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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 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.
103 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 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.
The Owen Dynasty: 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.
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.
106 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.
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.
109 Dorothy and Walter 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
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 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 eightgeneration 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 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 potterymaking 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.
114 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.
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 timetested 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.
116 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
The North Carolina Pottery Highway 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 910-464-6228 FromTheGroundUpPots.com Seagrove Art Pottery 336-872-4054 seagroveartpottery.com 402 East Main St Seagrove NC 27341
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. POTTERY & ARCHAEOLOGY: UNEARTHING THE HISTORY OF NORTH CAROLINA
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 presentday 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 Jugtowns, 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
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 handformed 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 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
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-andshovel” 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
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.
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
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.
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 Turtle I s l a n d Pottery Handmade stoneware pottery in the mountains of NC turtleislandpottery.com 828-337-0992 Old Fort, NC
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.
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.
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.
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.
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. Setting a Table
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.
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
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 likeminded 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.
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: A Delightful Read
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 traditional alkalineglazed 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 [email protected] 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 [email protected] 336-402-3842 Zan Barnes
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 with functional design and visual appeal. riverwoodpottery.com [email protected] 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 [email protected] 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 firekissed 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 [email protected] 828-765-0240 Cynthia Bringle
140 • Stillman Browning • Donna Craven - - Seagrove? Asheboro, NC • Josh Copus - Asheville, NC • Susan Coe - Bryson City, • NCHannah 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 equineinspired 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. [email protected] Carla Brandel Stillman Browning Howe was drawn to pottery early, influenced by his aunt, Durham p o t t e r S a ra 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. Selftaught, 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. [email protected] 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
Susan Coe, an English native who grew up in Alabama, discovered her passion for 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 glaze palette, 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
• Gin Hurley -Taylorsville, NC • Harry and Julie Hearne - Brasstown, NC • Mark Hewitt-Pittsboro, NC • Matt Jones - Leicester, NC •• Crystal King - Seagrove, NC Matt Hallyburton, 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 TRADITIONAL/FOLK WOOD-FIRED WARE 828-455-8315 [email protected] EdLanePottery.com
Gin Hurley, a Taylorsville- based potter, specializes in alternative firing techniques, creating unique saggar and rakufired 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 alkalineglazed stoneware, i n f l u e n c e d by Asian, English, 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 highquality pre-mixed clay, employing wheel-throwing and handbuilding 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
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
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 woodfired 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 woodfired 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
• Michael Kline - Bakersville, NC • Rodney Leftwich - Mills River, NC • Courtney Martin - Bakersville, NC • Syd Luck and Sons - Seagrove 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 timehonored 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 evolved from wood-fired to gas kiln creations, making his pieces recognizable for their intricate designs and hearty forms. klinepottery.com Michael Kline
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 and addresses 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 5730 NC-150 Hickory 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
148 • Tori Motyl - Asheville, NC • Tara McCoy - Qualla Boundary Vernon Owens - Seagrove, NC • Pete McWhirter - Burnsville, NC • Bob Meier - Boone, NC • • •Terance Painter - Maggie Ben Owen III - Seagrove, NC • Raine Middleton -Denver, NC 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 wheelthrown 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 timehonored 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
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 handson 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
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, selftaught 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