Native Materials - Vol. 34 No. 2

June 2006

The University of Dirt: Interview with Emlyn Stancill Whittin; The Beauty That is the Earth by Maggie Creshkoff; Feeding the Process by Pam Lau; The Dance of Materials by Catherine White; I Dig Clay by Margaret Boozer Ceramic Terroir; Loosely, a Sense of Place by John Chalke; Some Thoughts on Materials by Stephen Earp; Slow Clay by Willi Singleton; Resourceful Awareness by Nicholas Seidner; Using Local Clay by Tim Rowan; Hand Gathered: The Song of Stones by Jim Robinson; No More Albany Slip, No More Barnard/Blackbird by Jeff Zamek; Place-Based Making by Ben Richardson Weird; Unusual Raw Materials by Robin Hopper; Neil Woody's Turkey Creek Field by Josh Copus; Towards a Sustainable Studio by Sam Clarkson; Michael Simon: An American Potter Interview by Mark Shapiro; and Crafts and Postmodernism by Keith Luebke.

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Articles

I Dig Clay

By Margaret A. Boozer

Artist Margaret Boozer reflects on her life's work digging, studying, and offering clay. "Using local clay is a way to experience place, to learn something about the earth. I use it almost as a found object, for the historical, cultural, and geological resonance that particular clays bring to my work."

Slow Clay

By Willi Singleton

I often think about how similar making pottery is to cooking. Recently I have been contemplating the parallels between the Slow Food movement and the way I like to make pottery.

Using Local Clay

By Tim Rowan

I have been interested in using native materials for as long as I have been involved with ceramics. Exploring and being in touch with the natural environment is important to me.

Place-Based Making

By Ben Richardson

Place-based making is holistic not fragmented, regional not global, and intimately connected to place, not disassociated from it.

Weird and Unusual Raw Materials

By Robin Hopper

Oddball materials have a wide range of possibilities. Simple testing and playing with any material is the best way to learn its potential. I used to give my students a hypothetical glaze-making scenario in which they were limited to materials from a grocery store and a creek.

Michael Simon: An American Potter

By Michael Simon

I'm happy to be here now. I felt pretty positive about the development of the pots, I really did. But I thought that maybe it could go on. I mean, it's hopeful. And so many things did happen. There were so many rich things; I certainly don't have any regrets.

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Native Materials - Vol. 34 No. 2

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