In honing my skills as a craftsman, I strive to make order out of chaos, explorers out of spectators, and to create appreciation through understanding.
The lidded form represents the unknown, something that can spark the curious to become involved. The object must be touched and handled: shape, color, texture, weight, and size are all artistic decisions, which are my tools.
When an observer becomes a participant and recognizes my efforts, I have accomplished my goal.
Julie Olson
Having been involved with clay since 1976 I still find pleasure and excitement in the never-ending possibilities of the medium. The ideas that inspire me have also led me to acquire skills in other media.
When my boxes needed hinges I studied stained glass and metalsmithing. Finials for my boxes and towers led me to lampworking. My shrines required knowledge in woodworking, and bookmaking skills were needed for the journals placed in those shrines.
I guess you could say that I have become a mixed media artist…with a strong clay background.
Pete Cozart
Like Julie, I too started making pots in 1976, and was full-time until 1986. Between then and now my clay involvement was limited until retirement from employment outside the studio.
Upon my return to the studio, my focus has been glaze formulation, mixing, and application, promotion, and studio maintenance, as well as occasionally making a few pots.
Dalton Hughes
Dalton began his apprenticeship at White Oak Pottery in 2017 and we are continually impressed by how quickly he has developed as a potter. He is involved in all aspects of the pottery from pugging clay, throwing his own pots, glazing, and firing the kilns. Just recently he purchased his first gas kiln which eventually will replace the White Oak Pottery reduction kiln. That kiln will be rebuilt as a soda kiln with Dalton's help. Oh, and by the way, he's a full-time Duke Med student working toward his PhD.
