metal is clay

Excited to share I’ll be presenting an artist talk on March 28, 7pm, at North Mount Pleasant Art Centre, in Calgary. I started clay classes there in 1996, a year after I emigrated from England to Canada—it was that education and community that helped me develop the skills to set up my home studio. I’ll be diving into my process, doing some demos, and generally obsessing about all things clay (with a bit of metal sneaking in). Thank you to the Mount Pleasant Potters' Guild for the invitation--hope to see you there!

Making a hand-built sculptural porcelain flower vessel: I made four short videos showing my process as I hand-built this form, and I’ve put them all on this post, in reverse chronological order. The piece was built over a 5-week period, to the constant background of news coming from the radio—I’ve shared more about my thought process, and the difficult sources that were my inspiration, at the bottom of this post.  The final video, Part 4, shows me refining the form and details, and cutting away clay supports that have cradled the vessel over the last few weeks. The vessel is now loosely wrapped under 4 layers of soft plastic, and settled in for the long, slow dry before it can be fired. Scroll down for Parts 3, 2, and 1 to see how the form was developed.  2x speed. 🎶 Judson Crane "From The Earth" Time is an essential component in building complex pieces like this; clay will soften as it is worked, and by breaking my work up into sessions of a few hours a day, it allows physi...

Over Christmas 2021, I had a little moment and bought myself a gift: christinepedersen.art —a new web-site . I’ve been watching this project evolve for quite a while, and was thrilled to see that .art was offering an easy to use pop-up artist site builder ; I finished writing all the descriptions and up-loading my images yesterday. And so today I can relax, just a little, write a blog post… OK, back to work! All the not-actually-making-new-art-jobs truly take a huge amount of time. There's shooting photography and video  - then editing the photos and video (including new #shorts on Youtube), maintaining the written statements and documentation, and making social media posts...and if I’m lucky to write some show applications and send work out into the world, I might even have a rare chance to scrub up for an afternoon and share a glass of something nice with you in a gallery!   And I’m not complaining about any of it (even when I want to drop-kick my computer off a brid...

Celebrating National Clay Week 2017, new cookbook The Crafted Dish goes on sale online at thecrafteddish.com Canadian Thanksgiving - a perfect day to dish up a new cookbook benefiting thestop.org , an organization that works on many aspects of food security and building community. The Crafted Dish is full of recipes submitted by clay artists, with the food served on their gorgeous hand-made dishes. Creating the book was a zero-cost project, with all of the work done by a fantastic team of volunteers, lead by Carole Epp (she of the excellent clay web-site musingaboutmud.com ). Go SEE some of the recipes - if only the Instagram feed was scratch and sniff... My contribution to the crafted dish is a gluten-free nut butter cookie recipe (hint: if you don’t tell anyone it’s gluten free, they won’t care, they’re good cookies). I offer a grateful nod to all the other cookie recipes I have ever read because I modified and substituted, and went through lots of trial and crumbly erro...

“Twenty” was a complex piece to make real ; it started by sharing in a dream… What is the client imagining? What can they see and feel? And there it was in my hands, the finished piece: thick, lush, textured, a golden and hefty gem-set brass carabiner, with my thumb flicking that addictive gate-wire! The imagined carabiner had a haptic, emotional identity before material, or sketching. It came to life through our massively powerful human ability to transmit the idea of The Thing between us. Everyone’s a maker when they choose to spend a moment visualizing the thing made, finished, right there in front of them. It’s a delicious first step. And it sends the real-world maker off to find the right tools… And there’s the rub: the idea of the thing isn’t enough to make it real, because there’s still all the mess and details and skill of the making. That’s where the maker or artist chooses to fall into building the dream. This is the "making of" video for a commi...

