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Making the Wildflower Vase: a short video documents the process

The Wildflower Vase is one of 6 pieces from the new limited-edition 2018 Spring Collection (available for order through May 11, 2018). This piece incorporates many fine details and intricacies that we documented for you to see in this short video. We hope you enjoy watching a sampling of the mesmerizing processes involved in creating this wonderful vase.

Shop the Wildflower Vase

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Historic Muses: How the early 20th c. Marblehead Pottery inspired Ephraim’s Rhythm Line

The Historic Marblehead Pottery

Marblehead Pottery, named after the small harbor town, Marblehead, Massachusetts, originated in 1904 as a small operation that served as art therapy for the patients in the local sanitarium. However, in 1905, Arthur Baggs purchased the pottery and turned it into a small production pottery studio, that created the recognizable, quintessential Marblehead-style pieces. The studio never employed more than 6 people. Their small output and refined design aesthetic make these pieces special among Arts and Crafts pottery collectors.

Historic Marblehead Pottery

What is special about Marblehead Pottery?

We admire Marblehead’s refined – almost modern – aesthetic. Their glazes are tight, but not rigid, and their pieces have a simple softness that comes from the lightly incised lines and tonal, stony glaze palette. From a ceramic artist’s perspective they were making something truly special and truly difficult to replicate.

From inspiration to aptitude – a decade of trial and error

Nothing could have been more challenging to recreate than Marblehead’s style. Our high relief sculpture and flowing glazes are so different from techniques and materials that Marblehead employed. Perhaps that challenge made the endeavor so enticing! Running glazes mean that we always avoid horizontal lines, which tend to become obscured when the glaze flows over them in the kiln. In early Marblehead attempts we thinned out the glaze in order to apply it in a scant-dipped coat. To no avail. The glazes still ran over the black lines. For the next attempts we reformulated the glazes to run less by removing some of the glazes’ flux. But then our surfaces lacked interest and looked stagnant. It wasn’t until we learned how to spray our glazes (about 5 years ago) that we finally had a solution. With a spraying technique we can apply our inherently interesting glazes thin enough so that they don’t run and cause the decoration to bleed.

A new bag of tricks = an expanded body of work

We finally conquered our materials. This process has led to an avenue of exploration that we proudly see as expanding on the great Marblehead’s legacy, but with an Ephraim twist.

 

 

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Bold Design + Simplicity

Sometimes the holy grail of making successful art involves marrying bold design with simplicity. We think about the elements of design all day, every day in the studio.

Here are some of the lessons we have learned over the years for achieving great design in ceramics:

  1. It is important to notice subtleties of form, especially in terms of the line formed by the edge – where the vessel meets the background. Most people don’t think about the artistic element of line when they think about pottery, but line is a critical factor in refined, well-designed pottery.
  2. Bold design is confident. In the same way fluidity and confidence result in a good golf stroke, a fast and fluid pull on the potter’s wheel produces a more confident form. It helps to trust the broad physical motions of throwing pottery and resist the urge to spend a lot of time perfecting a form inch-by-inch.
  3. Often (but not always!) odd numbers make elegant design sense. Likewise, applying the rule of thirds to a piece of art can be a successful tactic. Always be careful about adding design elements that break at the vertical middle of the form as this divides the form in half and disrupts the eye.
  4. Simplicity doesn’t mean simple or even minimal. While simplicity and minimalism can indeed work nicely together, we usually characterize pieces that maximize simplicity as also being well-unified. Sometimes we achieve successful unity through repeating patterns and other times we achieve it through harmonious glazing schemes.
    Lyrical Poppy Vase
    Living Fossil Vase
    Giboshi Lantern

    Victory Falls Vase – Limited Edition 2017 Fall Collection – Retired
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Reflections on 2017 – Pottery is hard!

1. We are human.

Our work will always reflect our uniqueness. Creating at this level is incredibly challenging…and rewarding. Each loss is actually a lesson gained, not a chink in our armor.

2. Pottery is messy.

Our studio is covered in a fine dust of glaze particles, spatterings of wet glaze and smears of wet clay. When we are not creating the messes we are working on the regular equipment repairs and searching for ways to improve our efficiency. Keeping this studio humming along is a collaborative effort – from designing, hand-building, marketing, and order entry to shipping final pieces.  An infinite number of errors could occur, but we give each piece our attention and dedication. Miraculously by the end of the process, the mess gives birth to beauty and we deliver joy to our collectors.

3. Our kilns give us lumps of coal at a regular rate.

Any ceramic artist can relate – a thankfully small – but persistent percentage of breaks, falls, unwanted drips, over-firings, under-firings, etc. are to be expected. This roll of the dice is what gets so many of us geeked! Our standards are extremely high, so the kiln errors also translate into a regular supply of seconds and irregulars available in our Studio Gallery.

4. When the kilns deliver perfectly we still break pots.

After expertly hand painted well over a hundred “snowy birch” ornaments, Leah was devastated to drop and break an entire board of them. Breaks in the galleries are also a bummer…. Whenever possible we have a laugh and make the most of our accidents. Laura has a wonderful habit of turning failed greenware into hideous creatures, which are a peculiar comfort to all of us.

5. We proudly enter our 22nd year of creating this special art pottery called “Ephraim”.

Despite all the challenges or perhaps because of them we continue to be inspired by the ceramic process and driven to advance our collective abilities. We are humbled by our successes and forever grateful for our collectors. It is solely because of your appreciation for this traditional art form that we exist. Thank you from the bottom of our hearts for your support. Cheers to 2018 and all the joy and new pottery it is sure to bring!

Ephraim Pottery Staff (left to right): Becky Hansen, John Raymond, Kevin Hicks, Leah Purisch, Allison Jelenchick, Shari Little, Ken Nekola, Laura Klein, Sarah FitzGibbon, Jill Winslow, Jennifer Alexander, Alek Schroeder and Nicole Cooke. California staff not shown: Terri Belford, Kathleen Marlo and Lynn Taylor.

 

 

 

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2017 Winter Collection – Limited Edition Designs + Winter Holiday Series

Introducing the 2017 Winter Collection. May these colorful designs brighten your home during this spirited season and bring you years of delight. We offer our sincere gratitude and holiday cheer for your loyalty and goodwill throughout the year.

This year’s Winter Holiday Series – Lyrical Poinsettia Vase – will be available until all 85 of the numbered edition pieces are ordered. The rest of the Winter Collection will be available in our galleries, online, or by phone 888.704.7687 through Dec 15.

Winter Design Series – Lyrical Poinsettia Vase. Thrown and sculpted by Kevin Hicks. Glazed by Jennifer Alexander.



Limited Edition – Snowy Birch Ornament. Thrown and sculpted by Ken Nekola. Glazed by Leah Purisch.

Limited Edition – Tree Hopper Ornament. Thrown by Kevin Hicks, sculpted by Laura Klein and glazed by Becky Hansen.

Limited Edition – Hidden Garden Ornament. Thrown and sculpted by Ken Nekola. Glazed by Becky Hansen and Jennifer Alexander.

Limited Edition – Dashing Through the Snow Tile. Pressed by Leah Purisch and Kevin Hicks. Glazed by Jill Winslow.

Limited Edition – Winter Bouquet Vase. Thrown by Alek Schroeder, sculpted by Laura Klein and glazed by Becky Hansen.