After completing An HND in ceramics at Derby I worked in potteries in Germany and Italy, returning to set up home and workshop at Powdermills, the site of an old gunpowder mill, set in the heart of Dartmoor. I now live and work in Moretonhampstead on the edge of Dartmoor.
All work is made on a momentum kick wheel, built by myself. The work is then wood fired to temperatures in excess of 1300 Degrees.
Number 1 kiln built at Powdermills was of the Olsen fast fire design and soon replaced by a very large 500 cu. ft. Anagama type kiln. Products made included large garden pots and a range of domestic wares. Use of local clays and firing techniques have resulted in more one-of pieces now being produced. Pots show a build up of ash glaze, wadding marks, scars and flame flashing.
After moving to new premises a smaller kiln has been built to develop my ideas further.
I like to achieve a build up of texture from the effects of the firing. Some pots returning to the fire up to seven times. There is also the exploration of different effects by using different clays and utilising various areas of the kiln.
New work includes large sculptural pieces fired using wet clay.
Studio 3, Lochdougan House, Kelton, Castle Douglas, Galloway, DG7 1SX
My wife and I are long established potters with international reputations, having travelled in Japan and throughout the USA, to exhibit our work and to deliver workshops and lectures. In 2013 we became partners in life and in business. Our styles compliment, as we have evolved from similar influences, but our work is nevertheless clearly distinct from one another.
I have been making pots for most of my life. It’s a strange thing, to be excited by something as simple as a brown clay jug and I can’t explain it, but it seems that it happens to some people; it just gets under your skin.
It was at the age of eleven that I first encountered medieval pottery. My headmaster, a keen archaeologist would take us on trips to formerly inhabited sites, commonly ploughed fields, where our eyes would scour the furrows in search of fragments of pottery. Back in the school room, he would show us photographs of the type of pottery that these shards had once formed a part of. The experience gave me my understanding at the time, of what I considered pottery made by hand looked like. This aesthetic has formed the basis of my work ever since.
We share materials, working in red earthenware, decorated with a self-imposed restricted palette of coloured slips, covered with rich honey glazes. The pots are fired in the wood kiln, which we stoke continuously for up to twenty hours. Subsequently we travel together to shows up and down the country, selling our wares. Our life is our work and our work is our life, we live and we breathe pottery.
Lisa Hammond (b. 1956) British studio potter. Lisa trained at Medway college of Art and Design graduating in 1978, since then Lisa who has established a reputation for being the most driven of potters and constantly challenging her practice. She is regarded as one of the UK’s leading studio potters working today. Her work is represented widely in museums and collections in the UK and abroad.
Lisa has worked in Greenwich, London, since 1979 and in her present studio, Maze Hill Pottery since 1994, with the exception of a year spent working and teaching in Australia and 3 years when she help set up a studio and Gallery in Devon which is still thriving.
1980 – 2008 Lisa also taught and lectured at many of the UK’s best known Ceramic departments, most notably Goldsmiths College London for 12 years, where in 1980 she pioneered the teaching of Soda glaze Firing in the UK .
1998 Lisa started taking on apprentices in her studio for up to 2 years at a time. All 14 full-time apprentices all are still working and making a living in ceramics.
Lisa has undertaken many trips to Japan and Korea making strong connections with other potters, and inviting and facilitating lectures and exhibitions in the Uk . In 2003-2004, she spent three months working in Mino, Japan In 2009 she was given a prestigious solo exhibition at Mashiko Museum. 2015, Lisa was invited by Mashiko Museum again as resident potter for two months to make pieces for the Museum’s collection.
A Fellow of the Craft Potters Association of Britain and its vice chair for three years during her nine-year term on the Council.
Lisa is the Founder and Chair of Adopt a Potter Charitable Trust, set up in 2009. She set up the charity in response to the significant demise in ceramic departments and training for aspiring studio potters in the UK.
2016 Lisa was awarded an MBE on the Queens 90th Birthday for services to Ceramics and the preservation of the Crafts.
2017 Lisa founded the not for profit Clay College Stoke and gallery which is a skills based 2 year full time course for 14 students , where master potters share their knowledge with the new generation .
By the time I landed there, Ray had been running the pottery for more than 40 years with a team of 6 producing a line of wood-fired domestic ware and my job was to support the team’s efforts, from glazing and loading and wood wrangling to, most importantly, tea making! My stay at Winchcombe had a great influence on my work. By the time I returned to the U.S. I had come to embrace the aesthetic ideas underpinning the work that the pottery produced as well as the work ethic required to survive.
I moved to Fredericksburg, Virginia in September of 1980, where I was hired to be the the manager of the Fredericksburg Pottery. I set out to make useful pots that honored the tradition of Winchcombe without being imitations. Using multiple layers of materials and techniques, I’ve tried to make pots that compliment the world we live in today. Fredericksburg has been my adopted home ever since…for many years (20+) I ran a retail shop and gallery directly from my studio on Hanover Street in the heart of downtown, just a block from the Rappahannock River. Until 2005 I sold almost all my work in town, keeping regular shop hours and immersing myself in the community.
