Adrienne Dellinger is a utilitarian potter. She creates pots that enrich the day-to-day experience; pots that are loved even more each time they are used. Adrienne was born in Charlotte, NC. She received her BFA from East Carolina University. She is currently the Executive Director for Clayworks in Charlotte.
Adrienne grew up with both Catawba Valley pottery and pots by Ben Owen and Ben Owen III as well as numerous other Seagrove potters in her home. This created a foundation for traditional and utilitarian pottery influences. Attending East Carolina University gave her a strong Japanese influence. Adrienne is an exhibiting member of American Craft Council, Piedmont Craftsmen and is currently serving as the president of The Ceramic Circle of Charlotte.
~ Visit the gallery to see our full collection of Adrienne Dellinger pottery. ~
I am a jeweler living in Asheville, NC. I started making jewelry when I was six years old. I painted brooches with pumpkin faces to sell at craftshows for halloween. I grew up thinking of new designs for jewelry all the time. I attended Rhode Island Schoolof Design for Jewelry and Metalsmithing. Today, I continue to be interested in making work that celebrates traditions. I borrow symbols from a variety of spiritual and cultural practices in order to create my own world of sacred objects. Each piece is meant to help each person who wears it feel connected to something mysterious, ancient, and bigger than herself.
~ Visit the gallery to see our full collection of Alice Scott jewelry. ~
The physical and creative nature of working with clay satisfies my desire to play, construct, experiment, and to get dirty. Patterns in textiles, architecture, nature and quilting inspire me to create works that invite touch and evoke a sense of nostalgic comfort. Early in the construction process, clay is soft and pliable; I enjoy building pieces that reflect these properties even after the clay has become hard from firing. I often make pieces with the intention of showing them in a grouping. Much like people, each piece interacts with another, creating a rhythmic conversation by leaning or even touching.
The isolation of working alone in my studio has heightened my awareness of the importance of people and true community in my life. I experience this community through sharing food, celebrations, worship, teaching, athletic competition, group traveling, and music, as well as interactions with the city itself. My desire for a sense of place and history while living within an urban environment is reflected in my work.
Amy Sanders is a potter whose earthenware vessels create a balance of form, texture and pattern with utility. She currently works as a studio artist, teaches adult handbuilding classes at Clayworks Studio and conducts workshops across the United States. Sanders completed a large-scale public art piece for the city of Charlotte and was an 18-month Affiliate Artist at the McColl Center for Visual Art in Charlotte, NC from 2004-2006. Her work is exhibited in galleries throughout the United States, several publications and has filmed an in-depth instructional video with international release. Sanders has been awarded Regional Artist Grant through the Arts and Science Council in Charlotte, NC.
Growing up in southern Ohio, Sanders spent her early years watching her mother and grandmothers sew. Upon moving to Charlotte in 1999, she did not have a clay studio in which to create; Sanders began to sew herself. Her experiences with sewing began to breathe life into her clay work. Patterns, textures and seams from fabrics and textiles appeared in her stamped clay vessels.
Sanders received her BA in art and secondary education from Centre College in Danville, KY, where she also worked as an assistant in the clay and drawing studios and served on a professional glass blowing crew. For two summers Sanders was interim manager at Clayworks. Sanders’ honors include: Exhibiting Member of Piedmont Craftsmen, “Best of Show: Award of Distinction,” Blowing Rock Art in the Park, “Best Booth Design,” Ohio Designer Craftsmen, numerous artist-in-residence experiences including Huntingtowne Ridge Elementary School, Garinger High School, and Bruns Ave. Elementary School.
