Whenever I use a specific terra sigillata, I recall the exact location where I collected the clay or, if it was a gift, the person who gave it to me. When I look at the finished pieces, I see the stories carved into them: my travels, my studies, my husband’s support, and the countless individuals who have shared techniques and knowledge with me over the years. In this way, the pots become more than just self-expression – they transform into a communal, land-based narrative. Read More.

To build a kiln is to invest time, energy, money, and learning in the physical production of our work, and because of the scale of the endeavor, it also usually means one does this labor in community with others. To me, this is the crux of ceramics and a large reason why our field persists as the weird and wonderful place it is; often, we must do our work together, finding friends, relationships, and shared sentiments along the way. A kiln-building project is the perfect site for this exchange. Read More.

Artists attracted to this style of program often hold their family, jobs, and local community as their highest values and cannot afford or do not want to leave their “lives” for the three- or four-year commitment that is often the base requirement for an MFA program.  They were hungry to grow as artists and wanted to develop expertise to share with their communities. Students immersed in the low-residency MFA often balance demanding careers, family, and social commitments. Read More.

North Carolina has had an unusually long association with pottery, and its current thriving position owes much to Terry, who died on January 19th, 2025, aged 85. His scholarship and advocacy combined to create enthusiasm within the ranks of potters, customers, collectors, and regional and state institutions that continue to this day. Read More.