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
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!".
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.
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.
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 postfiring. 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
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.
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 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.
Photo Courtesy of Hunter Library, Western Carolina University At left, photo courtesy of Leland Little Auctions, Ltd.
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. Wild Clay: Creating reating Ceramiccs and GGlazes from NNatural and FFound RResourcces
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.
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
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 onsite. 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.
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 woodfired 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.
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.
72 Barry An Ode to an Artist,
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 Huffman: a Collector and an Author
74 COSMETIC, IMPLANT AND COMPREHENSIVE DENTISTRY (828) 328-5581 221 13th Avenue Place North West, Hickory
75 Pottery Memories 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.
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
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 encourage everyone to try something new no matter your 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.
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.
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.
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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84 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 Moravian 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 Martin Luther, t h e M o r a v i a n s confronted persecution. 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
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.
88 Artistry in Clay: Salem's Master 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 mid18th 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.
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 pressmolded wares well into the mid-19th century, ensuring that the pioneering spirit of Christ's craftsmanship lived on in American ceramics.
90 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) 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 animalshaped 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.
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 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!
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
95 Raku - The Art of Impermanence Raku, with its origins dating back to 16thcentury 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.
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
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.
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 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 Pottery
99 Ben Owen III throws a pot.
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 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.