Whoa! That's a very young me with my skewbald bestie and life-long inspiration... Read a feature article in the Okotoks Feb 2017 C u ltural newsletter. Want to talk horse all evening AND learn to sculpt a horse-head in clay? Sounds like a great way to spend time to me! I am really looking forward to teaching this course - starts March 16, 2017, and you can register through the Town of Okotok’s website here. Punk, Jazz, and Classical: ponies with attitude! Christine Pedersen. 2016. You will spend four 2-hour evening classes making your sculpture, after which your piece will dry, and then be fired for you. During the final 2-hour class, you will decide whether to use paint or glaze to decorate your finished horse-head. This course is for anyone who would like to sculpt with potter’s clay. No experience is necessary—just bring your enthusiasm, and pictures of horse-heads that you find inspiring. I will cover all of the important techniques for hand-sculpting , and y...

Really looking forward to teaching this course - you can register through the website here . This is a relatively short course with four 2-hour evening classes to make your sculpture, after which your piece will dry, and then be fired for you. During the final 2-hour class, you will decide whether to use paint or glaze to decorate your finished sculpture. This course is for anyone who would like to sculpt with potter’s clay. We will provide materials and instruction to get everyone successfully working with clay. For those with some clay experience, I will help you develop your composition and build character into your piece. The course is focused on the horse, but your “look” can be as literal or abstract as you wish, and you will make your piece as simple or challenging as you want in the time available. I will cover all the important techniques for hand-sculpting forms in clay in the fun and stimulating environment of the artist’s studio upstairs at the Okotoks Art Galler...

Great to see Monday morning’s Ceramic Arts Daily post , featuring Emily Schroeder-Willis hand-building—pinching—a lovely full-bellied pitcher. I really admire Emily's work, and as a larger-scale pincher myself, I am super-happy to see this fundamental technique receive more profile. A quick on-line search for the earliest clay pots around the world - Chinese, Jomon, Anglo-saxon, iron or bronze age - gives us pots that range from the ceremonial to the sublimely beautiful, a process in which humanity declared a relationship between form and function, and built joy via beauty. Because hand-building can do it all.  Little to large... Everyday hand-built pots on my kitchen counter. Christine Pedersen. 2016. From a making perspectiv e : I like to m ix up the methods. D eveloping our design ideas is fundamental to building variety and refinement in our finished forms, and a ny technique requires dedication and an investment of time for us to become really skilled at it. S...

V iew the registration page for the Equine Clay Sculpting course, fall 2016 , presented b y the Town of Okotoks , Alberta. Instructor - yours truly! Registration opens August 11, 2016. New horse head studies now on show at Bluerock Gallery, Black Diamond, Albert a. Meet Battle - a pony with attitude. Battle . Equine head study. Hand-built, stoneware, glazed. Christine Pedersen. 2016. I have been invited to teach a clay horse-head sculpting class this fall at Okotoks Art Gallery, Alberta . P art of my journey is to design a format that will encourage students to get into creating assertively, successfully, within the time limits of the class. I want the students to enjoy the clay material, to really work it, to learn to build attitude.  This invitation set me off sculpting horse-heads, looking for new ways, new styles—and a rogues gallery appeared over a month… It is incredibly inspiring and stimulating to mess with my own ways of making, to look for oth...

New work on its way to Bluerock Gallery for Meet The Herd, this weekend July 16 and 17, 2016. Follow this link for full event details. Hope to see you there :) Untitled #1. Chased and repousséd biomorphic form. Oxidized aluminium. Christine Pedersen. 2016. I make what I love—way to start a Monday! It’s a really great feeling that I can walk into my office (aka the basement studio) and love what I do. Now that doesn’t mean it’s easy… I spend a fair bit of time hugging a mug of tea and staring at things ;) And it really takes time, that wondering how to do them—I know what I want—but I’ve got to figure out the how, and what materials, and which techniques will get me there. I sketch a lot . All sorts of designs… The process of making becomes what my brain says is interesting, it is what “we"—the head, hands and heart of me—will do. All to say that I have a very wide variety of inspirations, and the biggest joy is going where they take me. This is the first piece I hav...