~ Visit the gallery to see our full collection of Amy Sanders pottery. ~
Andrew Stephenson was born in Birmingham, England in 1972 and moved? to the states with his family in 1979. He received his Bachelor of Fine Arts Degree from East Carolina University in 1996. Shortly after graduation, he moved to Asheville, NC to take a position as a resident potter at the Odyssey Center for the Ceramic Arts. Andrew has always loved the folk pottery of England and especially the wood-fired salt-glazed pottery of North Carolina, so when he was offered a two-year apprenticeship with Matt Jones, a former apprentice of Todd Piker and Mark Hewitt, he jumped at the chance. During the apprenticeship, he learned the forms and turning techniques that have been passed down from potter to potter since the days of Bernard Leach and Michael Cardew. Andrew also helped Matt fire his 300 cubic foot wood-fired kiln and his smaller 100 cubic foot kiln fueling his love for wood firing. When Andrew was finished with his apprenticeship he bought a house in rural Rutherford County, received a grant, and built his own 300 cubic foot wood kiln and holds several kiln openings a year. Andrew continues the long tradition of wood firing in North Carolina and sells his work in galleries throughout the southeast. Andrew teaches pottery at Western Piedmont Community College in Morganton, NC and at John C Campbell Folk School in Brasstown, NC. He is available to teach workshops around the country at your local college, craft school, or art guild. Enjoy the website and please sign up for Andrew's email list for notification of upcoming sales, new galleries, or classes.
~ Visit the gallery to see our full collection of Andrew Stephenson pottery. ~
Ben sees his work as fragments of a story that unfold through time. Each piece is part of a personal narrative that may come from a memory, the present or future projections. His intent is to evoke a thought or memory using familiar imagery as a common thread. This act could shape a certain feeling, but the rest of the story can only be assumed.
Currently, Ben lives in rural Western North Carolina where things haven’t changed much in the last century. People have adapted to an extent, but there is an element of timelessness that isn’t found in urban areas. The pace of life seems to revolve more around the progression of the day and seasons of the year. Ben’s recent work is informed by old sayings about time. These old sayings or phrases are transformed into his own visual interpretation. During this process an element of personal narrative is exposed. Whether it’s internal or external, seasonal or day to day, the concept of time is a force that all humans share in common. Through this work he hopes to communicate to others the importance of every passing moment.
~ Visit the gallery to see our full collection of Ben Elliott glass. ~
‘I believe that the processes involved in creating art stimulate the same part of the brain that facilitates healing. Having a creative outlet is not optional for me. Being in that creative zone keeps me balanced. I love enabling others to empower themselves and find the inner joy and satisfaction that making art gives.’
I compose and create with hand dyed and batik fabric because the processes of designing, layering, ironing, stitching and quilting, sing my inner song. I am drawn to colors, textures and layers, and create works that reflect the complexities of life. Working with fabric and thread enables me to create compositions that draw the viewer in for more information. I prefer creating with fabric rather than paint, yet like the effect of displaying some works under glass. Giving a contemporary twist to the long standing, rich tradition of quilting gives my creative energies a soft place to fall.
Beth earned her degree in Art education from the University of Tennessee. Her career began teaching art to deaf children at the Tennessee School for the Deaf in Knoxville, and ended teaching art to deaf children at the North Carolina School for the deaf in Morganton, NC. A ten span of teaching art and sign language at East Burke High School filled the time in-between these two positions.
Beth is an active board member of the Burke County Arts Council and also is Active as a board member at The Old Rock School Foundation. She served a Director of the Joara Pottery Festival in 2013.
Beth has led workshops in landscape quilting at the Old Rock School, and has curated three fiber shows in Morganton.
Beth is the mother of two sons. She and her husband Bill reside in Morganton.
~ Visit the gallery to see our full collection of work by Beth Bailey. ~
Featured artist, Carol Louise Mayer, demonstrates that creativity can be highly adaptable to life's changes. Starting her career as a successful program manager in an Indiana design department, Carol metamorphosed into a full-time artist when she moved to Florida to be with her new husband. Away from her familiar haunts and with time on her hands, she followed her creative inclinations and began designing unique furniture. In 2005, her interests moved from furniture design to clock-making, using a wide array of found objects to create working clocks that are truly unique. At about this time Carol and her husband fled oncoming Hurricane Wilma by driving to the mountains of Western North Carolina where they found refuge in the picturesque town of Franklin.
"We were enchanted by the region's Southern hospitality," says Carol, and after a number of visits to the area she and her husband decided to take the plunge and move to Franklin.
As her interest in clocks and time-keeping grew, Carol began to create whimsical clocks in an assortment of styles, ranging from Victorian teapot clocks and chic industrial clocks to camera clocks and exploding clocks.
"I wanted my art to be functional and to be a reminder to make the passing of time entertaining, precious, and fun."
