A balancing act between creativity and limited storage space.
I fell in love with pottery while taking a class after a bad break-up. Thankfully, my love for ceramics lasted longer than the broken heart. I haven't stopped dreaming about getting my hands muddy since the first time I sat at the wheel!
Lonesome Jug Pottery officially began after my first sale with other studio members. As I scanned my table I noticed my little jug. It sat with dignity, alone, on the table filled with bowls and mugs. My little, lonesome jug represented all of the struggles and perseverance of learning a new craft and the exciting possibilities that clay offered. Lonesome Jug Pottery was born.
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Fast wheel,
slow hands
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The process
All of my pieces are handmade with love and care in Montreal, Canada. They all start as lumps of moist, malleable clay, and end as unique pieces of functional pottery designed to add some handmade joy to your regular routine.
Wedging
Wedging is like kneading, but to remove air and imperfections from the clay. It also helps to get all the clay particles aligned for easier throwing on the wheel.
Centering
Once the clay is on the wheel it needs to be centered. I put gentle pressure on the clay as the wheel turns to coax it into the middle. This helps with balance and to make sure that the clay stays symmetrical as the wheel turns.
Opening
Drilling a hole in the middle allows the space to start shaping the clay. Stretching the clay open forms the base of the pot.
Pulling
This step is more of a squeeze than a pull. My fingers squeeze the clay as the wheel turns. The walls gain their height and the pot beings to take shape. I take it off the wheel once I finalize the shape and curves that I want.
Drying. Again.
The piece will dry completely at this point. The piece is at its most fragile, it is essentially compressed dust at this point. All moisture must leave the pot otherwise it will explode in the kiln.
Drying
I dry the piece slowly over several days to allow the piece to harden, which makes it easier to handle without warping or destroying the shape.
Bisque firing
The pieces go into the kiln for approximately 6 hours for their first firing. This is a lower-temperature firing that will vitrify the clay so that it is solid, but still porous.
Glaze firing
The piece goes into the kiln for a second, longer and hotter firing. This will fully vitrify the clay, sealing it and making it water tight. The glaze will melt and turn to glass, creating beautiful colours and reactions (if I’ve calculated properly).
Trimming
After the piece has dried for a while, I’ll put it back on the wheel upside down and trim away excess clay and refine the shape. I’ll also carve a indent in the base, and add any handles or carved decorations.
Glazing
I dust the pieces and then apply a glaze - silica, alumina, and flux suspended in water - that will add colour and strength to the piece. I try to anticipate the reactions between glazes that will create magic. Sometimes I miscalculate and they’re horrible.