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Marilyn Butt
Sechelt
My experience with clay began after all my children were in school; a few night classes and adult education courses were enough to get me hooked. However, as much as I enjoyed the experience, life soon interfered and I had to put away my wheel.
With retirement to the Sunshine Coast came more lessons, workshops and short courses. I took D'Arcy Margesson's glazing course at Emily Carr and several courses with Les Manning at the Metchosin International Summer School of the Arts. I learned the basic skills again and bought a wheel and kiln. It has taken me a while to become technically adequate as my association with pottery progresses from a hobby to something a little more serious.
The clay I use is stoneware fired to Cone 6 in an electric kiln. Most of my pieces, both thrown and handbuilt, are functional in nature, although lately my attention has been caught by the way that cylinders and vases can be altered, especially into shapes reflecting the angles of trees in the forest and the character of old stumps, which are so plentiful in this area. I plan to explore this inspiration for a while.
My experience with clay began after all my children were in school; a few night classes and adult education courses were enough to get me hooked. However, as much as I enjoyed the experience, life soon interfered and I had to put away my wheel.
With retirement to the Sunshine Coast came more lessons, workshops and short courses. I took D'Arcy Margesson's glazing course at Emily Carr and several courses with Les Manning at the Metchosin International Summer School of the Arts. I learned the basic skills again and bought a wheel and kiln. It has taken me a while to become technically adequate as my association with pottery progresses from a hobby to something a little more serious.
The clay I use is stoneware fired to Cone 6 in an electric kiln. Most of my pieces, both thrown and handbuilt, are functional in nature, although lately my attention has been caught by the way that cylinders and vases can be altered, especially into shapes reflecting the angles of trees in the forest and the character of old stumps, which are so plentiful in this area. I plan to explore this inspiration for a while.
