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ANNE STEACY


What clay body do you use?
" My go to clay body is Raku for hand building my houses and structures. More recently I have been drawn to Frost porcelain, hand building flowers and wearable art. This in itself lets you know how conflicted I am in my ceramic practice."


    Primary forming method?

    "I love the wheel and to sit and zone out throwing cups and bowls. But my more creative side draws me to slab building rustic, rugged structures. If I am making something large on the wheel I will use both techniques — kind of a coil throw process."


    Primary firing temperature?

    "This is a good question. When available, I use wood fire, Raku and Cone 10 reduction. But I mostly have cone 6 and low fire 05 and Raku available."


    Favorite surface treatment?

    "I like the results of an alternative firing process, naked raku, wood fire, regular raku and pit firing. "


    Beach House





    Railroad Bridge


    Window

    Dixon, Soldate, Oribe

    Favorite Tools?

    "When I am throwing I have a go-to wooden sculpted rib that my friend Mary made for me. It is a wonderful throwing tool. Other than that I use the standard array of ceramic tools."

    Describe your studio environment.

    "I have a lovely home studio. In addition, I am very lucky to be in a studio with 9 other ceramicists. Working in the midst of these women is very inspiring, educational and most of all fun. As a group they know everything! We have all the required equipment wheels, kiln, work rooms and as a bonus “A Gallery”. We will be on the Bayou City Clay Crawl this December. Come see us."


    Raku Church


    Monique



    Wood Fired Vase


    Large Flowers

    Large Flowers Detail


    How/Where do you market and sell your artwork?

    "Being a member of ClayHouston gives me the opportunity of marketing at the BCCC and the Pop-up-Marketplace. For years I sold at a small boutique in Rice village. Unfortunately, they have closed but do have two pop-ups per year. And, of course, from exhibits and shows."




    Family Challenge

    What sparks your creativity? What drives you to work with clay?

    "The forgiving nature of clay when throwing or hand building. It is a wonderful material to sculpt in. That combined with an interest in architecture and construction keeps my creative juices flowing. For me the beauty of my work is not only in the form but in the surfaces."

    Did you come to ceramics from a different career? Tell us about your journey to a ceramics career.

      "I come from the business world, and for years had my own environmental marketing company. In the early 90’s my husband and I moved to Washington DC and Pete, knowing I always was drawn to clay, gave me the birthday present that kept on giving: classes at a local studio, Hinckley Pottery. Moving back to Houston, I enrolled at Glassell and have been taking classes ever since. This is the best present I ever had."


      Fish Shack 4

      Naked Raku

      Black Bust

      How have you have taken your experience as a well-established maker in the field and passed that knowledge along to other artists?
        "I am more of a dedicated student than an experienced maker. My advice to other artists is to follow what brings you the most pleasure, try everything and of course join your local clay organization."


        Bowl

        Serving Platter

        White on White 2

        What’s the best advice you’ve been given by a fellow maker, mentor, or teacher?

          “Enjoy the process." 



          Body, Mind and Soul


          Mind

           Website URL and other social media platforms:
          Website: Anne.Steacy.org

          Bio: 

          A few years ago, I visited a guitar factory in Memphis and was captivated with the bending, glueing and inlaying in the process of building a guitar. I realized that this fascination with the process of building has been part of my being since childhood and is fundamental to my creativity in clay. Clay sculpture is a highly tactile process that allows me to translate my ideas into three-dimensional pieces of sculpture.

          Developing a crude, rustic, distressed surface is my primary goal. To that end I have been experimenting with clay bodies, firing techniques and glazes to simulate the textures of beaten aged wood, rusted steel and stone. The results of this experimentation are evident in my work.

          When the viewer is drawn to the details of the surface textures I know I have achieved success.

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