. Later, in 1766, they founded Salem. The name Salem, signifying "peace," was fittingly chosen for its strategic position within the Wachovia tract—a broad swath of land acquired by the Moravians. Constructed with meticulous care, this settlement reflected European urbanization ideals, comprising neatly laid-out streets, communal squares, and specified zones for craft workshops, religious structures, and living spaces. However, Salem's meticulously planned layout wasn't its sole distinguishing feature. The Moravians carried with them a profound expertise in crafts, arts, and various trades. Prominent among these was pottery. Blessed with the region's abundant natural resources, especially the fertile North Carolinian clay, the Moravians were excellently positioned to significantly influence the pottery landscape of the New World. The initial days of both Bethabara and Salem were hallmarked by a sense of collective responsibility and mutual objectives. Every resident, irrespective of their designated task, played a part in the town's comprehensive development. They undertook the construction of essential facilities, tilled the land, and nurtured commerce. As both settlements burgeoned, their stature as nexuses for outstanding pottery concurrently grew. While Bethabara had the contributions of Rudolf Christ, Salem witnessed the likes of Gottfried Aust, both leaving indelible marks in the annals of American ceramic history.
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88 Artistry in Clay: Salem's Master Artistry in Clay: Salem's Master Potters Potters The ceramic arts of Salem, North Carolina, owe much to the expertise and innovation of two master potters: Gottfried Aust and his apprentice, Rudolph Christ. Aust, a figure synonymous with the birth of Salem's pottery tradition, brought with him from Europe the rich Moravian practices that would come to define the region's ceramic production. Renowned for his control of the potter's wheel and his commitment to excellence, Aust's period was one of pragmatic artistry, crafting pieces that served the Moravian settlements well into the mid- 18th century. His portfolio, marked by its functionality, included robust kitchenware such as durable storage jars and sturdy jugs. But Aust's craftsmanship extended into the realm of the decorative with his slipware plates. These objects were not only culinary tools but canvases displaying vibrant, slip-glazed motifs that resonated with the Moravian aesthetic, combining daily utility with artistic elegance. In the fullness of time, Rudolph Christ emerged, trained by Aust, ready to push the boundaries of traditional Moravian pottery. After his apprenticeship in Salem and establishment of his own pottery in Bethabara in 1786, Christ carried forward the practices learned from Aust. However, he infused them with the advanced techniques characteristic of the British ceramic wave of that era, carving out a new chapter in Salem's ceramic history until his retirement in 1821. Christ was celebrated for enriching Moravian ceramics with the tortoise shell pattern, a sophisticated marbling effect achieved with slips, which added texture and visual interest to his work. This innovation in slipware was a leap beyond the Salem norms, reflecting Christ's commitment to diversification and creativity. Beyond aesthetic advancements, Christ's pivotal role in the progression of Moravian pottery involved his extensive use of press molds. While Aust had occasionally employed molds, Christ elevated their use, producing complex rim patterns on plates and introducing a variety of molds—innovations that Holland would inherit and continue.
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89 In his hands, these molds facilitated the creation of not only traditional forms but also playful animal-shaped bottles that mirrored the American wilderness, capturing the imagination with earthenware renditions of squirrels, turtles, and fish. One of Christ's most noteworthy contributions was the eagle flask, an artifact that encapsulated the burgeoning American identity. This flask, alongside other works, underscored a cultural shift from European to American motifs in Moravian pottery, heralding a new era of ceramic expression. Christ's tenure in Salem came to a close when he passed the baton to John Holland in 1821, marking the continuation of a legacy through Salem's third master potter. Though the Moravian congregational pottery business would conclude in 1829, the influence of Christ's techniques persisted. Holland, along with another Salem potter, Heinrich Schaffner, continued to produce press- molded wares well into the mid-19th century, ensuring that the pioneering spirit of Christ's craftsmanship lived on in American ceramics.
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90 Old Salem: A Window to the Past Old Salem: A Window to the Past Stepping into Old Salem, North Carolina, is like walking through a portal into an era long gone. This meticulously preserved town offers visitors an immersive experience into the rich tapestry of history that shaped the Moravian community in the early Americas. The air carries whispers of the past as you navigate the historic cobblestone streets, lined with original and reconstructed buildings that have stood the test of time. Visitors are not merely observers but become participants in the living history that Old Salem proudly represents. With each step, the town reveals stories of ingenuity, faith, and communal life that defined the Moravian settlers. The attention to detail in the restoration of Old Salem is evident, ensuring that every element, from the heirloom gardens to the hand-forged hinges on weathered doors, contributes to an authentic historical atmosphere. In the heart of Old Salem, the art of pottery, a craft deeply entrenched in the Moravian tradition, comes alive. The town's historic pottery workshop serves as hallowed grounds for those wishing to delve into the artisanship of the era. It showcases the original tools and methods used in creating the iconic Moravian pottery, with demonstrations often led by skilled artisans who carry the knowledge and techniques passed down through generations.
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92 Museum of Early Southern Decorative Arts (MESDA) Museum of Early Southern Decorative Arts (MESDA) Nestled within Old Salem is the MESDA, a haven for aficionados of early Southern art and craftsmanship. Here, one can witness the most extensive collection of Moravian pottery. The artifacts, ranging from utilitarian storage jars to intricately designed slipware plates, narrate the tale of the evolution of Moravian pottery. Rudolf Christ's renowned animal- shaped bottles, his uniquely American designs, and Gottfried Aust's more traditional works all find a home here. For those eager to delve deeper, the museum offers guided tours, workshops, and interactive sessions, bringing the pottery-making process to life. Visitors can experience the pottery wheel's hypnotic spin, feel the cool, malleable clay, and perhaps even try their hand at molding a piece of history. The preservation efforts of Old Salem and MESDA ensure that the legacy of the Moravian potters remains undiminished. Their commitment to showcasing the artistry and history of these potters serves as a testament to the lasting impact of the Moravians on American culture and craftsmanship.
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93 Beyond the celebrated Moravian pottery, the MESDA boasts an impressive array of Southern ceramics, showcasing a rich diversity from across the region. The collection spans beyond North Carolina, featuring works from as far as Mississippi and Texas, each piece a testament to the South's robust ceramic heritage. Notably, the museum also houses a significant collection of pieces from Dave the Potter, also known as Dave Drake. An enslaved African American who worked in South Carolina, Dave was exceptional for his skill in creating large stoneware pots inscribed with verses, a rare occurrence given that he was literate during a time when it was illegal for enslaved people to read or write. This collection provides invaluable insights into the life and times of an artist who shaped pottery under the most challenging circumstances, his works standing as resilient symbols of creativity and resistance. A Legacy Transcending Time A Legacy Transcending Time Moravian pottery has deeply impacted North Carolina's heritage and American craftsmanship. Its unique combination of European techniques with American creativity makes it a treasured asset for collectors and a source of inspiration for today's artists. This pottery tradition captures the Moravians' cultural adaptation and spirit of innovation. Contemporary potters often emulate the iconic Moravian style, and educational platforms regularly feature it, perpetuating its influence on future generations. This legacy of craftsmanship continues to be celebrated, highlighting the timeless nature of true art and its capacity to reflect cultural narratives. Since 1990 2613 N Center St, Hickory (828) 323-8477 kellyandcompanysalon.com Use this QR code to book your appointment!
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94 By Gin Hurley In the captivating realm of modern ceramics, a world brimming with innovation, the term "Alternative Firing" beckons curious artists and enthusiasts. This expansive category encompasses various firing methods that dance beyond the boundaries of traditional electric, gas, or wood-burning kilns. Pit Fire - Painting with Smoke and Flame The ancient technique of Pit Fire infuses pottery with a mesmerizing palette of colors. Artists place a bisque, or once-fired, pot into a dug pit along with combustible materials and organics. This assembly is set ablaze, leaving the vessel to bask in the smoky dance for hours or even days. When unearthed, the pot's surface reveals an abundance of hues, a testament to the alchemy of smoke and flame. Saggar - A Modern Twist on Tradition Saggar firing, while rooted over a thousand years ago in China, offers a contemporary twist on pottery preservation. Originally used as a method to protect production pottery from kiln ashes, the modern Saggar method introduces an element of controlled chaos. The saggar, or protective shell, encases the pottery piece and is filled with an array of organic materials, from combustibles to salts, nitrates, and colorants. When the kiln's heat is unleashed, this miniature pit fire of sorts releases its magic within the confines of the saggar, producing vivid and dramatic colors. All pots shown are the work of the author, Gin Hurley, who specializes in alternative firing methods. You can find her work at Tigersmoon.com. Artistry of Alternative Pottery Firing
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95 Raku - The Art of Impermanence Raku, with its origins dating back to 16th- century Kyoto, embodies a philosophy of simplicity. Evolving from traditional black and red to today's kaleidoscope of metallics and limitless possibilities, this method showcases the beauty of impermanence. The process begins with heating pottery to a specific temperature before it's removed, clad in safety gear. Once withdrawn from its safety confines, it is plunged into a combustible environment, setting the piece ablaze. Finally, the piece is smothered to cool it without exposure to air. In this oxygen-deprived environment, colors blossom, forming intricate and captivating patterns. Horsehair - Crafting with Tradition and Innovation Horsehair firing traces its roots back to the Navajo Tribal Tradition, yet it has transcended cultures and expanded its horizons to embrace a wide array of art forms. The process involves the removal of pottery from the heat, where hair, feathers, or other organic patterns are carefully placed onto the surface. These materials become one with the pottery, leaving behind a carbon mark infused with the essence of smoke and flame. The result is a celebration of tradition and innovation etched onto the pottery's surface. While these Alternative Firing methods offer boundless avenues for artistic expression, it's essential to note that the resulting pottery pieces are not considered food-grade by modern standards. However, some sealants are emerging on the market to provide a potential remedy. Still, these products are in the early stages of testing for their safety, promising new possibilities for both the artist and the art lover. In the dynamic world of Alternative Firing, boundaries blur, and creativity knows no limits. History and innovation intertwine, yielding pottery pieces that are not just functional but works of art, each narrating a unique story of fire, smoke, and the human spirit's boundless creativity.
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Groundhog kilns are a type of oven traditionally used by potters, notable in regions like the Catawba Valley, Seagrove, and Edgefield along the eastern Appalachians. These kilns are partially embedded in the ground, reminiscent of a groundhog's den. These kilns are elongated, with a low, arched roof resembling a barrel on its side, constructed from heat-resistant materials. The partial burial of the kiln utilizes the natural insulation of the earth. Groundhog kilns operate on wood fuel. Inside the kiln's spacious chamber, pottery is arranged to be fired. At one end is the firebox, and at the other, a chimney facilitates airflow. Heat generated from the fire passes through the chamber, firing the pottery to a hardened state and allowing glaze to develop a glossy finish. These kilns are capable of reaching temperatures exceeding 2,000 degrees, ideal for high-quality pottery production. The use of natural materials and earth for insulation reflects an environmentally mindful approach. Groundhog Kilns Groundhog Kilns
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97 Despite technological advancements, some contemporary potters maintain the use of groundhog kilns. The traditional methods yield unique pottery pieces and maintain a connection to the area's historical craftsmanship. Groundhog kilns represent a durable and effective technology for firing pottery, embodying a bridge between historical practices and modern-day craftsmanship. Their continued use underscores a commitment to tradition and quality in pottery production. The pottery shown in these photos was made by Michael Ball and Michel Bayne, shown below stoking the kiln.
