Woodfired Pottery
Copyright © 1999 Doug Browe

Throughout the 25 years in which Jan and I have been collaborating in clay, one central theme has been expressed in many different ways, the most important being the use of locally occurring materials.

Jan Hoyman and I met at Dick Hotchkiss’ studio in Grass Valley, California in 1976. What drew me there from my college in Michigan was hearing through the grapevine about a studio where they mined their own clay, and glaze materials, and built and fired large woodfired kilns, some of which were constructed of wild clay adobe blocks.

My interest was something more than the simple "return-to-roots" movement of the 60’s. In 1970, Daniel Rhodes wrote Tamba Pottery, documenting the history and work of the pottery villages of Japan that have produced the now legendary woodfired pots over the last 200+ years. The strength of that work, the directness of its utilitarian form and the truthful context in which it was made touched me deeply.

The fact that so often historic pottery carries its geographic location as a name is not an unimportant coincidence. Placing the work in an historic context is only one reason for naming it after its location of origin.

For us, it is of paramount importance that the works' place is named. Through its naming, we have a place to honor. Without a place to honor we are left without due praise or stewardship returned to the earth. It is imperative that we respect that place responsible for providing the materials we use. Native Americans recognized the earth for its gifts of materials, that place was named and praised, and in so doing it was protected from exploitation. Only through naming do things become respected enough to be cherished and protected.

During the 70’s Jan and I learned about mining clay from Dick Hotchkiss. In the late 70’s in England, we learned more from Svend Bayer, Mike Dodd and Nick Chapman. In the early 80’s we set up a studio in Michigan making functional decorated earthenware out of the local indigenous shale. The making of functional work with a European feeling has been a good fit. Its popularity has allowed for our growth as potters and made it possible for us to offer an ongoing apprenticeship program for the last 20 years.

We are now creating a place that will join the resource of clay and making of ware in one location. The Red Clay Ranch here in northern California now has two anagama kilns designed to fire the naturally occurring secondary clay surrounding the kilns themselves.

This woodfire work is the product of our efforts to create a meaningful relationship between maker, material source and community. In fostering this relationship we keep a clear channel open for communication between the elemental forces of our lives. The work we make becomes more than the sum total of its parts.

Only by respecting the earth for supplying the materials, by respecting our own training and creativity, and by respecting the patrons who come to us for inspiration and lead us with their needs, do we truly create a context with integrity in which to work.