I'm pretty ecstatic to share that two photos of my work (with captions written by yours truly) are included in the new, revised edition of "The Encyclopedia of Pottery Techniques" by Peter Cosentino. I feel very honored to have been included--especially after seeing some of the other artists pictured within.

It wasn't all deep thoughts and deeper conversation (although there was plenty of that), we ate well, we laughed, we danced, we fortified friendships, we learned.  Every wood-firing teaches me something new about the process, and about myself. (Who knew I'd love to wield a machete?)  

I'll add more pictures of my work from Simon Levin's Thunder Train kiln to my wood-firing portfolio page soon.

Thank you, Any Guelmann, for the slow-motion stoking video!

Here are a few more pieces that spoke to me. Sadly, I did not get the names of the first two artists pictured, but the wood-fired platter in picture three is by none other than American wood-firing icon, Jack Troy. (I'm seeing a trend in my favorites....🔥)

I'm a people person....and I didn't ever realize that until I became involved with ceramics. Since then I've discovered that I need my clay community, these conferences, these connections that help me be the best me--within my clay life and outside it (yes, I have that, too). I thrive on those familiar smiles and hellos in the hallways, the winks across the hotel lobby. 😉 Like many folks, I'm reserved at the start of an acquaintance, but once that connection is made, I'm all in. Apparently at this NCECA, I was so in that these are the only people pics I brought home (the first I borrowed from my friend, Karen Wise (so wise she always remembers to take photos in the moment). To all those of you whom I shared this experience, know that I treasure every moment--my roomies, fellow wanderers, drink sharers, dance partners: Liz, JJ, Meredith, Heather, Amy, Simon, Harry, Irene, Damian, George, Sudhi, Ellie, James, Liz, Erin, Mya, Zak, Karen, Sean, Jake, Rickie, Kimberly...and so many more, including the new folks I met and hope to get to know better at future conferences. And to those I didn't get to see or visit with longer, let's try for more next year!

 I've been coiling clay for nearly 7 years. Historically, I've left the clay raw on the outside with just a hint of glaze between the coils to highlight the designs I painstakingly roll out with my hands. I love the natural look of the vitrified red clay, the texture and warmth beneath my fingers as I savor a cup of coffee. It's always felt so potterly to me. However, I know that the raw clay-ness isn't for everyone, and honestly, there's always been this little part of me that hungered for a bit more color in my work.  Individually, my brown pots are intriguing; as a group display they lack that pizzazz that draws people over.  Through the years I've experimented with different glazes and glaze thicknesses to encase my vessels, with disappointing results. More often than not the glaze has obliterated all or most of the coil lines, leaving a plain surface, which is obviously not the intent of my work. 

2018 has been a chaotic year so far--around the world and in my personal life. I've felt the need for change, for hope, for simple pleasures to distract from the chaos. Not all of those needs are rapidly achievable, but in the grand scheme of things, some pretty quick gratification can happen in the clay studio.  Over the last month I spent my studio time coiling a silky-smooth white stoneware--a soothing change in itself. I've been adding assorted shapes to break up the spirals. It's been a cold winter of late in Bellingham, bringing thoughts of warmer days to the forefront of my mind, thus flowers, butterflies and dragonflies have made an apperance, in addition to cheery stars and hearts.  I did some research and selected glazes guaranteed to highlight the coil lines, in colors that sing out spring. Today I held my breath and opened my kiln and then, with glee, brought forth a new era of Kulshan Clayworks: Color Magic.