Diane Puckett

I love mud, be it in the studio or the garden. My first foray into ceramics was in the 1970s. I took a long time off for things like raising children and having a career in the Washington, DC area.

I got back into ceramics in 2000, taking classes from Fran Newquist at Manassas Clay where I eventually had a studio and sold my work.

Since moving to Asheville, North Carolina in 2009, I have established my own studio where I fire oxidation work and raku ware. I have had the privilege of taking classes and workshops from some amazing local potters.

Living in the Southern Appalachians is about as good as it gets. On the best days, the studio windows are wide open, good music is playing with the birds singing along, and I am up to my elbows in mud.

Diane Puckett

Sunday, September 23, 2012

Measuring Up

I love making big pots. Recently I was reading The Penland Book of Ceramics, and the chapter on Cynthia Bringle inspired me to try to make a tall pot for the first time in several years. I made three sections, each about 10 inches tall, planning to add a top with a narrow neck. I left them to sit in the studio overnight before assembling the pot the next day. About 3:30 in the morning, as I was laying awake solving the world's problems, I realized my kiln would not hold a pot that tall. In the morning, I went to the studio and measured my kiln. I could fit a 25-inch tall pot, still a good size. I assembled the pot, saving the top third for the top half of a large pitcher.

I used plastic and wood ribs to make a lot of marks in the pot. The next day I used a cheap yardstick (less than a dollar from Lowe's paint department) to beat the hell out of the pot. The yardstick is lightweight and flexible, so it really adds some nice marks. Beating the pot also helped to release some of my aggravation with the current political campaigns. It wasn't until I went back a few days later and added Newman's Red terra sig to the pot that I noticed the details of the impact of the yardstick.


In a few weeks I will be taking a class from Cynthia. Making this pot has given me a number of questions for her, so I am glad I made it when I did. Right now it is in the kiln for a bisque fire.


Wednesday, September 19, 2012

Hearing voices?

Today was a day when I needed someone to lock the studio door and not let me enter. Yesterday I threw this rather large vase out of twenty pounds of clay. I planned to pull the top up higher and deeply carve the bottom. That was a pretty good plan, as the vase was made in two pieces, and continuing to throw the bottom would be a good way to make the whole thing catawampus. I put it back on the wheel and did a pretty good job pulling the top. Then my rebellious side took over and decided she would try to throw the bottom higher too. I really did hear that little voice telling me not to do so, but I did it anyway. After I destroyed the pot, smushed the clay into a blob, and stuck it back in a plastic bag, I left the studio for the rest of the day. Maybe tomorrow will be a better pottery day.

I assume other people hear that little voice. So far, every time I have ignored it, I have regretted doing so. I really need to listen to her and save myself a lot of aggravation.

Tuesday, September 18, 2012

Progress in Handbuilding

I have been working on handbuilding with Mary Mikkelsen for the past several  months. Handbuilding is a slower, more meditative way of creating pottery.

Most of my handbuilding begins with making slabs of clay. I don't like making slabs, so I tend to make a number of them at one time, layering them between sheets of plastic and sheetrock. The plastic keeps the clay from drying out and the sheetrock from getting moldy. I have a small slab roller but find the best work comes from handmade slabs. Today the UPS man delivered a huge rolling pin, which should help.

Once I get a couple good-sized slabs made, I am quite happy to spend the entire day making things, stopping only when I run out of slabs or my back gives out from standing in the same position all day.

This is a piece I made yesterday. I added the feet today. The newsprint under the feet allow them to move as the pot dries, helping to prevent cracks. This is a low-fire, red clay. I don't usually use dark clays, but I have some and need to use it. I prefer not to throw with it, as throwing makes a lot more mess to clean up. Even though I know light clays make just as much mess, somehow the mess from red clays seem a lot more difficult to clean up. In my fantasies, I have a studio large enough for two complete areas, one for light clays and one for dark. In reality, I clean a lot.

I used the leftover slab to make this wallhanging. The insert is woven strips of clay. I am not sure where I am going with this piece. It is really a prototype for future wallhangings. I like pieces which hold organic things such as pinecones or seashells. I had not idea what to put inside this piece so decided to try weaving some clay to see how that works out.