Boone, North Carolina
Every pot that comes off my wheel gets an entry here: what it is, what went right, and the one thing I'd want you to know before it's yours. Nothing is made in a run. When a piece goes it stays in the log with its notes unchanged, so you can see where it went.
Recent entries
Entries are written the morning the kiln opens, before I've had time to talk myself into anything. The number is stamped on the foot of the pot, so the page and the piece match.
Stoneware · ash glaze · one only
Ash glaze broke orange at the lip. There's a thumbprint near the foot and I've decided to leave it. Holds about a mug's worth, which is more than a cup.
Available — write with 041
Stoneware · celadon over slip · one only
The kiln was uneven and one side came out darker than the other. I kept the darker side facing out. It went to a kitchen in the county and I never did get a photograph of it.
Sold — kept in the log
Sold
Stoneware · satin white · made to order for one table
Four plates, four bowls, four small cups. One bowl is a shade off the others — same glaze, different place in the kiln — and that's the honest nature of a group made by hand rather than matched on a shelf.
Sold — kept in the log
To claim a piece, write with its entry number. Entries stay up after a sale; the notes don't change, only the stamp.
Numbers run in the order the pots come off the wheel, not the order they come out of the kiln.
Seconds sale
A second is a pot with a fault I can name. The fault is written beside it, the pot still does its job, and it goes for less because of it. Nothing here is a surprise.
Sits flat enough. Leans a little in the hand. Glaze ran onto the foot and I ground it back; the ring is visible underneath.
Second — write with S-14
Two patches inside the rim where the glaze crawled. Rough under a spoon. No other complaints, and it holds soup as well as any of them.
Second — write with S-13
Rocks on a flat table if you press one edge. Good for a loaf of bread, bad for soup. I use the one just like it at home.
Second — write with S-12
Seconds go from the studio first and from the log after. There is usually one of each, so when it's gone I'll say so rather than promise another.
Commissions
Almost everything I make is a one-off, so a commission isn't a catalog order. It's me trying to make the thing you're picturing, once, in a clay that has opinions of its own.
I take a few commissions at a time. Any more than that and the wheel gets ahead of my hands.
Tell me the shape, roughly how big, and how you'd use it. A photograph of a cupboard shelf helps more than you'd think, if you want it to fit one.
If I can make it, I'll tell you what it would cost and how long the firings will take. If I can't, I'll say that too, and point you at someone who can.
It gets its own entry number. You see the entry — flaws included — before it leaves the studio, so nothing about it is a surprise when it arrives.
I won't send you a pot I wouldn't keep. Sometimes that means a longer wait; usually it means a better one.
Appointment slip · glazing
You'll glaze a piece you threw yourself, or one I've made and set aside for the bench. Either way it goes into my kiln, and you get the entry when it comes out.
Ask for a seatOne last thing
Write about a piece in the log, a commission you've been turning over in your head, or a seat at the glazing bench. I'll tell you honestly if a pot isn't right for what you need.
Write to the studio
Send the entry number of a piece you have in mind, or describe the shape you want made. One at a time, answered by hand.
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