While studying ceramics in the mid-1970s at The National College of Art and Design in Bergen, I and my fellow classmates were influenced more by the Leach-Hamada tradition and English studio pottery practices than by Norway’s relatively short ceramic history.2 We had no textbooks in Norwegian. We read the English magazine Ceramic Review, had English guest teachers,3 and devoured Bernhard Leach´s A Potter’s Book, Michael Cardew’s Pioneer Pottery, and Danish artist Finn Lynggård´s Keramisk Håndbok. We were also acquainted with magazines like Studio Potter and Ceramic Monthly. Altogether, these were the written texts about ceramics we were exposed to at the time, and they certainly influenced my thinking and development as a potter. As opposed to many of my classmates, who after completing education gradually moved away from making utilitarian pots, I continued to practice within this philosophy of utility and self-sufficiency. I experimented with natural clays, collected wood ash, built wood-fired kilns, and mixed glazes from scratch. I devoted my time to making functional pots for daily use in the kitchen and for serving food.