~ Visit the gallery to see our full collection of work by Carol Louise Mayer. ~
I grew up in the mountains of North Central West Virginia. The visually chaotic and rough landscape surrounded my parents carved out homestead; and instilled in me a profound appreciation for nature.
I’ve always been innately attracted to the physical nature of working with clay materials and completion of process. While discovering residues of previous man-made assemblages such as old fences, pottery shards and glass bottles, I developed a link to the past and need to create objects that would withstand time beyond my existence.
My earliest childhood memories are of dark soil squishing between my toes as I gathered tomatoes from the garden, sculpting sand houses, and playing with clay. During the spring and early summer months, the road grader’s metal blade would slice the roadside revealing fresh deposits of white and red earthenware. The early morning hours were best for playing in the clay. My Grandmother Ilene owned a ceramics studio and I would proudly transport my pinch pots for her inspection. She produced thousands of slip cast wares and taught classes. Because of her, I literally grew up with a brush in my hand. I spent years of my young life becoming lost in the ceramic surface which explains my never ending need today for ornamentation. It has taken me years to find restraint, sometimes I give in to this urge and other times I pull back.
Early in my career, I traveled extensively throughout China before its ancient ways were lost and modernization took over. No words can describe the impact those summers spent making pottery there had on me as young potter. To say I learned “rhythm” would be an understatement. All of my travels combine in my work and show themselves in whispers, not direct imitation. I am not a folk potter because of my classical training but I am easily inspired or deterred by my environment.
Today, I am a studio potter living in North Carolina. I draw inspiration from the old homesteads; the Piedmont region’s red dirt, fall colors found along the Blue Ridge Mountains and local folk and Native American pottery traditions. Living on a farm, I find pure enjoyment watching animals interact while going about their daily habits. They become characters in my stories. They are my personal icons symbolizing moments or moods in my life. The chicken represents fertility and knows before any other animal when danger is near. The squirrel symbolizes abundance and gathering. Rabbits are fearful but always in a hurry, they represent the future. Blue birds are happy, deer quick and graceful, horses are strong and endure and foxes are clever and adapt well. Different animals turn up on my pots as the seasons change and my life evolves.
I enjoy making specialized objects adorned with animals and foliage that have nothing to do with necessity but are utilitarian in their own right. If only for a brief moment, these objects aid in daily activities before becoming part of the day to day backdrop as life transpires. In my home, the kitchen is the center of all activity. Handmade pottery is used daily and symbolizes conscious cooking, eating and even cleaning up with friends and family. Little moments accumulate overtime and although they carry my narrative, another kind of narrative is placed on these objects in a way that could never be achieved if left unused, sitting on a shelf. It is only after a lifetime of usage that the pots truly become powerful family heirlooms, evoking a lifetime of stories connected to its users through memory and experience.
Courtney Long received her BFA from West Virginia University in 1999. On two separate study abroad trips in 1998 and 2000; she studied traditional stoneware and porcelain techniques across China. She received a MFA from Syracuse University in 2004 and interned at the Everson Museum of Art, co-coordinating “100 years of American Ceramics”, exhibited at the Paine Webber Gallery, New York, NY.
She has continued educational experiences from Penland School of Crafts, Penland, North Carolina, Santa Fe Clay, Santa Fe, New Mexico, Anderson Ranch in Trelawney, Jamaica, and Art School of the Aegean, Samos, Greece.
In 2005, she was appointed Western Piedmont Community College’s Professional Crafts Coordinator, located in Morganton, North Carolina. Courtney oversees all continuing education and curriculum coursework in Wood, Clay, and Metal Sculpture/Blacksmithing. These programs offer crafts marketing and enterprise courses in addition to a vast array of studio courses.
In 2009, Courtney was named a GlaxoSmithKline fellow with NC State University’s Institute for Emerging Issues. The fellowship was designed to work on economic development through “creativity.” She collaborates with several local business, community leaders and non-profits to revitalize and expand Burke County’s placed-based crafts economy and in the process, organized the county’s first artist incubator located in Drexel, North Carolina.
Courtney is the recipient of several grants including a North Carolina Blue Ridge Heritage Grant. She is the founder of the Joara Pottery festival, a fundraiser to support the Exploring Joara Foundation that sponsors public involvement in foothills archaeology.