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98 Imagine a road less traveled, winding through the heart of North Carolina, where the earth whispers ancient stories and artisans shape the whispers into form. This is NC Route 705, or as it’s affectionately known, the Pottery Highway. Here, each curve in the road promises a new discovery, where the red clay breathes life into a timeless craft. Welcome to Seagrove, a place where the pottery wheel's gentle hum and the alchemist’s dance of glaze and fire unite to create more than just vessels and sculptures; they craft a living history that cradles the soul of America's pottery tradition. Seagrove has been aptly christened as the "handmade pottery capital of the United States." But what is it that elevates Seagrove from being just another town on the map to holding such an esteemed title in the world of ceramics? It isn't merely about the number of potteries it hosts, the spectacular clay, or the volume of pottery it produces. Instead, it's the town's profound commitment to the craft, the shared history that every potter inherits, and the collective vision that ensures the flame of innovation never flickers out. History History Long before the town of Seagrove became synonymous with pottery, the fertile soils of North Carolina bore witness to a tradition steeped in time and culture. Understanding Seagrove's prominence in the world of ceramics requires a journey back to its very beginnings. The area's original inhabitants, Native Americans, were the pioneers of pottery in the region. They were the first to discover the particularly good vein of clay in Seagrove. They crafted vessels primarily for utilitarian purposes, such as cooking, storage, and transportation. These early potters employed techniques like coiling and pinch-pot methods, creating pieces that were both functional and visually striking. The designs, often incised or stamped, told stories of their environment, beliefs, and everyday life. Their legacy is not merely in the pots they left behind but in the continuity of a craft that became the bedrock of Seagrove's identity. Seagrove Seagrove Pottery Pottery
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99 Ben Owen III throws a pot.
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100 Building on the indigenous foundations, the art of pottery in Seagrove underwent a remarkable evolution. The Native Americans' initial exploration and use of the region’s clay set a precedent that would echo through the ages. Their functional vessels and intricate designs laid the groundwork for a rich tradition that would attract new waves of artisans. As European settlers arrived and made Seagrove their home, they brought with them different pottery techniques, merging their own styles with the wisdom of the land's original potters. Seagrove has long captivated artisans with its rich vein of clay and abundant wood, essential for the traditional kilns of the 18th century. The region's earliest potters molded the native red clay into redware, a type of earthenware that, after firing, revealed a warm spectrum of red, orange, or brown hues. As the 1800s unfolded, families such as the Coles, Aumans, Owens, Teagues, and Albrights began to establish a strong pottery heritage within this community. By the mid-19th century, the local artisans' proficiency had evolved to include the sophisticated technique of salt-glazed pottery. This method, involving higher firing temperatures and the strategic introduction of salt into the kiln, resulted in grey clay pieces known for their exceptional durability. This innovation marked a significant milestone in the region's pottery, with these families playing a crucial role in its development and continuity. Their craft has been handed down through generations, and many descendants remain active in Seagrove today, upholding the ancestral tradition. Their work is a vibrant narrative of Seagrove's history, blending the resilience of their forebearers' pottery with the artistic spirit that continues to thrive in the region. Most of the Seagrove potters in this pre-industrial era were also farmers. Pottery was a secondary, albeit crucial, source of income, yielding functional pieces—pots, bowls, jugs, and even roof tiles—crafted not for decoration but for daily rural life. They were sold or traded regionally, satisfying the needs of households far and wide. Transition Through Adversity Transition Through Adversity As the 20th century dawned, the industrial era brought factory-made pottery to the market. Inexpensive and mass-produced, these products posed a stark challenge to the traditional craft of Seagrove's artisans. Many potters across the country succumbed to this wave of industrialization, but a resilient few in Seagrove persisted, continuing to create handcrafted pottery that honored the traditions of old.
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A Renaissance Through Artistic Vision A Renaissance Through Artistic Vision The modern chapter of Seagrove pottery began with Jacques and Juliana Busbee, a couple hailing from Raleigh who serendipitously stumbled upon an orange pie dish that led them to Seagrove in 1917. Enamored by the local craft, they founded Jugtown Pottery, setting in motion a revival that would see Seagrove's pottery embraced by a wider audience. Juliana Busbee moved to New York City in 1918, where she introduced the rustic elegance of Jugtown to an urban clientele from her store in Greenwich Village. The hiring of James Owen, a descendant of one of Seagrove's earliest potters, marked the beginning of Jugtown Pottery's story. His passing in 1923 brought forth a new era, with Ben Owen and Charlie Teague stepping into the limelight, ushering in a period of growth and creative evolution. Seagrove on the National Stage Seagrove on the National Stage Through the concerted efforts of the Busbees, and with the allure of Juliana's New York shop and the burgeoning interest from nearby resort towns like Pinehurst, Seagrove pottery gained national recognition. Collectors and aficionados alike began to seek out these embodiments of American handcrafted pottery. This newfound fame allowed Seagrove's potters to break free from purely functional designs, embracing more creative, collectible works. Whimsical face jugs and an array of small identical pieces for gift shops began to emerge, showcasing the diverse artistic capabilities of the potters.
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103 Seagrove as a Destination for Pottery Lovers Seagrove as a Destination for Pottery Lovers By the 1950s, Seagrove had established itself as a pilgrimage site for those who cherished pottery. Local potters united to promote their heritage, organizing exhibitions and distributing maps to guide visitors through the hallowed pottery landscape of Seagrove. This sense of community and historical pride only grew as the American crafts movement of the 1960s and the bicentennial celebrations spurred further interest. The latter part of the 20th century saw new potters arrive, drawn by Seagrove's reputation and the area's rich traditions. Some learned from the local masters, while others brought with them fresh perspectives from their academic training in North Carolina's universities and colleges. In 1982, the Seagrove Pottery Festival was inaugurated, becoming a staple event that celebrates the region's pottery excellence. The Living Legacy The Living Legacy Today, Seagrove's population, barely over 200, belies the significance it holds in the pottery world, with almost 100 potters, like Sid Luck of Luck's Wares, shown above, calling it home. It is a community bound by clay, where camaraderie and mutual respect for tradition and innovation interlace as tightly as the coils of a potter's bowl. Above, Sid Luck stands in front of his Groundhog Kiln. On the previous page, we take a peek inside the kiln.
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The Owen Dynasty: The Owen Dynasty: Continuity of Craftsmanship Continuity of Craftsmanship Ben Owen III and Vernon Owens, descendants of the revered Owen family, continue to uphold the profound legacy of their family's craft in Seagrove, North Carolina. Their work, richly woven with historical techniques and personal creativity, stands as a testament to the enduring heritage and evolution of ceramic art. Ben Owen III is celebrated for his mastery of classic forms and glaze applications, a tribute to the legacy of his grandfather, Ben Owen Sr., who was pivotal in popularizing Chinese white and copper red glazes. Ben's work at his studio on Busbee Road, off the famed Pottery Highway, is a harmonious blend of tradition and innovation, drawing visitors into a world where time-honored practices meet artistic exploration.
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Ben Owen III's dedication to his craft extends beyond mere replication of traditional methods. His approach to pottery is a unique fusion of ancestral wisdom and personal innovation, where each piece reflects a deep understanding of the materials and a boldness in artistic expression. His work is characterized by a keen attention to detail, whether in the delicate curves of his vessels or the intricate layering of his glazes. This meticulousness has earned him a distinguished place in the world of contemporary pottery, where he is celebrated for both preserving and evolving the Owen family legacy. In his studio, a space that resonates with the history of North Carolina pottery, Ben Owen III continues to experiment and push the boundaries of his medium. His commitment to exploring new techniques and styles, while staying rooted in the traditional practices passed down through generations, makes his work a compelling blend of the old and the new. The atmosphere in his studio is one of reverence and creativity, where the past's echoes meet the present's innovations, making each visit an enriching experience for lovers of pottery and art alike. In these pictures, Ben Owen III throws a pot. In the background, you can see his wood-fired Anagama kiln, one of several large kilns he has on site. The kilns must burn for many hours to get the pottery hot enough for the magic to happen.
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106 Jugtown Jugtown Not far away, Vernon Owens, along with his son, Travis, daughter Bayle, and wife Pamela, maintain the historic Jugtown Pottery. Each family member is a talented potter in their own right. Here, the essence of simple forms and muted palettes reflects the vision of Jacques and Juliana Busbee, the Raleigh natives who founded Jugtown. They introduced new forms and revitalized the area's pottery scene in the early 1900s, significantly shaping the aesthetic and functional aspects of Seagrove pottery. The Busbees are shown at left, photo courtesy of Jugtown. Jugtown, under the stewardship of Vernon and Travis Owens, honors this legacy by producing pieces that embody the Busbees' dedication to classic, understated design. Each piece from their kilns is a story in clay, a narrative of the evolving Seagrove tradition. In acknowledging the contributions of the Busbees, the Owens family recognizes the broader context of their craft. While celebrating their own lineage, they also pay homage to those who laid the foundation for Seagrove's pottery renaissance. It's a recognition of the symbiotic relationship between individual artistry and communal heritage. The studios of Ben Owen III and Vernon Owens, set amidst the Piedmont's pines and hills, are not just workshops but cultural landmarks. Visitors are welcomed into spaces where the legacy of the Owen family and the vision of the Busbees coalesce, offering an immersive experience in the art of pottery. Here, the rich history of Seagrove pottery is not only preserved but is vibrantly alive, continually reshaped by the skilled hands of these master potters.
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The Artistic Heritage of the Cole Family The Artistic Heritage of the Cole Family North Carolina's pottery landscape is indelibly marked by the Cole family, whose potting legacy in the state stretches back over two hundred years. The Coles have become one of the most revered potting dynasties, not just for their longevity but for their significant contributions to the craft. The Mint Museum pays homage to this lineage with pieces from six generations of the Cole family, showcasing the evolution of their craft. Raphard Cole, the progenitor, set the wheel in motion in the early 19th century, crafting stoneware essentials for everyday use. As the state's economy and society evolved, so too did the Cole family's pottery. They transitioned from purely utilitarian wares to artful creations like vibrant vases and decorative pitchers, tapping into the burgeoning tourist market and the increasing demand for North Carolina's artisanal ceramics. The Coles were also progressive in their training, equipping both daughters and sons with the skills to "turn pots," ensuring the family's potting knowledge was passed down through both genders. From the earthy tones of traditional stoneware to the bright glazes of decorative ceramics, the Cole family has left an indelible mark on North Carolina's artistic heritage, their pottery a testament to both the rich resources of the state and the evolving tastes of its people. Photos on these two pages are courtesy of Leland Little Auction, Ltd. This page features different Cole Potters, and the pottery on the next page was created by Walter and Dorothy Auman.
