Marsha Owen, a native of Mississippi, feels fortunate to live in North Carolina, a center of pottery production. She took her first pottery course under John Givvines at the North Carolina State University craft center and knew immediately that she had found her vocation. Since then she has honed her skills and broadened her expertise to include almost any utilitarian object that can be made in clay. She maintains her interest by always being open to new ideas and techniques. "There is always something to learn from the clay."
(To see the details, click here on Marsha's résumé. It will open in a new window.)
In 1993 her husband, Rick Moss, joined her, adding his handbuilding and surface decoration skills as well as carrying out the myriad of business details and building her first studio.
Marsha works extensively with colored slips (liquid clay), stains, underglazes, and various resist techniques in addition and in combination with the more conventional glaze application of dipping or spraying. Below you'll find a few examples of these different techniques. (Click on the photo for a larger image)
(To see the details, click here on Marsha's résumé. It will open in a new window.)
In 1993 her husband, Rick Moss, joined her, adding his handbuilding and surface decoration skills as well as carrying out the myriad of business details and building her first studio.
Marsha works extensively with colored slips (liquid clay), stains, underglazes, and various resist techniques in addition and in combination with the more conventional glaze application of dipping or spraying. Below you'll find a few examples of these different techniques. (Click on the photo for a larger image)
This platter was thrown on the wheel. While the clay was somewhat wet, we carved the design (in this case a checkerboard pattern). This left a texture in the clay which allowed glaze to collect during the glaze firing. Note the darker color where the glaze pools. The rim on this piece is left unglazed so it can be wood fired lip to lip with another plate.The five light areas on the rim are where the plate was wadded (supported by a small ball of high temperature clay) so it doesn't fuse to the other plate.
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On the rim of this plate, the decoration of flowers and leaves is a combination of slips and glazes. The background on the rim is a checkerboard of wax resist and glaze.
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This yellow bowl is decorated by applying wax resist with a cut out sponge. Where the resist is will prevent the glaze from adhering to the pot. Where it is not is the yellow glaze.
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This teapot is decorated with a sgraffito method. The glaze is scraped off (in this case) in a checkerboard pattern before the glaze firing.
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This platter had a pattern pressed into it with homemade plaster or biscqueware stamps. Note the variation in color where the glaze has different thicknesses.
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No stamping or carving here! The piece is bisque fired first, then set on a turntable where various glazes, underglazes, and stains are brushed or sprayed on as the piece is turned.
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