Raw porcelain vases , drying. Or, as I like to think of them: well organized dirt.  I love seeing clay work at the raw stage… There’s an intensity in seeing all the forms together, and because I tend to make a variety of shapes and sizes, it feels like a crowd - like a group shot of people: they are individuals, somehow uniform, and different.  Freshly pinched porcelain vases: bases levelled, signed, and slowly drying ahead of their first trip through the kiln. 3.5 - 8.5 inches tall. Christine Pedersen. 2016. Lining the pieces up for a picture has a habit of making one of them stand out - like seeing a group photo where you only know one of the people. I’m not entirely sure how consciously that happens, but it definitely adds to the fascination of taking the pictures, and it’s part of getting to know the characters before I have to say goodbye. Th is group of vases are small and medium sized, and will hopefully be joining their friends at Bluerock Gallery in April ...

For Valentine’s… #15 looking, dare I say, hot! P ulsing with colour and promise. You can find a wide selection of my vases - from the petite and curvaceous , to the tall, brooding, and handsome at Bluerock Gallery , Black Diamond, Alberta, Canada. B l uerock will ship, or there is a lovely florist nearby if you're local. "#15: Be Mine" pinched porcelain vase, with “Don’t Eat The Yellow Snow: Orange and Red Slurpee” glazes. 21 cm tall. Christine Pedersen. 2015. #canadianceramics #spreadtheword L oving these tulips. The hashtags I am adding #canadianceramics #spreadtheword come from a new Canadian Ceramics web-site ma k eanddo - the site is building a directory of Canadian clay artists, offers guest artist features, and the work of a core group of fabulous Canadian contemporary clay artists. Pop over and see!

I always keep a piece from a new body of work: I need to spend time getting to know it.  #15 “Don’t Eat The Yellow Snow: Orange and Red Slurpee” pinched porcelain vase form. Height: 8 inches. Christine Pedersen. 2015. And so #15 stayed with us, and I schemed up a delightful challenge for myself: in the name of art—and pictures for my blog—I would fill it with flowers for every opportunity I could make up for a whole year. Sweet. First up: a lovely (and very modestly priced) bouquet from the supermarket for Christmas 2015.  #15 “Don’t Eat The Yellow Snow: Orange and Red Slurpee” pinched porcelain vase form. Seasonal flowers. Christine Pedersen. 2015. I always approach a vase thinking about the overall shape, as something to contemplate in my home, because most of the time it will probably stand empty. But as I make the piece, I end up imagining flowers and how they will fill it: how the stalks reach down to the bottom and push off at an angle; how wide a...

It’s January. It’s cold. Comfort foods rule. And we’re on the way to February—still cold—and the first of the chocolate holidays… Perfect time for a tray of brownies. Gluten free chocolate brownie: topped with dark chocolate ganache fondant icing and dried sour cherries, dusted with icing sugar. Served on a wood-fired stoneware platter. Christine Pedersen. 2016. A gluten free friend sent me this brownie recipe back in 2002—and I still have the original email I printed off. The paper looks a bit brown now - not from age - just the accumulated smudges of brownie batter and fondant icing from hundreds of bakings… For I am “She Who Brings The GF Brownies” to neighbourhood functions, a deliverer of dessert to those prowling the buffet table in the hope of a dietarily-appropriate chocolate fix. But, if asked, other guests do not seem to care that the recipe also happens to be gluten free, they’re just scarfing down really good brownies before they all get eaten. All this makes me po...

Merry Christmas! Have some rich, dense and creamy gluten free (GF) shortbread—a small (but cunning) gift from me to anyone who is gluten-free or loves someone who is… And if everything goes according to plan, it will mean that lots more people will be able to offer home-baked gluten free goodies when I go round for a visit! My mum’s shortbread was legendary, not least because it lasted for such a short time once she’d baked it… I have modified her recipe by increasing the usually small amounts of ground almonds and rice flour to completely replace the wheat flour. And I took inspiration from her use of whipping cream to ‘wet’ and bind the dry ingredients, instead of just using water. What an amazing difference—that creamy, fresh flavour I had always loved is right there in the first taste. See below for recipe. Gluten free almond, rice four and butter shortbread baked in an unglazed stoneware tray. Diameter 10”, 0.75” deep. The trays make great pizza too. Christine Pedersen 2015...