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109 Dorothy and Walter Dorothy and Walter Auman’s Contributions Auman’s Contributions Dorothy Cole Auman, a descendant of the storied Cole pottery family, alongside her husband Walter Auman, a third-generation potter, carved a significant niche in the preservation of Seagrove's pottery heritage. Their zeal was evident in their establishment of the Potter's Museum, an extraordinary assemblage of North Carolina pottery spanning two centuries, thoughtfully curated within the walls of the old Seagrove railroad depot located on US 220 just north of Seagrove. This endeavor not only showcased their dedication to the craft but also their profound commitment to its historical narrative. Adjacent to the museum, they constructed a full-sized groundhog kiln—a nod to the past and a favorite of earlier potter generations—rooting the museum in the traditional practices of the region. It was their way of honoring the legacy of C.C. Cole, who harbored a deep fascination with the potters' history, a passion that Dorothy and Walter shared. Their commitment to the craft extended beyond the wheel and kiln; they were just as devoted to the collection of artifacts and historical documents, a pursuit that enriched the museum's offerings. The museum's formal dedication on October 5, 1969, was a landmark event, drawing an audience of 600 that included over 50 active potters, a testament to the vibrant and enduring legacy of the pottery traditions it was dedicated to preserving. The Aumans' roles were not confined to preservation; they were proactive in promoting Seagrove pottery, creating and distributing brochures that championed the local industry, and conducting educational talks to inspire new generations. On Feb 9, 1964 the Beatles made their U.S. TV Debut on the Ed Sullivan show. It was momentous! The Beatles shirt is made using NO INK whatsoever, and is just one of many pieces in our 'Silhouwear' collection. These shirts will last forever. We are offering a limited edition Beatles Version to commemorate the Feb 9 appearance and 60 Year Anniversary of their appearance. The License Plate and Mug are also a collectors edition, with '1964-2024' printed on each. Visit our storefront at 105 South 3rd Street, Smithfield NC 27577, or give us a call at 919-810-7472. JUDSDESIGNS.COM
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The tragic and untimely demise of Dorothy and Walter left a palpable void in the Seagrove community. However, the museum they nurtured became a foundation upon which the North Carolina Pottery Center was later established. Their initial collection and the knowledge they shared laid the groundwork for what would become an institution dedicated to celebrating and perpetuating the rich ceramic legacy they so loved. Today, the North Carolina Pottery Center, an outgrowth of the Aumans' original museum, continues to thrive as a testament to their vision. It not only showcases historical pieces but also serves as a vibrant educational and cultural hub, underpinning the area's pottery industry. Their philanthropic spirit is also immortalized in the substantial donation they made to the Mint Museum, ensuring that the story of Seagrove pottery—a story they so fervently championed—continues to be told and experienced by all. Continuing Traditions: Crystal King Continuing Traditions: Crystal King Continuing the legacy of the storied Seagrove pottery tradition, Crystal King, a prodigious talent in the realm of pottery, stands as a torchbearer of the craft passed down through generations. As the sole daughter of potters Terry and Anna King, Crystal was ingrained with the art of pottery from a young age. Her parents, apprentices to Dorothy Cole Auman, were custodians of an eight- generation legacy of pottery expertise. This rich heritage, under the tutelage of Dorothy, greatly influenced their approach to folk pottery, a tradition they imparted to Crystal. Crystal King, from her early years, displayed a remarkable aptitude for hand building, a technique that swiftly garnered attention from folk art enthusiasts. Her unique style, a blend of traditional methods and personal creativity, reflects the deep-rooted teachings of the Cole and Auman legacies. Unlike many pottery dynasties where skills are passed directly from parent to child, Crystal's lineage of knowledge is a testament to the enduring impact of mentorship and apprenticeship in the continuity of craft traditions. The Kings, through their association with Dorothy Cole Auman, not only inherited a profound understanding of pottery but also a sense of responsibility to perpetuate the art form. Crystal, embodying this responsibility, continues to evolve the craft. Her works are not mere reproductions of traditional designs; they are innovative interpretations that resonate with the rich history of Seagrove pottery yet speak in a contemporary voice. Crystal’s contributions to Seagrove pottery extend beyond her creations. She actively participates in community events, workshops, and exhibitions, sharing her knowledge and skills. Her presence in the Seagrove community is a vibrant reminder of the legacy of Dorothy and Walter Auman, as well as her own parents, Terry and Anna King. Through Crystal’s hands, the story of Seagrove pottery, enriched by generations of artisans, continues to unfold, ensuring that the art form remains a dynamic and integral part of North Carolina’s cultural fabric.
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113 The North Carolina The North Carolina Pottery Center Pottery Center The North Carolina Pottery Center is a repository of tradition and a hub of ceramic innovation, where the state's rich pottery heritage is not just displayed but brought to life. This center, more than a museum, is a vibrant, interactive sanctuary where visitors are transported through the history and ongoing evolution of North Carolina pottery. Forged from the vision to protect and enhance the pottery- making legacy of the state, the center stands as a tribute to the dedication of figures like Dorothy (Cole) Auman and Walter Auman, as well as the collective efforts of the local community, state cultural organizations, and pottery enthusiasts. It is home to a permanent exhibition that carefully traces the history of the craft from the Native American era to contemporary artistic expressions in clay. The center's ever-changing exhibitions explore the diverse facets of North Carolina's pottery, celebrating its history while spotlighting present-day advancements. These carefully curated exhibits narrate the region's ceramic story while educational workshops and classes engage participants with the tactile joy of shaping clay, under the guidance of expert potters. Researchers, scholars, and students find the Pottery Center to be an academic goldmine. It offers extensive archives, from oral histories to a vast collection of pottery and documents, enabling in-depth study and fostering partnerships with academic institutions for ceramic studies and projects. More than its role as a conservator of history, the center actively supports North Carolina''s potters by promoting their work through exhibitions, sales, and events, thereby contributing to the craft's economic sustainability. The center also places a strong emphasis on education, offering youth programs that ignite a passion for pottery in new generations. By weaving together education and experience, the Pottery Center ensures the cherished traditions of North Carolina pottery will continue to be embraced and reinvented by future artisans. The North Carolina Pottery Center stands as a beacon of Seagrove's ceramic heritage, ensuring that the narrative of pottery is not only preserved but also continues to unfold in exciting new ways. It is a testament to the enduring legacy of the potters' craft, where every kiln and pot tells a story of the human spirit's ingenuity and creativity.
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114 Styles, Techniques, and Innovations Styles, Techniques, and Innovations Seagrove's reputation as a pottery haven isn't a title bestowed overnight. Its distinction arises from the rich tapestry of styles, the time-honored techniques, and the continuous wave of innovations that have coursed through the potter's hands over the decades. At the heart of Seagrove's traditional pottery is a nod to its historical roots. The forms often mirror the functional vessels of yesteryears: jugs, pitchers, churns, and various types of storage pots. . Some Seagrove potters are still crafting their wares from the vein of good clay that has supported the community for centuries. Starworks Ceramics, an art supplier based right outside of Seagrove, handles much of the digging and processing of that clay in modern times. The signature of Seagrove, the salt glaze, is a technique that dates back to the 18th century. To apply this glaze, potters placed their pieces on a sand-covered bed inside the kiln. They heated the kiln to around 2,300 degrees Fahrenheit for stoneware. Salt was then introduced through openings known as "salt ports." When the salt met the hot air inside the kiln, it vaporized, giving the pottery a sodium silicate coating. This resulted in a shiny, durable finish. Usually, this salting process was done twice for each batch in the kiln. This traditional glaze speaks to the resourcefulness of the potters, using locally available materials to create a finish that is both beautiful and unique. While Seagrove potters revere tradition, they are not bound by it. After glass became widely available and the aesthetic appeal of pottery began to matter more to consumers, The potters of Seagrove responded by introducing variety and contemporary styles—abstract designs, unconventional forms, and even sculptural pieces that are more art than utility. Seagrove potters also expanded their repertoire regarding glaze use. They created a plethora of colors using feldspar, zinc, red iron oxide, black copper oxide, cobalt oxide, and various other minerals. Potters safeguarded their recipes, keeping them a closely held secret. As Kenneth George, a tenth-generation potter of the Cole lineage, told the News & Observer, "Everybody always said potters were so secretive. Granddaddy was likely to spend who knows how much time and money trying to figure out a color. He only went to like the third grade, but he was a really smart person. He was always doing experiments and coming up with colors. And then another potter comes down and wants him to give it to them? Uh-uh. Most potters now don't do their own colors. You can get store-bought colors, already mixed up. But the thing about these colors is, they're our colors. Granddaddy came up with them himself." Image courtesy of Leland Little Auctions, Ltd.
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115 His "Granddaddy" was A.R. Cole, and this secretive nature was common among potters of that era. He was most famous for his red/orange glaze, likely passed down from J.B. Cole. The secret to the glaze died with him, but modern pottery enthusiasts think that the secret ingredient may have been Uranium oxide, which was available commercially before World War II, but not after. Waymon Cole used to joke that the secret ingredient was gold dust, which many a gullible tourist believed. If you happen to have a piece of this highly collectible pottery, please take a moment to shine a black light on it. If it glows, your piece could be instrumental in finally answering the question of the glaze’s recipe. While coiling and the potter's wheel remain mainstays, slip casting, slab building, and other methods have been introduced, expanding the range of what can be crafted. New materials, including different clay blends and imported glazes, have found their way into Seagrove studios, allowing potters to explore new creative frontiers. In an increasingly interconnected world, Seagrove hasn't remained an island. The global exchange of ideas has influenced local potters, with styles from Asia, Europe, and other pottery-rich regions inspiring Seagrove's artisans. Whether it's the Japanese art of Raku, the intricate patterns of Moorish ceramics, or the sleek Scandinavian designs, glimpses of global pottery trends can be seen in the works of Seagrove's potters. However, they've always maintained a balance, absorbing global influences while ensuring their creations retain the unmistakable Seagrove essence. What sets this pottery apart is that it has been so welcoming of new traditions and techniques, and has remained at the leading edge of the pottery world, while still respecting the traditional roots. Seagrove's pottery scene is a dance between the old and the new—a harmonious blend of time- tested methods and modern innovations. Each piece, whether steeped in tradition or brimming with contemporary flair, tells a story. A story of a community that respects its roots while embracing the winds of change, ensuring that Seagrove remains at the forefront of the pottery world.
