Skip to main content

contact

B's vase. Medium porcelain vase: crunchy porcelain.
Height: 7.75".
Purchased as a birthday present.

Your privacy is very important to me. I will not share any email or contact information provided to me from this page. 
 
New pieces are always underway. Please get in touch about available work, or to discuss potential opportunities for me to create a piece for you. 
 
Thank you.  
 
your name:

your email: (required)

your message: (required)




On the left: wood-fired platter with home-grown tomatoes, pinched wood-fired vase with red glaze.
On the right: small pinched porcelain vase, large pinched porcelain vase. Raw clay exteriors with clear liner glaze.
Tallest piece 8.5".

Popular posts from this blog

narrative jewellery: tales from the toolbox book launch

For every piece of jewellery I make there is a story. It can be simple, just a note on the “why?” that led to the forms and textures, or the feeling that I want to remember. Sometimes the single idea that could become a piece, conceived way before the act of making, can become so over-whelming that I need to write a whole new reality for the jewellery to exist within. That’s how it was for “Pull”, the first piece of jewellery in a body of work that became the ReFind Collection *. It caused me to look at materials in my home, especially the things that were routinely thrown away, very differently. It was like waking up to realize I just hadn’t been paying the right kind of attention to all the “stuff” in other areas of my life; realizing that maybe jewellery could be linked to something as obscure as industrial-scale food-processing and packaging—if I allowed my mind to receive the information, differently. I am very honoured that my necklace has been included in Mark Fenn’s new

fire in the belly: it's what makes us get up and make art every day

  Fire In The Belly. Wood-fired porcelain jar with sculptural metal crown, by Robin DuPont and Christine Pedersen. Height: 40 cm. “Fire In The Belly” —introducing @robindupontceramics and my piece for the Alberta Craft Council “Craft Collaborations” fund-raising auction. The auction is now open, with 38 artists presenting 31 unique new pieces 🎉 . I’ve been really looking forward to seeing what everyone else has been making—you can find the auction catalogue here . Robin’s wood-fired ceramic jar is coiled and pinched porcelain, with natural ash-glaze from pine, fir, oak, and black poplar ash. My sculptural metal crown is recycled brass and bronze, made by hammer-forming, raising, and repoussĂ©, with hand-chased line-work. The metal is finished with oxidizing patina, heat patina, and wax.   Each piece in the auction has an artist statement, it’s really informative to hear other people’s experiences as they challenged themselves to develop a new idea, and use their skills to develop a col

new year - new ways to see: a crafty peek into making tasty “plique-a-jour” enamel jewellery

The Herring: Pre- and Post-Mortem. Champ-levĂ© enamel pendants in copper, fine silver, sterling silver. I loved learning to enamel - the instant wow factor as I stepped into a world of colour - fusing glass to metal. Right now, I am working in champ-levĂ© and cloisonnĂ©, and exploring surface effects when the enamel powders are spread directly onto flat metal. it's going to be a very colourful experience. Enamelling appears to date back to at least the thirteenth century BCE(1), with a more modern history boasting master metalsmiths, jewellers, and designers like FabergĂ©, Lalique, Tiffany, and Cartier. We’re likely more familiar on a daily basis with our enamelled iron pans, kitchen tools like colanders or bread bins, the traditional enamelled cast iron tub, or ubiquitous “white goods” - so-named for the white-enamelled steel panels. There are even obsolescence - and maintenance-defying - enamel-clad “Lustron” houses built in the US for returning WWII vets(2). “You’re