Courtney lives and pots on a horse farm located in the Chesterfield community with her husband; horse Rosie, and two Blue Heelers. She enjoys watching her pets and wildlife on the farm turning them into personal icons symbolizing moments or moods in her life.
~ Visit the gallery to see our full collection of Courtney Long pottery. ~
Hamilton was born in Columbia, SC, and spent his early years living in Kingstree, a small town in the South Carolina low country... a land of lazy black water rivers and old oaks and cypress hung heavy with Spanish moss. His family eventually came to settle in the North Carolina foothills where Hamilton continues to live and work. Like most adventurous young boys, Hamilton's initial introduction to clay was digging cool grey stoneware clay out of the ditches and creek banks around his childhood home. He encountered clay again in the more formal settings of high school and college but it wasn't until Hamilton took a class with Setuya Kotani at the University of North Carolina at Greensboro that he plunged headlong into a lifetime of working with clay. After finishing college Hamilton returned to the family home in Hickory, NC, and set up his first studio producing stoneware pottery to sell at juried shows and festivals. Pretty quickly his pots found their way into shops and galleries throughout North Carolina and the Southeast. Within a few years Hamilton moved his studio to a larger space in Valdese, NC, and became a juried member of the Southern Highland Craft Guild. A few years ago, the pottery production again began to outgrow his studio space and led to the move to the studio's current location in historic downtown Morganton and the opening of Hamilton Williams Gallery.
Though many diverse influences inform Hamilton's work, his love of landscape and food as well as sense of space rank the highest. Hamilton can often be found hiking through the rugged landscape of the Appalachian mountains, losing himself among granite boulders and rushing streams. "It really doesn't matter where I am," says Hamilton, "If I can get away from the crowds and cities and just see the landscape rolling out ahead of me, I'm much calmer and happier." Working at the potter's wheel provides Hamilton with a similar sense of calm, putting all of his attention into the one simple act of shaping a pot. At the end of the day, however, comes the evening meal and along with it the daily ritual of preparing and cooking food. For Hamilton, the act of preparing a meal is one of the keys to thoroughly enjoying one's dining experience. "The rhythmic sound of chopping vegetables, the colors and textures of peppers or cucumbers or cauliflower, the aroma of blending spices and caramelizing sugars... these are the things that move a meal into the realm of sublime experience." An invitation to dinner is always a welcome treat among Hamilton's friends and family, and when it comes to entertaining Hamilton becomes very conscious of how different foods present on his pottery. "I'm always trying to think of the perfect platter for the sauteéd green beans or the best dish from which to serve She-Crab Soup," observes the artisan as he mulls over what to have for lunch.
I am a utilitarian potter. I create pots that are visually pleasing and unique in character, but also useful in everyday life. I was born in upstate New York and moved to the Piedmont of South Carolina in my late teens. I earned a BFA in Interior Design from Virginia Commonwealth University in 1989, and returned to school at East Carolina University in 1995 to complete a BFA and MFA in Ceramics in 1999. I have taught college level and elementary level art and ceramics for the last 10 years. I am currently a full-time studio potter and teach part-time at a private school.
I enjoy making serving pieces and tableware that bring delight to the daily activity of eating, setting a table and enjoying a meal. While growing up, I spent many weekends observing and participating in the traditions and rituals of my paternal Italian-American extended family. Among the most prevalent of these traditions were the preparation and presentation of elaborate meals. As a child, I observed how the tableware was as important as the planning, preparation, and enjoyment. This served as the foundation for my interest in utilitarian pottery and love of creating elaborate surfaces and forms.
The pots I create reflect the enjoyment I have for throwing, embellishing, creating and using. I enjoy creating each piece with its own unique character and personality, whether I change a spout, foot, rim, glaze color or decorative element. All of my pieces are wheel thrown and altered in some way. Because of the rich color I get from the glazes I use, I enjoy working with porcelain. I embellish my pots with handmade stamps, colored clay sprigs and have recently started incising drawings with black slip into my pieces. The forms I make are usually organic in nature, which stems from my love of the material I use, and my personal preference for a fluid line. My inspirations for surfaces come from patterns in fabric, paintings, nature and historic dishware pottery.