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116 Plan a Visit! Plan a Visit! Seagrove, North Carolina, is a vibrant hub of pottery, where over 80 studios thrive in a closely-knit community. This town is defined not just by its rich clay soil but by the artisans who share stories, techniques, and a collective vision, sustaining Seagrove's reputation as a ceramics center. Here, tradition blends with innovation, as seasoned potters mentor newcomers, ensuring the longevity of their craft. Internationally recognized, Seagrove's pottery is featured in prestigious collections, showcasing its role as a beacon of American craftsmanship. The town stands as a testament to the enduring appeal of pottery, merging utility with beauty. The economic and cultural identity of Seagrove is deeply intertwined with its pottery, showcasing the profound impact of art on community spirit. The town stands as a testament to the enduring allure of pottery — a craft that combines earth, water, and fire to create both utilitarian and aesthetically pleasing objects. Visiting Seagrove offers an immersive experience into this rich tradition. It's a place where the hum of the potter's wheel, the warmth of the kiln, and the stories of dedicated artisans come to life, offering a firsthand experience of a legacy that photographs and articles can only partially capture. Seagrove invites visitors to witness pottery-making in action, to hold a piece of its legacy, and to be part of the living history that continues to shape this remarkable community. CRYSTAL KING POTTERY SEAGROVE, NC
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The North Carolina The North Carolina Pottery Highway Pottery Highway NC Route 705 NC Route 705 The North Carolina Pottery Highway, known as NC Route 705, is a journey through the state's rich ceramic history, showcasing Seagrove as a key highlight. More than just a road, it's a historical lifeline that connected potters to markets, playing a pivotal role in the evolution of North Carolina's pottery culture. Along the route, visitors encounter renowned potteries like Jugtown and Ben Owen Pottery, offering an immersive experience into the world of ceramics. These studios are not just showcases but interactive spaces where visitors can meet artists, understand their creative processes, and even participate in pottery-making workshops. The route's diversity in ceramic styles, from traditional to modern, appeals to both collectors and casual visitors. Throughout the year, the highway buzzes with events and festivals, making it a vibrant destination for those interested in pottery. It represents more than a physical journey; it's an exploration of Seagrove's enduring legacy and its continuous contribution to the ceramic arts. This route, blending history with contemporary artistry, stands as a tribute to the timeless craft of pottery in North Carolina. From the Ground Up From the Ground Up 910-464-6228 910-464-6228 FromTheGroundUpPots.com FromTheGroundUpPots.com Seagrove Art Pottery 336-872-4054 seagroveartpottery .com 402 East Main St Seagrove NC 27341
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The history of North Carolina is as layered and intricate as the pottery shards buried beneath its soil. From the ancient Native American civilizations to colonial settlers and beyond, pottery remains a tangible link to the past, shedding light on the state's multifaceted narrative. What Pottery Reveals Pottery fragments and intact pieces provide invaluable insights into: Cultural Identities: Different tribes and communities, like the Catawba, Cherokee, and later the Moravians, had distinctive pottery styles. These styles speak volumes about the group's traditions, artistic expressions, and values. Trade and Commerce: The presence of certain pottery, such as Moravian pottery or Spanish majolica, in varying parts of the state, underscores historical trade routes and networks. Technological Evolution: The shift from hand-coiled to wheel-thrown pottery indicates technological and artistic advancements. Daily Lives: Pottery types and their associated finds can hint at diets, ceremonies, and daily routines of ancient peoples. Cultural Interactions: Blending of styles and techniques, like the alkaline-glazed stoneware developed with German and African influences, highlights the confluence of cultures in North Carolina's history. PO tt ERY PO tt ERY & & ARCHAEOLOGY: ARCHAEOLOGY: UNEARTHING THE HISTORY OF NORTH CAROLINA UNEARTHING THE HISTORY OF NORTH CAROLINA
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Notable Archaeological Sites Town Creek Indian Mound: A prehistoric site near Mount Gilead showcasing the life and artistry of the Pee Dee culture. Pottery artifacts reveal insights into ceremonial practices and the day-to-day life of these ancient people. Joara and Fort San Juan: Near present- day Morganton, Joara offers a glimpse into Native and Spanish interactions. Native American pottery found alongside Spanish majolica narrates a story of trade, coexistence, and conflict. Brunswick Town/Fort Anderson: The ruins along Cape Fear River offer a deep dive into colonial life. Colonial pottery fragments, both from local artisans and imported varieties, underscore trade practices of the time. Bath: Finds from North Carolina's oldest town have provided a window into the lifestyles of early settlers, their trade patterns, and their interactions with indigenous tribes. Moravian Sites in Old Salem: The distinct Moravian pottery pieces, vibrant and uniquely shaped, serve as markers of the religious, artistic, and daily life of the Moravian community. Reed Gold Mine: Beyond its gold history, pottery fragments here offer snapshots of the lives of miners and early settlers. Roanoke Island: English pottery shards from the late 16th century unearthed here hint at the lives of the "Lost Colony" settlers, though the colony's ultimate fate remains an enigma. North Carolina's history is a mosaic of diverse cultures, interactions, and evolutions. The pottery at these sites serve as a testament to this rich past, helping researchers piece together the narratives of the state's inhabitants across millennia.
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121 Three Three Jugtowns, Jugtowns, North Carolina North Carolina In North Carolina, a unique cultural footprint marks the landscape: the legacy of "Jugtown." With three distinct communities laying claim to the title, the name Jugtown echoes through the state, each site rich with its own pottery lore. Catawba Valley boasts the storied origin of Jugtown, a historical hub of ceramic artistry. It is here that the folk art of Arie Taylor, shown at left, comes to life, inspired by her youthful explorations of the valley's pottery traditions, guided by her grandfather, who was a working potter. Her works are a visual homage to the once-flourishing industry that supplied countless jugs, vital to North Carolina's storied past. Moore County adds its own chapter to the Jugtown narrative, where Jugtown Pottery continues to thrive under the deft hands of the Owens family, maintaining a pottery practice that dates back to the early 20th century. The thread of the Jugtown legacy weaves through Buncombe County as well, where families like the Stones and Penlands have shaped the clay for over a century, contributing to a state tradition that melds utility with beauty. Though spread across the state, each Jugtown shares a common ground—a dedication to the craft that has shaped North Carolina's cultural heritage, captured vividly in the folk artistry of Arie Taylor and preserved in the earth-turned creations of local artisans. Art by Arie Taylor
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122 Cherokee Homestead, Hayesville Before the first English explorers came to the area in the 17th century, the Cherokee established a town along the Hiwassee River. Nearby to the community of Quanassee is the Spikebuck Mound. Excavations have uncovered examples of Cherokee pottery that were used for food preparation and ceremonial purposes. Traditional pottery was hand- formed and stamped with patterns that were made using carved wood paddles and bits of natural materials, like corncobs. Nearby to the reconstructed Cherokee Homestead is the Clay County Historical and Arts Museum. Cherokee Homestead Exhibit, 21 Davis Loop, Hayesville www.cccra.net Pottery Traditions in Western NC Pottery Traditions in Western NC by M. Anna Fariello Today it is hard for us to appreciate the importance that pottery played in the lives of people prior to the mid 20th century. As late as 1932, a woman from western North Carolina recalled, “I had four or five children before I ever saw a glass can.” Pottery filled the need for containers of many types. Stoneware crocks were used for food preparation and storage, plates and bowls were used on the table, and vases graced homes that could afford them. Beginning in the early 19th century, several potteries served western North Carolina and surrounding areas. For well over 100 years, they continued to produce much-needed utilitarian ware. Long after other containers became available, pottery continued as a locally made alternative to factory produced glass and metals. At the start of the 20th century, and fueled by the success of an international Arts and Crafts movement, a few local potteries began to develop a more individualistic style that came to be known collectively as “art pottery.” Wedgwood Clay Historical Marker, Franklin Kaolin is a white-burning clay, often called “china clay” in reference to the discovery of Chinese porcelains. After Marco Polo returned from a trip to the East with a porcelain pot in hand, European aristocracy began amassing collections of the mysterious material. Pound-for-pound, porcelain was as precious as gold. In 1767, famed English potter, Josiah Wedgwood obtained a sample from Macon County, close to the Cherokee town of Cowee. Known to its Wood paddles carved with patterned grooves, used to decorate Cherokee pottery. Bureau of American Ethnology, 1903
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123 Cherokee owners as “unaker” for its white color, Wedgwood recognized the fine-grained clay as kaolin. Eventually, five tons were shipped to England, but he was not able to develop an effective export system to move large quantities overseas. Wedgwood’s efforts at mining clay in western North Carolina were documented in an 18th century journal that gives today’s historians a glimpse into kaolin production. Today, both the Wedgwood pottery site and the historic Cherokee town of Cowee are marked with highway historical markers. “Pottery Clay” and “Cowee” Highway Markers, Highway 28 North, Franklin Photo courtesy of www.ncmarkers.com Webster Clay Mines, Webster While Josiah Wedgwood was never able to export a usable amount of clay to England from Macon County, by the 1890s, a successful clay industry developed nearby in Webster. Owned and operated by C.J. Harris, the mines extracted kaolin, a fine-grained clay used in porcelain products, like insulators for electric wires. During this period, the industry was a “pick-and- shovel” operation with pits dug as deep as 100 feet. These circular pits were lined with wood, giving the appearance of a large basket sunk deep into the earth. After the kaolin was dug and processed, it was hauled by wagon to the railroad at Dillsboro. The success of the industry encouraged others to extract clay from the region and, at one time, there were 20 mines in the area. By 1900, the industry employed 250 workers but, within another generation, the clay pits were exhausted. Photo courtesy of www.wcu.edu/ library/DigitalCollections. Mountain Heritage Center, Cullowhee The Mountain Heritage Center, located on the campus of Western Carolina University, celebrates the natural and cultural heritage of the southern Appalachian region with exhibits and programs throughout the year. Its annual Mountain Heritage Day brings together vendors and demonstrators in a day long festival held on the last Saturday of September. Many of the area’s best potters are on hand to demonstrate and sell their work. Traditional pottery jug, Mountain Heritage Center, Western Carolina University Mountain Heritage Center in Hunter Library 176 Central Drive, Western Carolina University, Cullowhee; 828-227-7129; www.wcu.edu/mhc
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Museum of North Carolina Handicrafts, Waynesville Listed on the National Register of Historic Places, the Museum of North Carolina Handicrafts was founded by agricultural extension agent Mary Cornwell who directed the Village of Yesteryear, an annual craft exhibit at the North Carolina State Fair. Located in the historic Shelton House, the museum displays pottery and other traditional crafts. On the way up Balsam Mountain, Mud Dabbers Pottery Crafts is located on the Great Smoky Mountain Expressway. Photo courtesy of Craft Revival Project, Southern Highland Craft Guild. Museum of North Carolina Handicrafts, 49 Shelton Street, Waynesville; 828-452-1551 www.sheltonhouse.org Penland-Stone and Trull Potteries, Candler Penland-Stone Pottery was one of the earliest potteries established in Buncombe County. Beginning around 1844, the site was one of three places in North Carolina that was called “Jugtown” for its prolific output of utilitarian ware. Members of the Penland and Stone families produced stoneware pots for domestic use. Several generations of family potters made crocks, pitchers, and storage jars finished with ash glazes and a variety of clay slips. Pottery making was a start-from-scratch operation, with glazes mined and ground from local minerals. Penland-Stone Pottery operated for over 100 years before closing its doors in 1945. At the turn of the 20th century, Trull Pottery was built across the road from the Penland-Stone Pottery in Candler. Clay was hauled in from rich clay deposits in nearby Luther and Hendersonville. The wood frame shop was built adjacent to a creek that was diverted to turn a waterwheel to provide power to the operation. With an ample supply of water power, the shop was able to produce large quantities of pottery. Photo courtesy of Crocker Farm.
