A Quick Look
I am passionate and dedicated to what I do and am inspired by people and the world around me. I have lived and worked in Europe and also studied and led many workshops in Japan. My work blends the techniques of both the East and West, with a subtle leaning toward my experiences in Japan.
In keeping with the practice of many Japanese potters, I started formulating my own glazes about 20 years ago. I dig up local materials , grind and mix them, and experiment with various combinations until ultimately they combine into unique, safe, and earth friendly finishes.
I enjoy the process of making pots and most especially love fostering this passion in others. I love the musty smell of a newly-opened bag of clay, to throwing, trimming, glazing, firing and finally, unloading the kiln. The teaching and sharing of this knowledge is so important and brings me great joy. There is nothing more fulfilling than seeing the smile on a student's face when they make that first connection with a piece of clay.
In keeping with the practice of many Japanese potters, I started formulating my own glazes about 20 years ago. I dig up local materials , grind and mix them, and experiment with various combinations until ultimately they combine into unique, safe, and earth friendly finishes.
I enjoy the process of making pots and most especially love fostering this passion in others. I love the musty smell of a newly-opened bag of clay, to throwing, trimming, glazing, firing and finally, unloading the kiln. The teaching and sharing of this knowledge is so important and brings me great joy. There is nothing more fulfilling than seeing the smile on a student's face when they make that first connection with a piece of clay.
An In Depth Look
I am inspired mostly by what people want; what they are asking for. I like making pottery for people. Pleasing people is why I am doing this--and, hopefully, my clients are flexible enough to let me take the idea of the form that they want and bring some creativity to it.
What drew me toward pottery was its tactile nature. The feel and the sound of the clay in my hands. I get excited and have fun when I'm making something with my own hands that you can use every day.
My pottery is influenced by both Western and Asian potters. I want vessels or forms to be functional and to bring beauty to our living spaces. Japanese potters have taught me introspection. To go within myself and grasp the concept of the form or design that I am creating. It is an internal quietness. Western philosophy tends to have you look outwards, away from yourself. You are always looking for something 'out there' to satisfy you. I believe that as you get more introspective, the clay talks to you more, and you become more attuned to it so that you work together better. It is like a long relationship that develops over time.
The Japanese influence on my work has been subtle, although other people seem to see that influence more than I do. I don't do the same kind of work here as I do when I am in Japan, although some of the Asian influence seeps into the design of my forms and shapes.
What drew me toward pottery was its tactile nature. The feel and the sound of the clay in my hands. I get excited and have fun when I'm making something with my own hands that you can use every day.
My pottery is influenced by both Western and Asian potters. I want vessels or forms to be functional and to bring beauty to our living spaces. Japanese potters have taught me introspection. To go within myself and grasp the concept of the form or design that I am creating. It is an internal quietness. Western philosophy tends to have you look outwards, away from yourself. You are always looking for something 'out there' to satisfy you. I believe that as you get more introspective, the clay talks to you more, and you become more attuned to it so that you work together better. It is like a long relationship that develops over time.
The Japanese influence on my work has been subtle, although other people seem to see that influence more than I do. I don't do the same kind of work here as I do when I am in Japan, although some of the Asian influence seeps into the design of my forms and shapes.
Unique Characteristics
What I have focused on developing here in the U.S. is the processing of my own glazing materials. I use local materials; dig them up, process them, grind them, and then experiment with them to come up with my own glazes. I started gathering local materials (found in the Santa Cruz mountains) and formulating glazes seriously about 23 years ago. Limestone is a wonderful material. It is easy to get. I gather it, process it, and grind it by hand. I get apple wood ash from an apple orchard farmer in Watsonville after his trees are pruned. I get mud from Harken's Slough, clean it up, sieve it, and use it as a base for my glazes. The black sand from around Waddell Creek also gives me some nice colors.
I make a soft white glaze from apple wood ash. This is one of my favorite glazes and is particularly nice for glazing the inside of boxes, mugs, and vases.
I also create a glaze from the ash of chestnut hulls that I gather in the late fall along the road to my house. To create variety I add oxides that I get from a variety of old discarded pieces of metal. I leave the pieces outside to thoroughly rust. Then I take the flakes of rust and grind them down very finely. I can add that resulting powder to my glazes.
As for clay bodies I prefer coarse clays with plenty of grog for the most part although I do love to work with porcelain as well.
My favorite pieces to make are teapots and cups--tea sets with creamers and bowls. I also love making small bowls, I never seem to tire of them. But when I want to make a statement it's the big pots that I go for. They excite me with their visual impact and their variety of uses from the garden to the living room. Creating a large pot is an invigorating challenge.
Professionally and personally, no matter what I am working on, I have a sense of dedication and passion for the outcome. Ultimately, for me, passing on this knowledge and these skills is one of my main goals.
I make a soft white glaze from apple wood ash. This is one of my favorite glazes and is particularly nice for glazing the inside of boxes, mugs, and vases.
I also create a glaze from the ash of chestnut hulls that I gather in the late fall along the road to my house. To create variety I add oxides that I get from a variety of old discarded pieces of metal. I leave the pieces outside to thoroughly rust. Then I take the flakes of rust and grind them down very finely. I can add that resulting powder to my glazes.
