Ray Niebergall
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Roberts Creek
Clay is the most fascinating of earth's materials. It is mysterious and complex. Wet, cool, soft, malleable, it just begs to take on form.
A recently uncovered ancient clay pot, thousands of years old, reveals some of the mystery of a forgotten culture. Yet that very form can be destroyed in a moment. Clay is so much like us: we have an evolving endurance of creativity that brings hope to our world yet we are so fragile, in a moment so easily shattered.
To touch its wetness, to feel its mystery, to look at an ancient form and to dialogue with other artists-this is what inspires me. In addition, the power of myth and story has shaped the direction of the work I do. From this has evolved my "Tree of Life" series, and it continues to shape the direction of form and function in my teapot and platter series.
I enjoy the movement, the life-giving energy of throwing on the wheel. Then I alter its shape, add slabs, coils and engrave designs to complete the desired form. My clay body is either porcelain or an equal mix of porcelain and white stoneware. The work is fired to 13000 C in either a heavy reducing atmosphere or in oxidation.
Clay is the most fascinating of earth's materials. It is mysterious and complex. Wet, cool, soft, malleable, it just begs to take on form.
A recently uncovered ancient clay pot, thousands of years old, reveals some of the mystery of a forgotten culture. Yet that very form can be destroyed in a moment. Clay is so much like us: we have an evolving endurance of creativity that brings hope to our world yet we are so fragile, in a moment so easily shattered.
To touch its wetness, to feel its mystery, to look at an ancient form and to dialogue with other artists-this is what inspires me. In addition, the power of myth and story has shaped the direction of the work I do. From this has evolved my "Tree of Life" series, and it continues to shape the direction of form and function in my teapot and platter series.
I enjoy the movement, the life-giving energy of throwing on the wheel. Then I alter its shape, add slabs, coils and engrave designs to complete the desired form. My clay body is either porcelain or an equal mix of porcelain and white stoneware. The work is fired to 13000 C in either a heavy reducing atmosphere or in oxidation.