I currently work from my home studio in Gastonia, North Carolina where I live with my husband Joey, our son Quaid and twin daughters Aydan and McKenna.
As a local favorite, Julie Cioffoletti is regularly our best-selling jewelry artist. With a strong and wide-ranging body of work in copper, bronze, silver, and gold, it is no wonder that Julie's work is so highly sought after.
Julie Wiggins is a full time studio potter living and working in Charlotte, North Carolina. She is represented by Lark & Key Gallery, Crimson Laurel Gallery, The Collector’s Gallery, and more. Her work has been featured at the American Craft Council and the Mint Museum of Craft + Design, as well as several national conferences and exhibitions, including NCECA. Julie has nearly a decade of experience as an educator, including courses taught at Clayworks and The McColl Center for Visual Art.
Originally from Jacksonville, NC, Julie graduated from East Carolina University with a BFA in Ceramics. In 2005, she received an honorary degree from Jingdezhen Ceramic Institute in China, where she focused her studies on traditional Eastern techniques. In 2006, 2010 and 2013 she received a Regional Artist Grant to purchase a treadle wheel, pug mill and electric kiln. In 2014, she received a CSA(Community Shared Art) grant through the Arts and Science Council to make 50 tumblers for 50 collectors. Also in 2014, she expanded her business and moved into anew home studio where she lives with her husband Dave in Charlotte.
Julie has fond memories from growing up, surrounded by warm blue skies, expansive beaches, and bright green farmland. Though her work as a ceramicist has taken her to Europe, Mexico, Morocco, and beyond, she still holds a place in her heart for the easy-going Southern lifestyle. Today, as an active member of the clay community, she continues to support herself as a studio potter and educator.
As a studio potter, I make objects of enjoyment that strike a balance between uniquely functional forms and narrative design. Whether hand built or thrown on a treadle wheel, my porcelain vases, flower blocks, lidded jars, plates, teapots, noodle bowls, and more are both playful and aesthetically complete. Lilly, lotus, tulip, or dogwood patterns accent most work, occasionally paired with birds or fish.
Using a variety of beautiful transparent glazes, these surface designs stand out clearly yet gently with my inlaid, gestural lines of black slip. Some work also highlights carving patterns, lightly pooled glazes, or thoughtfully designed flares such as asymmetrical edges, decorative coils or clay “buttons,” and distinctive rectangular feet.
My work is inspired by travels in Europe, Mexico, China, and Morocco, as well as studies of traditional studio pottery techniques. Together, these influences help me create a body of work that reflects memories, movement, and love of life. I am also enamored with contemporary architecture, repeated patterns in nature, and the simple power of an intuitively drawn, fluid line. With so many sources of inspiration, I find that my creativity expands in layers, always inviting me to dig deeper and push in new directions.
Leita Harrison's original art printed note cards capture the sites of one of the most charming and historically quaint cities in the country, Charleston, South Carolina. Pick up several to have on hand as they are sure to lend an endearing touch to your handwritten hellos.
When potters talk about the nature of clay, plasticity is commonly named as the fundamental quality that clay possesses. It is the quality that most potters are trying to take advantage of in their work by coaxing workable clay into its form. Some might use very soft clay to leave a gesture or some intentional movement while others might use stiffer clay to precisely control the form in which they are trying to achieve. Though if we only focus on the moment in which clay is plastic, we would be ignoring 99% of its life. Without considering these non-plastic periods of time I think we miss a lot of what clay is about. Clay’s moment of being plastic is just a brief chapter of a much more complex story. It is this other 99% of clay’s development that I try to consider in my work.
Navigating the line between abstraction and realism, Molly Cranch’s paintings are infused with light, air, and atmosphere. Inspired by nature, common subjects include complex botanical forms and delicate gestural renderings of birds and other creatures.
Painting from nature has been an enduring interest of Molly’s. What began as a study in depth, pattern and color, has since evolved into a form of meditation. Painting nature builds a connection to nature in the busy city landscape in which she lives.
Molly Cranch received her BFA in painting from Washington University in St. Louis and a K-12 certificate in art education from The School of the Art Institute of Chicago. She is a certified (200 hour) yoga instructor with a 95 hour children's yoga specialty. Alongside her endeavors as a professional artist, she has taught art and yoga in public schools, museums and art centers for 18 years. Her paintings can be seen in various shops and galleries at the local, national and international level.