Photographing a group of new pieces is always interesting—getting to know who they are and seeing how they fit together. I had placed 18 porcelain vases on my dining room table ready to take their pictures; after a couple of days of hanging out with them I felt like I was trying to organise the guests in a wedding party… All those colours and heights and styles—lining up, fitting in, and settling the kids down in front. And then there are all the other shots - like the small family group caught in a candid moment, the teenager poignantly standing apart from their parents. Vases have a very special place in my affections and my need to make (more on this below). Thanks to the Citizen’s of Craft web-site for helping to get the word out that “Vases are people too”. I knew I wasn’t alone :) The vases are available from the excellent Bluerock Gallery in Black Diamond, Alberta.   The Family Photo 2015 - Probably Unrepeatable. Porcelain vases, tallest is 11 inches. Christin...

I have a rule when I make my ceramics: I have to love how the finished piece looks on my dining room table. This was the first large piece that I glazed in my new glaze style: “Don’t Eat The Yellow Snow” - it has splashes of bright yellow and lime green glaze on top of a translucent glaze, on high-fired porcelain clay. There is also a funky mix of wood ash, black underglaze, and ash splodges: it captures a snow-bank a few days after a snow-fall - the expanse of white, splashes from the road and bikes and - y ou can fill in the rest of the inspiration. Don’t Eat The Yellow Snow. Porcelain walled and footed bowl. Pinched and hand-built form. 4.5” x 8”. Christine Pedersen. 2015. This glaze style makes me smile... It was hard to let go and take it to Bluerock , and I have a blank space in the middle of my table. Maybe I’ll be able to post a shot of it on the dining room table of its new home.

South of Calgary for half an hour, then drive due west—past the Big Rock (1) and fields of rolling prairie foothills—straight towards the Rockies… It’s a lovely drive down to Black Diamond from Calgary. My first collection of work is now on show at Bluerock Gallery —so proud to be joining the talented artists and friends already there. Don’t Eat The Yellow Snow: Orange & Red Slurpee . Pinched porcelain vase. 17.5 cm/ 7” tall. Christine Pedersen. 2015. If you’re making the trip, I strongly recommend you set-off early and call into Chinook Meadery , just west of Okotoks. Loads of lovely honey-related products, honeycomb to sample, and a live hive doing actual bee-business right there in the shop. Top tip: the honey ganache is amazing on bread and cookies, or straight off your finger whilst still sitting in their car-park. We are working our way into the case of mead we brought back, haven’t drunk them all yet so we can’t elect a champion. So far: six thumbs way up! (1...

Canadian fine craft artists, the galleries, shops and studios where you can meet them, and the museums, art institutions and curators that shape our history - all working together in one place to show the world our work… Drool. The Citizen’s Of Craft web-site is open for business. And I’m all smiles - I spent many summer evenings happily camped in my basement editing pictures and loading them up to create my profile .  407 members and growing every time I visit, I think this could just be the best thing to happen to fine craft artists in Canada for a very long time. It’s a   h u g e  under-taking to create and maintain such a resource, so I’m feeling pretty confident about my very sweeping statement. It’s only been a week and 3 complete strangers have taken the time to share my profile on Facebook (and I didn’t even ask them to): thank you to my new friends, and I look forward to the many opportunities this new resource will create in our far-flung hands-on comm...

At first glance, I thought this picture was of something I knew very well… I read in the article that it is a 1/4" macro of a Tom Thompson oil painting, photographed by Jon Sasaki. When this tiny fragment of the painting is blown up to become a new picture of 16 x 24 inches, it seems to look like a surface I am much more familiar with - the soft, shiny, dry, smooth, rough, cracked - etc etc - deeply nuanced surface of a glazed ceramic work. Jon Sasaki: macro photographic image of a quarter inch square of a Tom Thompson oil painting. 2013.  Close-up photography has offered a very different perspective on the oil painting surface, revealing how different media, and our different tools - brush, knife, finger - can be so different in process, or appear so alike, simply by offering a different scale of seeing, to appreciate what is there.