In the early 1990’s I was invited to teach a regular course for the Art League at the Torpedo Factory in Alexandria, Virginia. About this time I also began traveling to lead workshops at schools and craft centers along the East Coast. I also began hiring assistants to help me with the shop and learn to make a line of pots that I designed. For reasons still hard to explain I started a small school for pottery which led to the founding of the LibertyTown Arts Workshop, a center for arts and crafts that houses more than 50 local artists.
I closed the Hanover Street Studio in the spring of 2005 for reasons a local hotel builder might tell you… and established my current studio on a farm belonging to friends of mine. I have a short commute before driving down a mile long dirt road deep in the woods where I built a two-chambered, wood-fired, salt glazed kiln.The studio is off the grid and I am enjoying a quieter life, Making pots in the woods and traveling to a few great shows to sell my work.
British born, Pittsboro-based potter, Mark Hewitt, shapes the traditions of North Carolina & South Carolina into a compelling contemporary style. He makes beautiful big pots and delightful smaller pots, using local clays, firing them in a large wood-burning kiln.
Mark’s father and grandfather were Directors of Spode China in England. He studied Geography at Bristol University, and apprenticed with Michael Cardew in Cornwall, England, and Todd Piker in CT, before moving to NC in 1983 with his wife, Carol. His work is in many museum collections, including the Smithsonian, the High Museum in Atlanta, and the Weisman Museum in Minneapolis.
In 2006 he co-curated the exhibition, “The Potter’s Eye: Art and Tradition in North Carolina,” at the North Carolina Museum of Art. UNC Press published a book cataloguing the exhibition. He has received numerous awards including a 2015 United States Artist Fellowship, and is recent past President of the North Carolina Pottery Center in Seagrove. http://hewittpottery.com
John A. Burrison (Ph.D. in Folklore and Folklife from the University of Pennsylvania) is Regents Professor of English and Director of the Folklore Curriculum at Georgia State University in Atlanta. His friendship with north Georgia potter Lanier Meaders led to his research specialty in folk pottery and the first in-depth survey of a southern state’s ceramic traditions, Brothers in Clay: The Story of Georgia Folk Pottery (1983, reviewed by anthropologist Claude Lévi-Strauss as “a contribution of major importance . . . [a] classic”). Other books include Storytellers: Folktales and Legends from the South, Shaping Traditions: Folk Arts in a Changing South, Roots of a Region: Southern Folk Culture, From Mud to Jug: The Folk Potters and Pottery of Northeast Georgia (a sequel to and update of his first book), and most recently, Global Clay: Themes in World Ceramic Traditions. His articles on English “country” pottery and on the international distribution of the jug form appeared in Studio Potter, Folk Life (U.K.), and Ceramics in America.
Dr. Burrison is curator of the permanent Folklife Gallery in the Atlanta History Museum and of the Folk Pottery Museum of Northeast Georgia at Sautee Nacoochee. He served on the Folk Arts Advisory Panel of the National Endowment for the Arts (1984-87) and is a 1987 recipient of the (Georgia) Governor’s Award in the Humanities. Lecture venues have included Johannes Gutenberg University in Mainz, Germany; Peking University in Beijing, China; Transylvania University in Braşov, Romania; the Ulster Folk and Transport Museum near Belfast, Northern Ireland; the American Folklife Center at the Library of Congress in Washington, D.C.; the Museum of International Folk Art in Santa Fe, New Mexico; the New Orleans Antiques Forum; the North Carolina Pottery Center; and the Folklore departments of Indiana University and University of Louisiana at Lafayette. He was recently elected to the Fellows of the American Folklore Society.
Brett H. Riggs
Western Carolina University
Brett Riggs has devoted his career to the discovery of knowledge about Cherokee history and culture, and bringing that knowledge back to its rightful owners. As Sequoyah Distinguished Professor in Cherokee Studies at Western Carolina University, he integrates teaching and service to the neighboring Cherokee communities. In one if his current projects, he is helping members of the Eastern Band to build an interactive mapping program to preserve and present stories about the traditional landscape in the Cherokee language. He helped the Cherokee Heritage Center create an authentic and historically accurate design for the “Diligwa – 1710 Cherokee Village.” which received the RedBud Award from the Oklahoma Travel Industry Association as the Outstanding New Attraction. He also led noninvasive archaeological studies of the old Mother Town site of Kituwah that have helped guide the Eastern Band of Cherokee Indians in preserving this treasured place for all Cherokee people. Riggs co-authored the Cherokee Heritage Trails Guidebook (UNC Press, 2003), which won the 2004 Willie Parker Peace History Book Award from the North Carolina Society of Historians and the 2004 Preserve America Presidential Award for Heritage Tourism, and Studies in Cherokee Basketry (Frank H. McClung Museum, 1991), which provides an extensive analysis of Cherokee basketry as a continuing craft tradition. His studies of Removal-era roads, trails, and Cherokee homesites from little known archival sources provide the basis for the expansion of the Trail of Tears National Historic Trail in southwestern North Carolina; Riggs continues to work toward interpretive development and marking of this important historic landscape. He previously served as adjunct associate professor and research archaeologist at the Research Laboratories of Archaeology at the University of North Carolina-Chapel Hill and Deputy Tribal Historic Preservation Officer for the Eastern Band of Cherokee Indians.