Connie Norman
Connie Norman

Posts Tagged ‘woodfire ceramics’

Nancy Utterback – Plinth Gallery Artist Interview

Tuesday, October 2nd, 2012

Today’s interview is with Nancy Utterback, she is the director of the Boulder Pottery and is instrumental in bringing Flashpoint – An International Wood fire Exhibition to Plinth Gallery.  It’s been a pleasure getting to know Nancy via electronic communication.  She seems to be the “Flashpoint” for ceramic community in Boulder, Colorado.  I know in the very near future I will be taking a road trip to the Boulder Pottery Lab.  Enjoy the interview!

To learn more about Nancy visit her website and the Boulder Pottery Lab click here.

To learn more about Plinth Gallery click here.

“Plinth Gallery and The Boulder Pottery Lab present, Flashpoint-An International Wood Fire Exhibition”, a two-month juried show of wood-fired ceramics. Juror John Balistreri, Professor of Ceramics at Bowling Green University in Bowling Green, OH, has selected an exemplary collection of 50 pieces for this exhibition. The works for this show demonstrate a diversity of style by contemporary ceramic artists who continue to use this ancient tradition of firing with wood.” – Jonathan Kaplan – Plinth Gallery

Flashpoint opens First Friday, October 5th 2012, from 5pm-10pm with an artist reception and awards ceremony. A special wood kiln demonstration, construction, and firing, is scheduled for November 2nd and 3rd at Plinth Gallery, to coincide with Denver Arts Week.

Plinth Gallery 3520 Brighton Blvd Denver CO

Tell us a little about yourself!

I am a Colorado native. I grew up in and around Boulder, I went to school in Boulder and I have worked at the Boulder Pottery Lab since 1991. I always knew I was an artist. I started out studying painting and printmaking, first at DU and then at CU, but it was love at first touch with clay. I have never looked back. Today, after more than 30 years in clay I still can’t wait to get to the studio. I have a full time job running a teaching facility and teaching classes and I work 20 or 30 hours a week in my own studio.

It may sound like I don’t have a life beyond working in clay, but I do. I am married and have a wonderful dog name Word who is a year and a half old. My days are filled with hikes in the mountains, walking with Word in the park, drawing, making pots, firing and spending time with great friends.

I’m active in my community. I sit on the board of Studio Arts Boulder, run the Boulder Wood Fire group and wood fire research project and I teach pottery to people with mild traumatic brain injuries.   

How were you instrumental in bringing Flash Point: An International Wood Fire Exhibition to Plinth Gallery?

I started the Boulder Wood Fire Group in 2006 to help me conduct the Wood Fire emissions research project. Last year I was contacted about a wood firer, Hiroshi Ogawa in Oregon. He was celebrating his 50th year in clay and was thinking about an exhibition that would tour the country. I contacted Jonathan at Plinth and asked about doing a show. Hiroshi didn’t end up having a touring exhibition but that idea planted the seed for the show and Jonathan was generous enough to let me be involved in the Flash Point exhibition.

I love the communal sharing of the wood firing, and it sounds like you have created quite the community of wood fire potters in Boulder, will you tell us the story how all this came about.

I was doing a lot of the American Craft shows around the country including Baltimore and San Francisco. I found myself interested in all the wood fired work I was seeing. After attending a NCECA conference I became determined to learn more about wood firing.

Hiroshi Ogawa was having community firings at his studio in Elkton Oregon. He watched me as I circled his booth at every show and eventually we started talking. He invited me to come to Oregon to fire. I set out with the idea of changing the surface of my work, working on larger forms and learning more about the firing process. I packed up the van and headed to Oregon in March of 1996.

It took us 3 days to load the kiln. Working side by side with potters from all over the country I began to realize how little I knew. We were looking at the work in a new way, but we were really beginning to give ourselves up to the idea of collaborating with fire in a process that had consumed most of us for decades.

I started out thinking I would learn a new way to reach for personal expression. I fantasized I would add another tool to my tool belt. While I always realized that working in clay is a kind of meditation, a prayer of sorts, I never really understood the Zen of clay until that very first wood firing. By the time we had loaded the kiln, my world had expanded and I was no longer just interested in my work, I was obsessed with the entire 400 cubic feet of work. Every pot in the kiln was important to me and I knew that I would be connected to each potter in the firing crew for the rest of my life.

A wood fired kiln is quiet. You may have a crew of 8, 10 or 12 potters working at once. Each potter stoking in a rhythm, working as one for the crew leader. I had to dig down deep to keep up my energy and to understand the kiln, every move we made seemed counter intuitive. I began to understand that clay had always been my teacher and now the wood kiln was taking my education to a new and profound level.

