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Support Those Who Support Studio Potter

This month, our board members – who are all fellow ceramists – reflect on what makes a beautiful pot. It is this anthology of perspectives that represents the core of Studio Potter - these short narratives provide a window into the range of experiences, values, and comradery that unite us. 

In this spirit, I ask that you think of Studio Potter not only as an organization, but as a collection of individuals. Individuals who volunteer, individuals who are potters, and individuals who are dedicated to bringing you quality content each month. We peel back the layers this month and look to the simple and pure pursuit of what brings us joy - the beautiful pot.

To continue our commitment to this mission, we need your support.

Consider supporting those who support Studio Potter - Donate today.

Kate Roberts – Board Secretary 

The first pot I ever bought is still my favorite one.  

It’s a beautiful turquoise-glazed porcelain Mark Shapiro cup.  In the summer between my junior and senior years of college, I was an intern at the Truro Center for the Arts when Mark came to teach a workshop.  I instantly fell in love with the pot, but the small price tag, though not a lot, felt huge for my college student budget. Every day of the workshop, I walked by the table of cups for sale until, on the last day, I couldn’t hold back any longer. Why not?!  

For the first couple of years, I refused to use it for fear of breaking it.  It was so precious to me. I don’t remember exactly when I began using it, but almost fifteen years later, it’s the first one I pick out to drink water, wine, or an occasional gin and tonic.  My heart glows when I think about all the moments I picked it from my cabinet – from celebrating the good stuff, to nursing my disappointments, to most recently bringing me comfort as a new mom.  

It’s chipped now, but aren’t we all?

Hayne Bayless – Board Co-Vice President

A Punch’ong Fantasy

This Punch’ong flask, made in Korea around the sixteenth century, lives at Japan’s Museum of Oriental Ceramics in Osaka. The slip decoration – determined but unfussy – is unusual for its striking abstraction. 

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