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“Years ago when I lived in the city I threw my pots for my electric kiln. My pottery was not the same as it is today. Smooth white and
black glazes characterized it and it was, well, very urban.

After eight years of wood firing here in Farrellton, Quebec my pots are of a very different kind. The forms are earthy, perhaps influenced by the rolling hills that surround the wood kiln. The glazed and unglazed parts of my cups, teapots, bowls and vases are
full of subtle differences, touched in a different way by the flames. I use both stoneware and porcelain clays for my work as each reacts differently to the flame; the stoneware turning a rich brown, the pure-white porcelain becomes amber coloured. Even the wood itself, sometimes cedar, spruce, pine and a mix of poplar and elm takes a hand in deciding what the final colour and glaze will look like.

I have always been drawn to the traditional Oriental glazes: Shino, Tenmoku and Celadon. The clay in the fields at our farm is high in iron and it has been very exciting to develop a Celadon glaze in the old tradition of using this natural source of iron. Organic seems an over-used word these days but wood fired pottery is certainly that.”

Anne is the most dedicated of potters; she learns by making, and she loves to learn.  After years of working with various methods and types of clay, she fell in love with wood-fired pottery… and has not looked back.  On her rural property, she built a wood kiln that she fires as often as possible. In between firings, she can be found throwing new work, chopping and stacking wood for future use, showing her pots or attending workshops.

Her pottery forms exude a beautiful simplicity, the surfaces of which capture the dramatic, long, high-temperature firing process with random accumulations of melted ash and glaze mixtures. It is truly a wonder-full combination of materials and process.

Anne Creskey portrait 2