I fired in Oregon for about 6 years, each year learning more. I began to think about building a kiln in Boulder where my students and colleagues could share a similar experience. I finally decided to propose building a wood fire kiln to the City of Boulder. I was required to get a permit and when I went into apply for the permit I was told that they would not allow a wood kiln in Boulder. I started to leave but I turned around and asked “why”? The guy behind the desk stood still for a moment and then said he didn’t know.

After returning to the lab I decided to try and find out why the planning department didn’t want us to fire with wood. I sent out a request for help to the combustion-engineering department at CU and immediately heard back from Michael Hannigan. He was a combustion engineer and he was willing to help me. We decided to do a wood kiln emissions research project.

We got permission to build two kilns and do the research project for the next 3 years.  I worked with Michael Hannigan and John Zhai from CU and we teamed up with Jeff Sorkin from the US Forestry department. You can read all about the research in Studio Potter Magazine.

What other clay artist influenced you if any and why?

As a self-taught potter it is difficult to identify influence. I think that everything we see, hear, feel influences the work we make. Every potter I have had the opportunity to watch work has left a mark on me. From Hamada to Cardew,  Picasso to Ruth Duckworth , Lucy Rie and Hans Coper to contemporary potters like Michael Simon, Jeff Oestreich, Ron Myers, David Shaner, Don Reitz, Betty Woodman—the list goes on.

Tell us about the history of the Boulder Pottery Lab.

The Pottery Lab was started in 1954 and in 1956 Betty Woodman convinced the City of Boulder to move it into the old fire station #2 at 1010 Aurora. Betty set up an educational program for students as young as 4 and as old as 94.

Betty had come to Boulder with her husband George who was teaching art at CU. Betty decided to offer classes for spouses of professors and other individuals looking for a challenge. Her program was so well thought out that we continue to run the program in almost the same way. Over the years the program has been run by other well-known potters such as Steve Briggs, Kate Inskeep, David Clinkenbeard and currently myself.

The Lab has a great reputation as a teaching facility; we have 20 wheels, 5 electric kilns, 3 gas kilns and a Raku kiln. We have 2 extruders, slab roller and a pug mill. In 2006 we built an Anagama wood kiln and in 2009 we built a Bourry box kiln. The program continues to thrive. There are 140 adults and 110 children that go through the program every 9 weeks. Many potters in the area took classes at the lab and many have returned to teach at the lab.

What is most inspirational to you?

Clay. When I see, smell or touch clay, my heart opens. Music, nature, color and laughter all enter the studio and keep me going, but it is truly clay itself, the way it moves, breaths, changes and teaches that inspires me.

Has a significant personal experience shaped your work?

I come from a fairly large family. Privacy was non-existent. I began keeping a journal when I was very young. Writing helped me find out who I was and helped me get away from the chaos. My work still integrates my journal entries with my clay forms and I experience the same kind of relief from the pressures of the world. Love, loss, happiness and despair all find their way onto my pieces sometimes through a drawing and sometimes just written between the lines.

What techniques do you usually work with and what is your favorite tool?

I am a thrower and a hand-builder. I throw and alter my forms and for more extreme or precise forms I turn to hand building. I build surfaces with slips, glazes, washes, and stains. My pieces are fired in atmospheric kilns using salt, soda and/or wood ash.

My favorite tool in my first treadle wheel. It came to me magically and changed the way I work.

You are mostly creating pottery pieces. How would you explain your attraction for functional ceramics?

We sometimes think that our lives are made up of extraordinary experiences. Our visit to the art museum or a once in a life time trip to Paris. But for me, the most sacred moments are ordinary. The sharing of a good meal with someone you love, an intimate conversation over a cup of tea, the washing of dishes at the end of the party standing side by side with your best friend. These are the moments I treasure and these are the moments I celebrate with functional pots.

What do you love most about your studio?

Privacy. I am by nature an introvert. I love walking those 10 feet from my back door to my studio and sinking into that sacred creative space that brings out the best in me.


What advice can you give aspiring artists struggling to find their own voice and look?

Make pots. Make lots of pots. Our voice comes with experience and confidence. Be honest, tell the truth, the whole truth in your work.

Jason Hess – Plinth Gallery Artist Interview

Wednesday, April 4th, 2012

Jason Hess is an “avid wood firer”. For over 15 years his research has focused on the alchemy of the process—how the clay color, wood type, kiln design, and ash dispersion work together to “render a surface that is unattainable in other ways” at high temperature. His work is either utilitarian or refers to utility in form while the presentation is more like characters relating to one another.  A desire to have objects that fulfill specific purposes inspires him to make functional pots. The infinite and elusive variety of texture and color attainable through the various making and firing processes has generated an interest in the notion of presentation. Some of his work is presented so that a viewer might notice and appreciate subtle diversities in form and surface. By grouping similar forms of differing size and color the compositions create a visually dynamic display, which invites the viewer to enjoy the tactile nature of each individual piece and how they relate to one another. -  Jonathan Kaplan, Plinth Gallery

For more information please visit Plinth Gallery.