As for clay bodies I prefer coarse clays with plenty of grog for the most part although I do love to work with porcelain as well.
My favorite pieces to make are teapots and cups--tea sets with creamers and bowls. I also love making small bowls, I never seem to tire of them. But when I want to make a statement it's the big pots that I go for. They excite me with their visual impact and their variety of uses from the garden to the living room. Creating a large pot is an invigorating challenge.
Professionally and personally, no matter what I am working on, I have a sense of dedication and passion for the outcome. Ultimately, for me, passing on this knowledge and these skills is one of my main goals.
Teaching The Craft
I am an accredited instructor and have taught for over 40 years for Santa Cruz Adult School and various other educational institutions throughout the Santa Cruz and Monterey Bay areas.
I have a fairly large following of students here on the west coast and in Japan. I have mentored many serious potters and ceramicists on their own journeys with clay. Many of them are not only enjoying very successful careers of their own, but are now well-known and respected artists in their own right. Among them are: Karen Card, Joel Magen, Jeannette Jennings, Jennifer Anderson, Alan Wilkes, Wendy King, and Aimee Fokudo and Masami who both now reside in Japan.
I am mentoring individuals and teaching evening classes for Santa Cruz Adult Education. I also offer what I hope are challenging workshops for anyone that want to expand their skills. Some of my on-going workshops are: Large Pot, Teapot, Tool-Making, and Glazing and Kiln-Firing.
I have a fairly large following of students here on the west coast and in Japan. I have mentored many serious potters and ceramicists on their own journeys with clay. Many of them are not only enjoying very successful careers of their own, but are now well-known and respected artists in their own right. Among them are: Karen Card, Joel Magen, Jeannette Jennings, Jennifer Anderson, Alan Wilkes, Wendy King, and Aimee Fokudo and Masami who both now reside in Japan.
I am mentoring individuals and teaching evening classes for Santa Cruz Adult Education. I also offer what I hope are challenging workshops for anyone that want to expand their skills. Some of my on-going workshops are: Large Pot, Teapot, Tool-Making, and Glazing and Kiln-Firing.
Taking Skills Overseas
Aside from my work and teaching here in the U.S., I also teach in other countries. I have been traveling to Japan for the past 34 years to study and share techniques. Most recently I taught a workshop in Sweden.
Every year for the past 34 years I have led a small group of dedicated students to Japan. The trips are generally for two to three weeks in May . They typically comprise ten days of hands-on studio work in Mashiko, demonstrations by visiting potters, visits to other potter's studios, kiln firings, and visits to various museums, exhibits, and ceramic cultural centers.
Mashiko is famous internationally for its ceramics going back centuries. From Mashiko hail generations of family potters. Mashiko is the hometown of the famous Shoji Hamada whose summer and winter homes and studios are now enshrined as museums.
In 2011 Mashiko was hit hard by the Japanese earthquake, tsunami, and nuclear disaster. My focus during this trying time was to raise funds with other local potters and students that would assist with rebuilding the village, studios, and kilns of the Mashiko residents.
Every year for the past 34 years I have led a small group of dedicated students to Japan. The trips are generally for two to three weeks in May . They typically comprise ten days of hands-on studio work in Mashiko, demonstrations by visiting potters, visits to other potter's studios, kiln firings, and visits to various museums, exhibits, and ceramic cultural centers.
Mashiko is famous internationally for its ceramics going back centuries. From Mashiko hail generations of family potters. Mashiko is the hometown of the famous Shoji Hamada whose summer and winter homes and studios are now enshrined as museums.
In 2011 Mashiko was hit hard by the Japanese earthquake, tsunami, and nuclear disaster. My focus during this trying time was to raise funds with other local potters and students that would assist with rebuilding the village, studios, and kilns of the Mashiko residents.
Staying Current
I believe that it's very important to be a continuous learner. I want to stay current, stimulate my work, and keep my teaching vibrant and fresh. So I challenge myself:
There is nothing easy about having your artwork be your profession. Even though you may not go to an office everyday you must work diligently on your skills and on the products you produce. It takes a unique commitment to be a full-time artist.
- In January/February of 2003, George was nominated as "Santa Cruz Artist of the Year."
I also maintain memberships in the following key organizations:
- To attend classes and workshops every year, participate in various exhibitions, and maintain memberships in accredited associations.
- To try and participate in at least three group exhibitions yearly. A few years back my work was juried into the "California State-Wide Exhibition."
- To participate in the Santa Cruz "Open Studios" shows which I have been doing for over 23 years.
There is nothing easy about having your artwork be your profession. Even though you may not go to an office everyday you must work diligently on your skills and on the products you produce. It takes a unique commitment to be a full-time artist.
- In January/February of 2003, George was nominated as "Santa Cruz Artist of the Year."
I also maintain memberships in the following key organizations:
- The Association of California Ceramic Artists,
- The Sacramento Potters Association,
- The Japanese Cultural Fair Advisory Committee,
- Santa Cruz Kama No Kai (founding member),
- The American Ceramics Society, and
- The Santa Cruz Association of Potters (founding member).
Some Links to George:
- JOJI is a study of the relationship of an American Craftsperson to the land in which he or she works. In the metaphor of one man's life, Scott Galloway explores the relationship of the craft of pottery to the bio-region in which the potter works.