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Omar Khayyam and Throckmorton Potteries, Candler Oscar Lewis Bachelder (1852-1935) had worked as an itinerant potter for nearly 40 years before settling near Candler in 1911. He was almost 60 years old when he established the Omar Khayyam Pottery, naming it for a Persian poet-philosopher to give his pottery a distinct artistic flare. Bachelder produced decorative works that came to be known as “art pottery,” meaning that the work departed from the standard brown stoneware jug that was so commonly produced at the time. Bachelder produced vases and jars with simple shapes and embellished them with a variety of glazed surfaces. He used a glossy black Albany slip, a deep cobalt blue, and a variety of experimental iridescent glazes. His art pottery received national attention and, in 1919, he was awarded a medal from the Applied Arts Exhibition at the Art Institute of Chicago. When Bachelder died in 1935, the pottery changed hands and, for several years, was operated as Throckmorton Pottery. Portrait of Oscar Bachelder by Doris Ulmann, circa 1934; Southern Highland Craft Guild Brown’s Pottery, Arden The Brown family had operated a pottery in Georgia before moving to North Carolina and opening Brown’s Pottery in Arden in 1924. Brothers—Davis Pennington Brown (1895- 1967) and Evan Javan Brown (1897- 1980)—initially produced utilitarian ware, but eventually changed over to art pottery. They once made a pot that stood over six feet tall, claiming it to be the largest piece of pottery every made. Brown Pottery is also known for its face jugs, with bulging eyes and big teeth on the exterior surface of the pot. Javan and Davis Brown with the "world's tallest pot," 1920s; Photograph courtesy of Rodney H. Leftwich. www.brownspottery.com
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Pisgah Forest Pottery, Arden Walter Benjamin Stephen (1876-1961) came to North Carolina from Tennessee to open Nonconnah Pottery in Skyland. After Nonconnah closed, he opened Pisgah Forest Pottery in Arden in 1926. There, he began producing pieces with unique glazes, including a bold turquoise, interior pinks, and an experimental crystalline glaze. His very popular “cameo” ware depicted scenes of American life painted on the clay surface using layers of slip in a technique known as pate-sur-pate (paste-on-paste). In 1939, after Stephen joined the Southern Highland Handicraft Guild, his pottery was sold in their salesrooms and at their annual craft fairs. Reems Creek Pottery, Weaverville According to archeological evidence and historic records, there were once five thriving potteries in the Weaverville area. The best known and longest producing was Reems Creek Pottery. Run by two brothers— George (1870-1956) and David (1866-1951) Donkel—the pottery operated from the late 1890s through the 1940s. The Donkels produced pottery for home use, including large stoneware crocks. These were generally an ovoid shape and finished with small lug handles. Traveling photographer William Barnhill photographed the potters in 1917, giving today’s researchers a glimpse into the production methods of the historic pottery . Photo by William Barnhill, courtesy of Library of Congress.
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Southern Highland Craft Guild and Folk Art Center, Asheville With so many competing craft production centers operating in the 1920s, craft leaders decided to form a cooperative marketing organization to promote regional crafts collectively. Originally founded as the Southern Mountain Handicraft Guild in 1930, today’s Southern Highland Craft Guild makes its home in the Folk Art Center, located on the Blue Ridge Parkway just north of Asheville. The guild serves nine states with artist-members exhibiting and selling a variety of crafts, including pottery. Since 1948, the guild has sponsored the Craftsman’s Fair of the Southern Highlands, a major event held each July and October in Asheville. Folk Art Center, Blue Ridge Parkway milepost 382, Asheville; 828-298-7928 www.southernhighlandguild.org Traditional Artist Directory The Blue Ridge National Heritage Area has produced an online guide to the traditional arts in western North Carolina. The directory contains descriptive information about artists and regional traditions, listing more than 500 artists and groups who are master practitioners of folk traditions, including pottery. Browse photographs of traditional artists and their work, listen to samples of music and storytelling, and find contact information for services that artists can provide, including performances, workshops, and demonstrations. WWW.BLUERIDGEHERITAGE.COM/ TRADITIONAL-ARTIST-DIRECTORY T u r t l e I s l a n d P o t t e r y Handmade stoneware pottery in the mountains of NC turtleislandpottery.com 828-337-0992 Old Fort, NC
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128 ST. ASAPH’S POTTERY In the 18th century, North Carolina's backcountry witnessed the birth of a unique pottery tradition, the St. Asaph’s tradition, a fusion of Old World craftsmanship and New World creativity. This period in North Carolina pottery was characterized by an eclectic mix of designs and forms, drawing heavily on Continental and British craft heritage. Diverging from the Moravian style's naturalistic themes, St. Asaph’s potters ventured into a broader artistic realm, featuring a plethora of motifs including stylized crosses, plant forms, and intricate geometric patterns. Their work spanned various pottery forms, from flatwares like dishes and plates to hollow wares like pitchers, tankards, bottles, and notably, sugar pots—covered vessels integral to local households from the 1770s onwards. The tradition's roots lay in Hessen, Germany, from where families brought their pottery styles to North Carolina, settling in Guilford and Alamance counties. Their work, particularly noted for avian motifs, showcased a deep connection to European, especially German, earthenware traditions. Central to St. Asaph’s tradition were family networks, with families like the Loys and Albrights playing pivotal roles. Martin Loy, an immigrant from Hessen, laid the foundation for a family pottery business, strengthened through marriages with other potting families, thus preserving and enhancing the craft.
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129 Plate attributed to Solomon Loy. Courtesy of Old Salem Museum & Gardens. Jacob Albright Jr.’s pottery in Alamance County stands out for showcasing advanced techniques like marbleizing and polychrome slip decoration. Excavations there uncovered diverse ceramic fragments indicating a mastery of both abstract and naturalistic styles, including decorated hollow ware. The legacy of the potter’s wheel, passed through generations, saw the emergence of notable potters like Solomon Loy. Training likely under his father Henry, Solomon's work represented the evolution of the St. Asaph’s tradition, featuring diverse forms, glazes, and designs deeply rooted in local pottery styles dating back to the 1770s. A prominent element in this tradition was the St. Asaph’s cruciform motif, particularly in Solomon's slipware, symbolizing the strength of artisanal and family traditions in North Carolina. These motifs were not just decorative but narrated stories of cultural heritage, lineage, and skill. The St. Asaph’s tradition stands as a testament to the ingenuity and resilience of North Carolina craftsmen. They transformed clay into objects of beauty and utility, embedding their stories and heritage into each piece. As ongoing discoveries of these artifacts occur, they provide insights into a bygone era, highlighting the enduring nature of craftsmanship and the timeless artistry of pottery.
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Face jugs, embodying a blend of artistry and cultural narrative, stand as a captivating chapter in American folk art history. Originating in the 19th century, these pottery pieces are renowned for their unique jug form adorned with human-like facial features, each telling its own story from the Southern United States. The genesis of face jugs is rooted deeply in the Edgefield District of South Carolina. Here, a diverse group of potters, including enslaved African Americans, Europeans, and Native Americans, forged this distinctive art form. Edgefield's reputation for stoneware pottery was bolstered by its rich deposits of local clay. The face jugs crafted here, often featuring exaggerated facial features, were believed to be influenced by African artistic traditions and possibly held spiritual or ritualistic importance. The Edgefield potters, renowned for their craftsmanship, played a crucial role in this tradition. They pioneered the use of alkaline glazing in the United States, giving the face jugs a characteristic glossy finish. These jugs, from Edgefield, are not just artifacts of artistic mastery but also valuable historical pieces, showcasing the confluence of African, European, and Native American cultural elements. Face Jugs Images courtesy of Leland Little Auctions, Ltd.
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In North Carolina, the Catawba Valley emerged as another pivotal site in the face jug narrative. Here, local potters developed a distinct style, often using a lighter, more orange-toned clay. Their face jugs, while sharing certain characteristics with those from Edgefield, exhibited unique regional traits. Seagrove, also in North Carolina, has played a significant role in the evolution of face jugs. Potters in Seagrove often create these jugs, adding to the diverse tapestry of this folk art form. Their face jugs, while part of the broader Southern pottery tradition, often showcase a unique blend of styles and techniques, reflecting the rich potting heritage of the region. Over the decades, face jugs have evolved from utilitarian objects to sought-after collectibles, cherished for their historical, cultural, and artistic significance. Modern potters continue to draw inspiration from this storied past, infusing their works with personal interpretations and contemporary flair. Today, face jugs not only serve as a testament to the diverse cultural heritage of the American South but also as a vibrant, living art form, continually adapting and thriving in the hands of skilled artisans. Visit Crystal King Pottery in Seagrove to peruse the vast selection of facejugs. She's an 8th generation potter who enjoys making facejugs, and she's been an avid collector for many years. Shown here with jugs by her and her mentor Dorothy Auman.