For more information on Jason and his work visit The Nevica Project.

Jason will be giving a one day workshop April 7. 9 AM to 4 PM; he will demonstrate his methods for creating wheel thrown tall bottle forms and teapots, including construction of his press molded spouts. He will also present information on wood-firing techniques and his many years of involvement with the process. In this workshop their will be plenty of opportunity for discussion. All levels are welcome. Registration fee is $75 and full catered lunch provided by Fuel Cafe is included.  For more information call Plinth Gallery @ 303 295-0717.

Tell us about yourself.

I am an Associate Professor of Art and Head of the Ceramics area at Northern Arizona University in Flagstaff AZ. I have taught here for the past 12 years. Before that I taught for 2 ½ years at McNeeses State University in Lake Charles, LA. I have a Bachelors Degree from Beloit College, Beloit Wisc. And an MFA from Utah State University.

When and how did you discover the passion for ceramics?

It was in high school at St. Paul Academy in St.Paul, MN. We were required to take art classes starting in 7th grade and the art department at SPA was excellent. I took Printmaking, painting and ceramics. Very quickly I became enamored with ceramics. I chose a college (Beloit College) that seemed to have a good ceramics program though art was not my intended course of study. When I visited the College they were firing a wood burning kiln which I had never seen before. So, I ended up attending Beloit and over the course of 4 years decided that Ceramics was indeed what I would study and major in. We had a great time in the studio at Beloit and I knew that I wanted to pursue graduate study. I then went to Utah State University to get an MFA.

How would you describe yourself and your style?

I describe myself as a potter who makes work that is predominantly utilitarian or refers to utility. I am interested all aspects of ceramics, its history, traditions, processes and technologies. The vast majority of my work is fired in wood burning kilns. I enjoy the interaction between the flame/ash and clay surface. I am interested in clay color and surfaces that are largely unglazed except by the firing process.

One of the hardest things for artists to do is to stand apart from everyone else. How long did it take you to come up with your own style and signature look?

I think this is an ongoing process. I think it started for me in graduate school with the sets of bottles that I was making and still make.

What are you showing at Plinth Gallery this month? How did you come up with the title for the show?

I am showing new work at Plinth.  Tea Pots and Bottles, and Flower Bricks and Mugs, etc… They are all new ideas that have been made in the last 6 months, much of the show was fired in the past month. The work is almost all woodfired in a wood/soda kiln. It is also predominantly porcelain.

You are an avid wood firer, will you explain you fascination for wood firing.

I am interested in the wood fire process because of the variety of surfaces that are attainable. I have not found another way to generate surfaces that are similar or comparable. We also happen to have an extensive wood kiln facility where I teach, so I have a great many options and it is a big part of what I teach.


How would you explain your attraction for functional ceramics and does the wood ash play into your functional work?

I enjoy the connection between maker and user and the idea that I am making something for a specific use. I generally make things that are intended to be fired in specific areas of the kiln. So, I take into consideration what I make and have an idea of the kind of surface that I want to achieve (crusty, shiney, glassy etc..)

How do you maintain a healthy work and life balance?

I try not to work at the wheel for more that 3 – 5 hours at a time and to stand up often so that I maintain a decent posture. I also tend to work in spurts, so like maybe 3 – 4 weeks of making,  then a week of firing and then a break. My job and making art keeps me pretty busy, maybe 6 days per week to take care of everything. So, perhaps its not the healthiest work/ life cycle at the moment.

It is said that, in order to become renowned, an artist has to be a good self-promoter. Do you consider yourself one, and are there recipes for that?

I do not consider myself to be a good self promoter. I started by entering as many national competitions as possible in grad school and in the few years after. From this my work was published a number of times in Ceramics Monthly, Art and Perception and Ceramics Technical. I have also written for magazines, organized conferences/symposia and have been on panel discussions at the annual NCECA Conference. So I’ve just tried to be as active as I can in the field.

What do you love most about your studio?

That its at school and that I am an active part of our school/studio community.

What advice can you give aspiring artists struggling to find their own voice and look?

I tell them to look at as much work by as many people as possible. Take workshops, get as many perspectives as possible. Above all, make lots of work and fire it as well as stand back and think about what they are making and why. It mostly perseverance to succeed in ceramics.