Wheel-thrown Pioneer Dark with Speckles stoneware | 4” diameter × 4.25” tall | Oregon clay
Some glazes sit still. Riptide never does.
This jar was wheel-thrown in my Portland studio from Pioneer Dark with Speckles, then hand-carved, dot by dot, into the dense oval texture that’s become one of my signatures. It’s finished in Riptide, a Mayco glaze that collects into carved texture like nothing else I use — warm chartreuse-gold across the high points, turquoise pooling into every carved dot, each pool a slightly different depth depending on how deep the carving runs. It’s the same glaze that made the Tidepool Vessel one of my favorites, and every time I pull a piece glazed in it from the kiln, I’m reminded why I keep coming back.
That pull toward glazes that break and pool and hold onto depth is the same instinct that’s recently sent me into gas reduction firing at cone 10 — a completely different world, further from what I can predict, further from what I can control. You can just catch a glimpse of that other side of my practice in the background of this piece’s photo. But the jar in front is still cone 6, still the glaze I know, still exactly the kind of nuance that started the whole pull in the first place.
The interior is fully glazed, so this one is watertight — a home for cut stems, a single branch, whatever wants to stand up in it. At 4” wide and just over 4” tall, it has enough presence to anchor a shelf on its own.
One of a kind. Riptide pools differently into every carved surface — this particular jar exists only once.
Wheel-thrown Pioneer Dark with Speckles stoneware | 4” diameter × 4.25” tall | Oregon clay
Some glazes sit still. Riptide never does.
This jar was wheel-thrown in my Portland studio from Pioneer Dark with Speckles, then hand-carved, dot by dot, into the dense oval texture that’s become one of my signatures. It’s finished in Riptide, a Mayco glaze that collects into carved texture like nothing else I use — warm chartreuse-gold across the high points, turquoise pooling into every carved dot, each pool a slightly different depth depending on how deep the carving runs. It’s the same glaze that made the Tidepool Vessel one of my favorites, and every time I pull a piece glazed in it from the kiln, I’m reminded why I keep coming back.
That pull toward glazes that break and pool and hold onto depth is the same instinct that’s recently sent me into gas reduction firing at cone 10 — a completely different world, further from what I can predict, further from what I can control. You can just catch a glimpse of that other side of my practice in the background of this piece’s photo. But the jar in front is still cone 6, still the glaze I know, still exactly the kind of nuance that started the whole pull in the first place.
The interior is fully glazed, so this one is watertight — a home for cut stems, a single branch, whatever wants to stand up in it. At 4” wide and just over 4” tall, it has enough presence to anchor a shelf on its own.
One of a kind. Riptide pools differently into every carved surface — this particular jar exists only once.