~ Visit the gallery to see our full collection of Molly Cranch paintings. ~
From a very early age I was constantly drawing, creating and using my hands to sew, bead or make things. My parents encouraged my art. I was in the BFA program at Wesleyan College in Macon GA in 1964-66 then transferred to the University of Iowa where I got a BA in 1968. After a few years teaching art to junior high I enrolled in a summer pottery class.
Charles Counts taught the 8-week pottery class with a focus on wheel work in his studio. After the class, I apprenticed with Counts for 2 years. In 1972 I set out on my own by working in a shop with another young potter in Limerick, Maine for a few years. I moved to North Carolina in 1974 and began my long career as a porcelain potter making porcelain dinnerware with brushed over glazed decorations of simplified landscapes.
There is something about a black and white woodcut print that can evoke a strong emotional response. That drew me to relief prints when I was a pottery apprentice with Charles Counts. I lived down the road from woodcut printmaker, Fannie Mennen, and began buying relief prints. In 1997 I made my first woodcuts. I used various wood planks and taught myself. In 1998 I took a relief printmaking class at Penland School of Crafts. The relief prints influenced my work in clay. I began making porcelain lampshades carving linear designs into them. The light would be brighter through the carved lines giving a contrast between the carved and uncarved surfaces. I also started carving through a dark slip into the porcelain on my pottery. I took another Relief Printmaking class at Penland in 2007. The next winter I switched my focus from pottery to printmaking and was accepted in the SHCG in paper. I’ve also had training in letterpress printing at Asheville BookWorks, and wood engraving from Jim Horton at John C. Campbell Folk School.
I was always fascinated with pottery. As a child of eight I visited a pottery studio in Silver Springs Florida and as I watched the ball of clay growing into a beautiful vase, becoming a potter became my dream. I had an aunt that was involved with promoting Jugtown pottery and Ben Owen’s pots filled our houses. The first time I sat at a potter’s wheel I tried to make a bowl like one of his. I worked toward that goal through high school, spending every spare minute on the art room potter’s wheel. My training was formalized at Appalachian State University, where I completed over 20 hours of Ceramics Technology and other crafts courses and I have continued my education with various workshops since. After graduation, I apprenticed with a production potter to home my skills. Since 1982, I have been producing pottery outside Statesville, NC ,as well as working as a resident artist for the Hiddenite Center for the Arts demonstrating and occasionally teaching workshops and classes.
Lately, my work has undergone some dramatic changes. Being a member of Carolina ClayMatters has inspired me to develop 2 new color pallets after years of the same ole thing and take time to make more art pieces. Hope you enjoy viewing them here.
~ Visit the gallery to see our full collection of Robin Beckett pottery. ~
New gallery artist, Steve Noggle has made a career out of wood. First as a forester in the Pacific Northwest, then as an engineer in the NC furniture industry, and now with his artistry in shaping wood.
"With my discovery of wood-turning, a pastime of woodworking turned into a passion. 'Turning' quickly captivated more and more of my creative energy and interest, and soon I left the furniture industry to work full-time as a craftsman." -Steve Noggle
While attending Parsons School of Design I discovered my greatest skill was in wax carving. With this skill, and a passion for medieval metalwork and architecture, Q Evon Design was born. In 1992, I began as a small production business that grew to several hundred gallery and catalog accounts worldwide. After ten years of production, I realized I needed to expand my skills to move in a new artistic direction. I began studying privately with a master metalsmith and continue this study today. My current body of work includes fabrication, granulation, acid etching, reticulation & casting of gold, silver, and argentium. During this exploration, I found that incorporating a variety of methods brings about a richness in texture that gives each piece the unique and timeless quality that I strive for in my work. My work has always reflected a love for ancient metalwork and architecture. My current collections combine both gold and silver with an emphasis on texture and custom-cut stones. Reticulation, anti-clastic raising, acid etching, granulation, roller printing and the ancient art of keum-boo are combined to create rich metal tapestry. Each piece is as unique as the individual that chooses to wear my designs.
~ Visit the gallery to see our full collection of Q Evon jewelry. ~