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Pottery, with its rustic charm, organic textures, and rich history, is a timeless addition to any dining room setting. Whether you're hosting an intimate dinner or a grand feast, the right pottery can elevate the ambiance and create a memorable experience. Here's a guide to help you select pieces that'll make your dining room table shine. 1. Embrace the Craft's History Pottery is one of the oldest crafts in human history. When you choose pottery for your dining room table, you're not just choosing dinnerware; you're choosing pieces with a rich legacy. Think of it as a bridge between ancient traditions and modern tastes. 2. Explore Colors and Patterns Pottery offers an array of colors, from earthy browns and muted greens to vibrant blues and sunlit yellows. Select colors that resonate with your personal style, complement your dining room's décor, and highlight the food's presentation. If you lean towards minimalism, go for monochrome sets with subtle textures. If you're feeling adventurous, mix and match different patterns. The uniqueness of each piece can be a conversation starter! 3. Pay Attention to Texture The beauty of pottery lies in its texture. Some pieces are smooth and polished, while others have a rough and tactile quality. These textures can add depth and dimension to your table setting. Don’t be afraid to mix textured pottery with smoother pieces to add layers of visual interest. S etting a Tabl e
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4. Consider Functionality While aesthetics are important, remember to factor in the functionality. Choose pieces that are sturdy and can withstand the rigors of daily use. Some pottery is more delicate and better suited for special occasions, while others are built for everyday dining. 5. Go Beyond Dinnerware When we think of pottery, plates and bowls often come to mind. But there are other pieces like pitchers, platters, and vases that can be equally captivating. Incorporating these into your setting can add depth and variety. 7. Support Local Artisans Source your pottery from local artisans. Not only does this support local economies and craftspeople, but it also gives you a unique piece with a story to tell. Each handcrafted item carries the spirit and passion of its maker. If we want pottery as an art form to flourish, we must support potters. 8. Choose Pieces with a Story Every pottery piece has a story, whether it's in its design, the artist's journey, or the techniques used to create it. Maybe it's a set of plates with a glaze technique passed down through generations, or a handcrafted pitcher that tells a tale of cultural heritage. These stories add a layer of depth and character to your dining experience, making each meal more than just a gathering, but a celebration of art and history. Selecting pottery for your dining table isn't just about dinnerware; it's about creating moments and memories. With each carefully chosen piece, you’re crafting a story, setting the mood, and inviting your guests into a sensory experience. With the right pottery, your dining room table won't just be a place to eat – it'll be a place to connect, celebrate, and cherish the simple joys of life. COME EXPERIENCE THE LOVE OF CLAY Odyssey Clayworks 236 Clingman Ave Asheville NC 28801 Information on classes and workshops available at odysseyclayworks.com.
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134 Making Pots is Good For you Pottery, an ancient art form, has been practiced by cultures around the world for millennia. While it has always been valued for its artistic and functional contributions, in recent years, the mental health benefits of pottery have been recognized and celebrated. Mindfulness and Presence: Much like meditation, pottery forces an individual to be present in the moment. The process of molding clay requires focus, allowing a person to disconnect from their worries and stress, centering their mind solely on the task at hand. Stress Relief: The tactile nature of clay and the repetitive motions involved in pottery, like spinning the wheel or molding shapes, can be deeply soothing. This often results in a reduction of cortisol levels, the body's primary stress hormone. Expressive Outlet: Pottery provides a non-verbal medium of expression. For emotions or experiences that are challenging to articulate with words, shaping clay offers an alternative, letting feelings flow through hands and into creations. Enhanced Creativity: Regular engagement with pottery stimulates the brain's creative zones. Crafting unique pieces from a lump of clay fosters imagination and innovation. Sense of Accomplishment: Completing a pottery project delivers a tangible result from one's efforts. This fosters a sense of achievement and boosts self-confidence. Catawba Valley Potter Kim Ellington Preparing to Throw a Pot
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135 Physical Movement: The act of pottery involves both fine and gross motor skills. Kneading clay, spinning the wheel, or sculpting details can serve as a mild physical exercise, which in turn, releases endorphins – the body's natural mood enhancers. Enhanced Self-awareness: As one molds clay, they may also mold a deeper understanding of themselves. Through creating, individuals can reflect on their feelings, choices, and experiences, leading to increased self-awareness and personal growth. Cognitive Development: Pottery challenges the brain to coordinate hands and mind, enhancing motor skills and spatial awareness. This cognitive engagement can act as a form of mental exercise, keeping the mind sharp. While pottery produces beautiful artifacts, its most profound creations might be the intangible benefits it bestows upon the mind and soul. In an age where mental well-being is rightly gaining focus, embracing pottery might just be a pathway to a healthier, more centered self. How to Learn to Throw Pots: For those eager to embark on the rewarding journey of pottery, beginning close to home can often be the most practical and accessible first step. Local pottery instructors can offer personalized guidance, fostering foundational skills and techniques in a comfortable, community-based setting. These initial classes can provide a solid groundwork in the basics of hand-building, wheel-throwing, and glazing, all while allowing for the convenience of staying within your locale. It's a chance to dip your hands in clay and test the waters of this ancient craft, discovering your passion without the commitment of a faraway program. Once you've established a connection with the craft and find that you have a genuine affinity for pottery, pursuing a more intensive and structured education could be the next phase of your artistic development. Institutions such as the John C. Campbell Folk School, The Village Potters Clay Center, Penland School of Craft, and the ceramics program at Western Carolina University offer a diverse array of advanced classes and workshops. These centers of learning not only refine your skills but also immerse you in a community of like- minded individuals who share your enthusiasm and can push your creativity to new heights. Here, in the rich landscape of Western North Carolina, you can transform your budding interest into a profound expertise, surrounded by the inspiring Blue Ridge Mountains and a storied tradition of craft. Image courtesy of Leland Little Auctions, Ltd.
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By Carmen Eckard In the pages of "Birds of a Feather: The Joys of Friendship and the Great Outdoors," a heartwarming collaboration between renowned artist Bob Timberlake and Ambassador Mark Erwin, readers are invited into a world where friendship and the natural world intertwine in a seamless tapestry. Timberlake, an internationally acclaimed artist and hall-of-fame furniture designer, brings to this book his deep-rooted wisdom, gleaned from a lifetime of experiences and relationships. His authenticity and passion for life, art, and friendship resonate on every page. His motto, "Be the Friend You'd Like to Have," speaks volumes about his approach to life and relationships, a perspective I deeply value and share. Ambassador Mark Erwin, with his rich background as a businessman, diplomat, author, and philanthropist, complements Timberlake's artistic vision. His insights into the dynamics of friendships, nurtured through shared passions and values, offer a profound understanding of what binds people together. "Birds of a Feather" is more than just a book; it's a celebration of the joys of friendship, the beauty of the great outdoors, and the shared pleasures of hunting, fishing, conservation, and the love of dogs. Timberlake and Erwin's stories and musings, punctuated by over thirty new paintings and studies by Timberlake, are a testament to the enduring bonds that can form when people come together through shared interests and values. This book is not just an exploration of friendship; it's a guide, filled with practical advice on how these relationships are formed, nurtured, and maintained. Th personal anecdotes and life lessons shared by Timberlake and Erwin provide a blueprint for building and sustaining meaningful connections. As someone who counts Bob Timberlake as a cherished friend, I find his insights particularly poignant. His perspective on friendship, enriched by his devotion to God, family, and country, offers a deeply personal and universally relatable narrative. "Birds of a Feather" is an invitation to reflect on the friendships that enrich our lives, the natural world that surrounds us, and the shared experiences that bring us closer together. You can discover this inspirational guide at the Bob Timberlake Gallery in Lexington or online at bobtimberlake.com. It's a journey through the landscapes of friendship and nature, promising to inspire and enlighten. Birds of a Feather: Birds of a Feather: A Delightful Read
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138 John Britt - Penland, NC Steve Abee - Lenoir, NC • Brant and Karen Barnes - Brasstown, NC • Cynthia Bringle - Penland, NC • Michael Ball - Asheville, NC • Chad Brown - Seagrove Zan Barnes - Dillsboro, NC Clay Virtuosos Foothills Digest's Top Potters The potters on this list stand out to Foothills Digest as exceptional. North Carolina is full of very talented potters, so this list isn't exhaustive in any way. We encourage you to seek out potters in your community! Steve Abee is a celebrated potter known for his t r a d i t i o n a l a l k a l i n e - glazed stoneware. His work embodies the legacy of Catawba Valley pottery, while his distinctive style adds a contemporary twist. His signature textures and forms are highly sought after by collectors and enthusiasts of folk art pottery. His contribution to preserving and evolving the region's pottery traditions makes him a notable figure in the world of ceramics. steveabeepottery.com steve@steveabeepottery.com 828-640-0197 Steve Abee Asheville, NC. Michael Ball is a potter distinguished for melding traditional methods with modern aesthetics. His work, characterized by subtle glazes and organic forms, balances the raw beauty of ceramics with functional design. Ball’s creations reflect a deep respect for the craft, capturing the essence of pottery’s past while pushing its boundaries into contemporary artistry. Work available at Christopher Park Gallery and American Folk Art and Framing Michael Ball Dillsboro, NC. Zan Barnes is a ceramic artist known for her unique combination of functional pottery with artistic flair. Her creations are marked by rich textures and a vivid color palette, reflecting natural inspirations. In addition to crafting beautiful ceramics, Barnes is committed to community engagement, often participating in workshops to share her knowledge and passion for the ceramic arts. zanbarnes.com zan@zanbarnes.com 336-402-3842 Zan Barnes
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139 Brant and Karen Barnes of Riverwood Pottery have been creating functional, beautiful stoneware for 40 years. Their daily challenge and inspiration come from blending ceramic science with aesthetic form. Their work harmonizes the scientific precision of ceramics w i t h f u n c t i o n a l design and visual appeal. riverwoodpottery.com BarnesPottery@gmail.com Brant & Karen Barnes John Britt, a self-taught potter from Bakersville, North Carolina, has 35 years of experience and a strong teaching background, including a stint at Penland. He's an accomplished author with publications on high-fire and midrange glazes, and contributes to major ceramics magazines. He is renowned for his glazes. Britt is also recognized for his instructional videos and roles as a juror and editor in the ceramics field. johnbrittpottery.com johnbrittpottery@gmail.com 828-467-5020 John Britt Chad Brown, a 5th generation Seagrove potter, shapes his legacy through wood-fired and salt-glazed ceramics. Mentored by his grandfather, Chad refined his craft through traditional apprenticeships and as a journeyman. His pots, celebrated for their perfect fusion of form and fire- kissed finishes, embody his pursuit of pottery excellence. Now he is known as one of Seagrove's best talents. chadbrownpottery.com 910-571-1691 Chad Brown Cynthia Bringle is a renowned potter, honored with the N.C. Award for Fine Art and the title of N.C. Living Treasure. She holds a Lifetime Membership with the Southern Highland Craft Guild, an Honorary Doctorate from Memphis College of Art, and is a Fellow and Trustee Emeritus of the American Craft Council, signifying her stature in American craft. cythinabringlepottery.com cynthiabringle@gmail.com 828-765-0240 Cynthia Bringle
