Exhibition

A straight-sided mug, thrown for the hand more than the shelf.

The rust glaze gathers where the wall meets the base, darker in the low places.

The wall widens as it rises, a belly that keeps the warmth a little longer.

Sand over a warm body, breaking pale where it runs thin.

No handle. The cup is meant to sit in the palm, its heat read through the wall.

Unmatched from one to the next, since each is thrown on its own.

A rounded daily mug, the rust running in long drips toward the foot.

Simple, warm, and meant to be used often.

A generous pitcher, warm and grounded, made for serving at the table.

Every piece has been collected.

Ember brown, each wall pressed inward by a thumb.

Three of a kind, and still not quite the same.

Glossy black, rounded low, the handle set high.

The glaze holds the light in a single line along the shoulder.

Turquoise over cut facets, darker where the glaze pools in the cuts.

Two, made to be used side by side.

Grey-black and waisted, the surface marked like a burnt log.

Handleless, held at the narrow middle.

Cobalt, indigo and violet, washed one over another.

The colour moves from cup to cup like light across water.

White, broken by marks of brown and red.

The foot is left bare, so the clay shows where the bowl was held for glazing.

A red drip runs down over a green ash glaze.

Two bowls, the drips falling differently on each.

A crusted amber surface, rough under the thumb.

Heavy in the hand, as a tea bowl should be.

Pink-white and greens, the glaze gathering in a band near the foot.

Each bowl leans a little, the way it was left.

Combed by hand into fine vertical ridges, rough under the fingers.

Inside, the coral glaze pools smooth and still.

A wide plate, the combed rim left bare.

Turquoise, deepening where it gathers at the centre.

A mug that celebrates the female form.

Each one made and fired by hand, so no two are alike.

Olive and ochre over speckled stoneware.

The bowl sits inside the plates, the glaze darker where they meet.

Four slab walls and a narrow neck, set slightly off centre.

Rust brushed through a pale ash-white glaze.

Grey and black swirled through the wall.

A crack mended in gold, left to be seen.

A low dark form, raised into points like a shell or a reef.

Made to hold eggs, or nothing at all.

Two figures in pale clay, sitting close on a block of wood.

Their faces turned toward each other.

Two of the same form, the neck of one taller than the other.

The rust strokes fall in different places on each.

A speckled oatmeal bowl with a rust centre and a pinched spout.

For pouring, or for keeping on the table.

The base of a mug, unglazed, stamped before the first firing.

Every piece carries it. It is the last thing the maker does and the first thing the clay keeps.