Artist Margaret Boozer reflects on her life's work digging, studying, and offering clay. "Using local clay is a way to experience place, to learn something about the earth. I use it almost as a found object, for the historical, cultural, and geological resonance that particular clays bring to my work."
Pitcher. White slip with creek slip trailed over ash/feldspar glaze. 10.5in.
I often think about how similar making pot­tery is to cooking. Recently I have been con­templating the parallels between the Slow Food movement and the way I like to make pottery.
Untitled. Native Bray clay. 7 x 7 x 7 in.
I have been interested in using native materials for as long as I have been involved with ceramics. Exploring and being in touch with the natural environment is important to me.
Place-based making is holistic not fragmented, regional not global, and inti­mately connected to place, not disassociated from it.
Photograph by Margaret Boozer.
Oddball materials have a wide range of possibilities. Simple testing and playing with any material is the best way to learn its potential. I used to give my students a hypothetical glaze-making scenario in which they were limited to materials from a grocery store and a creek.
Painted, unfired work in the studio. Photograph by Mark Shapiro.
I'm happy to be here now. I felt pretty positive about the development of the pots, I really did. But I thought that maybe it could go on. I mean, it's hopeful. And so many things did happen. There were so many rich things; I certainly don't have any regrets.