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140 • Stillman Browning - Seagrove? • Donna Crave n - Asheboro, NC • Josh Copus - Asheville, NC • Susan Coe - Bryson City, NC • Hannah Cupp - Seagrove, NC • Laura Faye Dean Kim Ellington- Vale, NC • Carla Brandel - Hickory, NC Carla Brandel's pottery embodies the rich traditions of North Carolina's Catawba Valley, where she settled in 2009. Inspired by local techniques, she crafts her pieces from native clays, often wood-fired, and has a special focus on equine- inspired works. Brandel's functional art is a tribute to a cherished mare she lost, with horse sculptures and horse hair raku designs that transform everyday objects like coffee mugs into personal memorials, meant for daily enjoyment. carla.brandel@yahoo.com Carla Brandel Stillman Browning Howe was drawn to pottery early, influenced by his a u n t , D u r h a m p o t t e r S a r a h Howe. His pottery path was solidified after assisting and then apprenticing under Mark Hewitt for nearly five years. Expect to see this up-and-comer's work in galleries and museums across the state. His work is traditional yet somehow unusual, in the best of ways. stillmanbhpottery.com Stillman Browning Howe Donna Craven crafts her pottery with a nod to her Seagrove heritage, using salt glaze and wood-firing techniques. Self- taught, she evolved from journeyman to master potter, creating pieces with a harmonious balance of form and surface. Her work, adorned with unique decorations, embodies the strength and simplicity of her lineage. donnacravenpottery@gmail.com 336-629-8173 Josh Copus crafts unique, angular ceramics in Marshall, North Carolina, drawing inspiration from his roots in Floyd County, Virginia's artisan community. His works embody the rugged spirit of the Blue Ridge Mountains, blending traditional influences with his own innovative style. With his wife Emily, he forms a duo deeply woven into their creative and agricultural community. www.joshcopus.com (828) 242-2368 Josh Copus Donna Craven
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Susan Coe, an English native who grew up in Alabama, discovered her p a s s i o n f o r pottery quite serendipitously, snagging the last available spot in a class at Southwest Community College. This fortuitous turn ignited a consuming love for the craft. Susan creates colorful and practical ceramic piecesthat draw from her love of the natural world around her in rural North Carolina. www.susancoepottery.com (828) 736-3928 Susan Coe Hannah Cupp, a Magna Cum Laude Clemson University ceramics graduate, crafts traditional pottery and lifelike faces. Her dual expertise showcases a blend of time-honored styles and detailed artistry, bringing unique character and functionality to her creations. Cupp's work reflects a deep understanding of ceramic traditions, while her realistic sculptures push the boundaries of the medium hannahcupp.com Hannah Cupp Laurey-Faye Dean's stoneware merges functionality with the Appalachian narrative. Her wheel-thrown creations, detailed with relief from carved molds and fired to cone 7, feature motifs of the local flora and fauna in a signature blue, brown, and green g l a z e p a l e t t e , embodying the lyrical essence of the Southern Appalachians. Her pottery is called Hazelwood Pottery. hazelwoodpottery.com 828-226-4170 Laurey Faye Dean Kim Ellington, after his Army service, immersed him-self in North Carolina's pottery heritage, studying at Haywood Community College. His mentorship with Burlon Craig transformed his craft, adopting traditional Catawba Valley techniques, local clays, and wood-ash glazes. His work honors historical methods while inspiring contemporary interpretations, ensuring the tradition's relevance and evolution. 704- 462-2067 Kim Ellington
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• Gin Hurley -Taylorsville, NC • Harry and Julie Hearne - Brasstown, NC • Mark Hewitt-Pittsboro, NC • M a t t J o n e s - Leicester, NC • Crystal King - Seagrove, NC • M a t t H a l l y b u r t o n , Rutherford College, NC • Michael Gates- Asheville, NC • Nick Joerling - Penland, NC Michael Gates' pottery artfully weaves traditional Catawba Valley techniques and his Reinhardt family heritage to create pieces that blend function with whimsical flair. Eschewing pure utility, he focuses on intricate decoration and thoughtful concept, crafting work that honors tradition while injecting a fresh, personal twist. He finds joy in uniting historical authenticity with his distinctive artistic vision. 336-873-8430 Michael Gates Matt's journey from psychology to pottery is marked by passion and dedication. Having worked in clinical research, his curiosity led him to pottery, where he found his calling. Trained informally by notable potters, Matt specializes in creating unique dinnerware for chefs, infusing Catawba Valley's rich pottery traditions with modern demands. Based in Rutherford College, his studio embodies local heritage and contemporary artistry. hallyburtonpottery.com 828-403-4333 Matt Hallyburton LANE POTTERY AND DESIGN LANE POTTERY AND DESIGN TRADITIONAL/FOLK TRADITIONAL/FOLK WOOD-FIRED WARE WOOD-FIRED WARE 828-455-8315 EdLanePottery@Yahoo.com EdLanePottery.com
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Gin Hurley, a Taylorsville- based potter, specializes in alternative firing techniques, creating unique saggar and raku- fired pieces. Her work emphasizes the beauty of unpredictability and the interplay of natural elements in the firing process. Hurley's distinctive pottery, celebrated for its textured finishes and rich, smoky hues, embodies a rustic elegance that captures the essence of transformative fire arts. www.tigersmoon.com Gin Hurley Pittboro, NC potter Mark Hewitt is renowned for his large-scale alkaline- glazed stoneware, i n f l u e n c e d b y A s i a n , E n g l i s h , a n d S o u t h e r n folk traditions. His functional pots, which include jars, vases, and tableware, are celebrated for their elegant forms and distinctive, handcrafted character. Hewitt's work continues the legacy of North Carolina's rich pottery heritage, marrying traditional methods with contemporary design. www.hewittpottery.com Mark Hewitt Harry and Julie Hearne, of Turning Point Clay Studio, are master potters and educators. Harry focuses on Raku pottery, teaching, and kiln building, while Julie manages the studio, produces garden sculptures, and teaches pottery classes. Both are active members of the Brasstown Morris Dancers, celebrating craft and community in North Carolina. 615- 631-3645 Harry and Julie Hearne Mark Heywood, the artisan behind Whynot Pottery, excels in creating a wide range of functional pottery, including pouring pots, lamps, and more. He shapes his pieces using high- quality pre-mixed clay, employing wheel-throwing and hand- building techniques. After bisque-firing at 1800°F, each item is glazed with a unique, homemade mixture comprising feldspar, flint, clay, calcium carbonate, and wood ashes, colored with metallic oxides. whynotpottery.com Mark Heywood
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382 BLUE RDG PKWY, ASHEVILLE, NC 28805 SOUTHERNHIGHLANDGUILD.ORG/FOLKARTCENTER Our 46th Season Christmas Concerts Cookies and Carols a children’s concert and cookie reception December 2, 2023 | 11:00 am Drendel Auditorium, SALT Block Moments of Awe in A Season of Joy December 8-9, 2023 | 7:30 pm December 9-10, 2023 | 3:00 pm Corinth Reformed Church, Hickory Spring Concerts An Irish Afternoon in County Catawba March 17, 2024 | 3:00 pm First Baptist Church, Hickory Singing Under the Sails: Timeless May 19, 2024 | 6:00 pm Downtown Hickory Fall Concert featuring André Thomas, guest conductor October 20, 2024 | 3:00 pm Location TBD For seasonal membership, visit our website or call our office at (828) 322-2210 Follow us for updates: @hickorychoralsociety Hickory Choral Society @hickorychoralsociety hickorychoralsociety.org
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Based in Penland, NC, Nick Joerling has been a dedicated studio potter since the 1980s. After earning a BA in History and an MFA from LSU, Joerling has taught his craft in workshops across the U.S. and internationally. His work, often reviewed and exhibited, holds a distinguished place in both public and private collections, showcasing his historical knowledge through his artistic expression. joerlingstudio.com Nick Joerling Matt Jones, a potter from Leicester's Big Sandy Mush, imbues his wood- fired creations with a blend of Carolina tradition and modern aesthetics. Having apprenticed with renowned potters like Mark Hewitt, his work exhibits bold forms and rich textures reminiscent of Southern pottery masters. Featured in "Celebrating the Cycle" and at prominent venues like the Mint Museum, Jones's pottery is a testament to the enduring artistry of wood- fired ceramics. jonespottery.com Matt Jones Seagrove's Crystal King perpetuates a pottery legacy steeped in North Carolina tradition. Renowned for her face jugs and figurative pieces, King’s work echoes generations of Southern folk art. Each creation is a unique narrative, reflecting her mastery and the rich clay heritage of the area. Her expressive works are cherished collectibles, c o n t r i b u t i n g t o Seagrove's reputation as a pottery heartland. crystalkingpottery.studio Crystal King Since 1984, Maggie and Freeman Jones have crafted stoneware pottery, blending functional and decorative styles. Inspired by Arts and Crafts and Art Nouveau movements, their work features organic motifs and forms based on golden proportions and Fibonacci sequences. They create items from butter trays to umbrella stands, infusing bold colors, curves, and whimsical details. Their showroom is near I-40 exit 73 in Old Fort, North Carolina. 828-337-0992 Maggie Jones
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• Michael Kline - Bakersville, NC • Rodney Leftwich - Mills River, NC • Syd Luck and Sons - Seagrove • Courtney Martin - Bakersville, NC Matthew, a seasoned potter since high school, launched his own ceramic creations in 2013 after honing his skills in Seagrove's renowned pottery shops. His work, blending local materials and diverse kiln techniques, embodies both elegance and functionality. Residing in Seagrove, he shares his artistic journey on YouTube, hosts kiln openings, and features at prominent pottery events, continually inspiring potters and collectors alike. matthewkellypottery.com Matthew Kelly Rodney Leftwich, a Western North Carolina native, crafts pottery reflecting regional folk traditions, evolving from utilitarian to art pieces. His work features incised rural and mountain life imagery, paying homage to local history. A respected author on North Carolina pottery, his unique creations are celebrated in museums and private collections, marking his membership in esteemed craft and art pottery association. leftwichpottery.com Rodney Leftwich The Luck family of Seagrove, Sid and sons Jason and Matthew, represents a multi-generational legacy in pottery, crafting their renowned wares with a blend of time- honored techniques and contemporary aesthetics. Their distinctive creations embody the rich pottery traditions of North Carolina, intertwining the area's natural resources with innovative design. As custodians of Seagrove's celebrated clay heritage, the Lucks continue to elevate the craft, solidifying their reputation for exceptional artistry in every piece. lucksware.com The Luck Family Michael Kline crafts functional ceramics adorned with botanical motifs, fusing tradition with innovation. Influenced by North Carolina's rich pottery heritage, his work showcases the Korean sanggam technique, integrating patterned inlays on stoneware. A former Penland resident, Kline has ev o l v e d f ro m wood-fired to gas kiln creations, making his pieces recognizable for their intricate designs and hearty forms. klinepottery.com Michael Kline
