Saggar Firing is an alluring process where vessels are fumed
in organic materials and minerals to create dynamic and
mystical blushes on the vessel surface without the use of glazes.
McMahon has been using this firing method for 17 years and
her work has a unique saggar signature like no other.
Participants will bring 2 to 6 small vessels or sculptures
for the firing, as well as clay saggars to house those pieces.
McMahon will cover form, surface, burnishing, terra siggalatta
and saggar firing in this chock full weekend. Read Brenda McMahon’s biography

Beth Cavener Stichter will be teaming up with fellow sculptor
(and mother), Nan Jacobsohn to offer an intense hands-on workshop
in capturing gesture and expression through the animal and human
form in large-scale clay sculptures. Through demonstrations and slide
presentations, Cavener Sticher’s hand-building methods, such as
maquettes, armature building, hollowing, and surface design and
finish will be covered. Feeling a bit intimidated? Not to worry.
Nan Cavener Jacobsohn can guide you through some of the same
processes on an introductory level using simplified armatures that
will allow you to do many of the poses and ideas that have eluded you
in the past. This Mother –Daughter team uses similar techniques,
but offer a variety of solutions to the challenges of creating and finishing sculpture. Read Beth Cavener Stichter’s biography

During this workshop the focus will be on functional pots;
working on technique to achieve better function and a more
expressive personal aesthetic. Demos will include: throwing
and trimming for the right clay wall; cups, handles and lids,
and feet; pouring pots; and surface decorating with marking on wax. Read Mark Shapiro’s biography

In this figure building workshop particular attention will be
paid to the most detailed parts: heads, hands and feet. Shimazu
will demonstrate how she builds animated pottery figures: from
teeth and toenails, to getting just the right loopy smile, as she
wrestles with clay to achieve something with a life of its own.
It is intense but fun. Students should have prior experience with clay and should understand how a teapot is made. Read Esther Shimazu’s biography