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147 Courtney Martin, a studio potter in North Carolina's mountains, crafts functional wares from local clay, designed for everyday use. Her pieces, fired in a wood kiln, highlight the natural aesthetics of her materials and surroundings. Her commitment to traditional methods ensures that each pot not only serves a purpose but that it also brings handcrafted beauty to daily routines. courtneymartinpottery.com 828- 467-1414 Courtney Martin Jim McDowell, known as the "Black Potter," is a self-taught artist with over 35 years of experience in creating face jugs, a craft inspired by his African American heritage. His work pays homage to ancestral practices a n d a d d re s s e s themes of injustice and resistance. McDowell's jugs, characterized by exaggerated Black features and stained glass tears, honor notable figures and express a powerful connection to his cultural past. blackpotter.com Jim McDowell The Rec Dispensary Woman-Owned Since 2019 At Rec Dispensary, we sell a large variety of exceptional products. They include: CBD Delta-8 Delta-9 Tinctures Oils Gummies Flower/Bud Vapes Muscle Rubs Distillates We offer the widest variety of Cannabis products that are all lab tested We also employ some of the most educated cannabis product specialists (we call them bud tenders) that can answer all of your questions and help you choose the right product. Visit our Hickory, NC or Denver, NC stores to make sure you make the right decision for purchasing any cannabis in the area. 283 2nd Ave SE Hickory 5730 NC-150 Denver 1800 Newton Dr Statesville 844-213-6882 therecd.org Poooy handmade with lle in MMgantt, NC Handcrafted Fun Playful Whimsical Slightly Surreal Sculptural Art & Functional Pottery StardustPottery.com 828-448-7331
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148 • Tori Motyl - Asheville, NC • Tara McCoy - Qualla Boundary • Bob Meier - Boone, NC • Pete McWhirter - Burnsville, NC Vernon Owens - Seagrove, NC • • Raine Middleton -Denver, NC • Ben Owen III - Seagrove, NC • Terance Painter - Maggie Valley, NC Cherokee artist Tara McCoy, a versatile crafter, began her artistic endeavors at 12. Under Alyne Stamper's mentorship in high school, she refined her skills. Holding a firm belief that everyone harbors artistic potential, McCoy has received numerous accolades, including at the Cherokee Fall Festival, various Oklahoma Art Shows, and has participated in Santa Fe's SWAIA. A dedicated mentor, she guides budding artists in Cherokee, encouraging creativity and innovation in diverse mediums. Her work is available at the Qualla Arts Mutual. 828-497-3103 Tara McCoy Bob Meier of Doe Ridge Pottery in Boone, NC, found his passion for pottery during an elective at Appalachian State University. His technical background enriches his stoneware creations, fired at cone 6. Exhibited widely, including the Folk Art Center, his work combines wheel- thrown and hand-built techniques. Bob specializes in carved surfaces with glaze inlay, creating distinctive functional ware and sculptural pieces cherished in galleries and by private collectors. doeridgepotterync.com 828- 264-1127 Bob Meier McWhirter Pottery, a Yancey County staple since 1963, reflects Pete and Kim McWhirter's dedication to craft. Esteemed for its fine drinking lip and hardiness, their pottery blends functionality with artistry. They concoct their own clay and safe glazes, adding uniqueness to each piece. Their collection ranges from utilitarian tableware to ornamental vases and face jugs, all wheel-thrown and distinctively adorned. mcwhirterpottery.com 828-675-4559 Pete McWhirter Raine Middleton, from Denver, NC, skillfully blends time- honored North Carolina pottery traditions with her distinct modern aesthetic. Infused with inspiration from intricate florals and textiles, her wheel-thrown porcelain pieces are meticulously adorned using the sgraffito technique. Each creation, a harmonious blend of past and present, undergoes a transformative firing in a salt kiln, capturing the profound pottery legacy of her home, Lincoln County. 704-483-4408 Raine Middleton
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149 Tori Motyl, nestled in the picturesque mountains of NC, is a ceramic artist and dedicated educator passion- ate about local clays and stoneware. Her work artfully merges natural materials with unique designs, embodying the wild spirit of North Carolina's landscape. Tori's hands- on approach and commitment to her craft echo the region's rich pottery traditions, offering a contemporary twist that makes each of her creations a cherished, functional work of art for daily life motylpottery.com Tori Motyl Vernon Owens, raised in Seagrove, learned pottery from his father, M.L. Owens, and uncle Walter Owen. He honed his craft at C.C. Cole and, later, at Jugtown Pottery, where he transitioned from duplicating classic designs to forging his unique style. Owning Jugtown since 1983, his pieces, rooted in Moore County's pottery heritage and Asian influences, have earned him both state and national honors, including a National Heritage Fellowship. He's known as one of North Carolina's most accomplished potters. jugtownware.com 910-464-3266 Vernon Owens Ben Owens III, an esteemed Seagrove potter, upholds a profound family legacy of exceptional craftsmanship. Trained in the rich traditions passed down through generations, his artistry reflects a deep understanding of classic techniques fused with contemporary innovation. His creations, celebrated for their vibrant glazes and dynamic forms, are a tribute to the ancestral skill of North Carolina potters, simultaneously honoring and revitalizing a storied heritage with each distinctive, handcrafted piece. benowenpottery.com 336-879-2262 Ben Owen III Terance Painter, an established North Carolina potter since 1980, creates functional stoneware and porcelain with vibrant glazes and unique bas-relief landscapes. A devoted artist since childhood, he discovered his passion for pottery during college. Now, with four decades of experience, Painter still finds joy in the transformative craft of pottery, valuing both the creative process and the connections made with those who visit his studio. differentdrummerpottery.com 828-926-3850 Terance Painter
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150 • Ron Philbeck - Shelby, NC • Michael Sherrill • Porch Potters • Dean Reed-Qualla Boundary Ron Philbeck, a Shelby, NC native, began his pottery journey in 1992 after studying math and horticulture at North Carolina State University. Transitioning to pottery full-time in 1996, he initially focused on salt-glazed stoneware, influenced by the Leach/Hamada tradition. In 2008, Ron shifted to earthenware, embracing electric kiln firing, developing unique slips and glazes, and starting to decorate his creations with personal drawings, which have been warmly received. ronphilbeckpottery.com 704-692-1629 Ron Philbeck Mandy Huffman and Freddie Phillips, The Porch Potters, found their artistic calling in clay, transitioning from a background in fitness and art, respectively. Mandy discovered her passion for pottery after a transformative course, and following a personal loss, immersed herself fully in the craft. Freddie joined her on this creative path, self- taught in throwing pottery. Together, they infuse their work with humor and inspiration drawn from their native landscapes. theporchpotters.com 828-447-7760 The Porch Potters
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151 Sacred Oak Pottery’s Jim and Bonnie Rash create contemporary, functional pottery in their Hendersonville, NC studio, nestled in a forest of oak trees and native rhododendrons along a creek. The meditative studio setting provides inspiration for everything from form and texture to color, inspiring beautiful shades and minimal patterns for the pottery. The work is throw on the wheel by Jim, then trimmed and glazed by Bonnie. The couple delights in working together after careers in the hectic corporate world. sacredoakpottery.com Jim &Bonnie Rash Lucy Dean Reed, a dedicated potter since 16, shapes native clay using traditional Cherokee techniques honed under Annie Driver and Lydia Littlejohn. Passionate about her craft, Dean delights in educating others, from schoolchildren to college students. A multiple first-place winner at Cherokee Fall Festivals, her acclaimed work is exhibited in prestigious spaces like the Smithsonian. Dean creates daily in Painttown, continuously perfecting her artistry. Her work is available at the Qualla Arts Mutual. 828-497-3103 Dean Reed
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• Erin Younge - Seagrove, NC • • • Kate Waltman - Seagrove, NC • Hamilton Williams -Morganton, NC • Rob Withrow - Brasstown, NC Hamilton Williams, based in Morganton, NC, meticulously crafts functional stoneware, favoring reduction glazes and hand-thrown techniques. Embracing the quietude of his studio, he produces designs integral to patrons' daily lives. Hamilton's journey includes managing a local artisan gallery, yet recent times have rekindled his dedication to evolving his craft, pushing him to explore long- awaited concepts in his Downtown Morganton studio. hamiltonwilliams.com 828-438-1595 Hamilton Williams Rob, an Ohio native turned North Carolina folk potter, thrives at Smoke in the Mountain Pottery in Brasstown. Renowned for his colossal, beaming face jugs, Rob's philosophy is that each pot's uniqueness mirrors humanity. A former fisherman, he's dedicated over 15 years to the craft after being inspired by traditional Catawba Valley potters. Beyond creating, he joyfully shares his craft through teaching and community involvement. smokeinthemountainspottery.com 828-835-3506 Rob Withrow Kate Waltman crafts pottery with Piedmont, NC clay, echoing Greek and Minoan forms and Art Deco patterns. A devotee of the natural world since her plein air painting days, she honed her ceramic skills at Wheaton Arts before a BFA from Alfred University led her to open a Seagrove studio. Her work, wood- fired and locally sourced, embodies both historical reverence and contemporary flair. thetrianglestudio.com (336) 267-1545 Kate Waltman Michael Sherrill's artistry blends North Carolina folk pottery with his profound connection to nature, crafting "natural narratives" through modified tools and diverse materials. Settling in the Western North Carolina mountains in 1974, Sherrill's self-taught, innovative approach is showcased in his sculptures, featuring regional flora and imaginative species. Founder of Mudtools, his work has been honored with a retrospective at the Smithsonian's Renwick Gallery. Photo courtesy of The Smithsonian. michaelsherrill.com Michael Sherrill
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The Rec Dispensary Woman-Owned Since 2019 At Rec Dispensary, we sell a large variety of exceptional products. They include: CBD Delta-8 Delta-9 Gummies Flower/Bud Vapes We offer the widest variety of Cannabis products that are all lab tested We also employ some of the most educated cannabis product specialists (we call them bud tenders) that can answer all of your questions and help you choose the right product. Visit our Hickory, NC or Denver, NC stores to make sure you make the right decision for purchasing any cannabis in the area. 283 2nd Ave SE Hickory 5730 NC-150 Denver 1800 Newton Dr Statesville 844-213-6882 therecd.org Clay Virtuosos Erin Younge Erin Younge, a Seagrove-based artist with an MFA from East Carolina University, m e rg e s h i s t o r i c a l reverence and culinary passion in her ceramics. She's managed the NC Pottery Center and directed STARworks' Clay Studio. Erin’s pottery, inspired by seasonal ingredients, complements her sculptures reflecting ninth-century Chinese funerary vessels, honoring rituals and ancestry. She specializes in atmospheric wood or gas kiln-fired pieces. thetrianglestudio.com 336-253-8989 S teve A bee P ottery Sculpting Heritage, Fired with Tradition: 828.640.0197 | SteveAbeePottery.com Where Catawba Valley Craftsmanship Takes Form Making this list was incredibly difficult because our state is brimming with very talented potters. We've tried to give you a list that includes both master potters and up-and-comers. Please remember that for the art of pottery to thrive, there must be a market for pots. It's fun to collect antique pottery, but it's important that we also buy things from potters who are working today. We hope this list will get you started down a road that leads to an incredible pottery collection! S teve A bee P ottery Sculpting Heritage, Fired with Tradition: 828.640.0197 | SteveAbeePottery.com Where Catawba Valley Craftsmanship Takes Form
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Capturing North Carolina's extensive pottery heritage in a single issue is impossible due to its vast history and the dynamic mix of contemporary artists. We recommend exploring the numerous books detailing this art form for a deeper understanding. While Amazon offers these books, consider purchasing from local bookstores. Scan the QR code for a comprehensive list of recommended reads as well as purchase links.
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