PORCELAIN FIREBOX VASE
6 day anagama firing, natural ash glaze, texture from firebox
fired in New Brunswick using mostly pine
7.5 x 4.25 in.
$350

FLAT BOTTOMED VASE
6 day anagama firing, natural ash glaze
fired in New Brunswick using mostly pine
5 x 5 in.
$140

PORCELAIN TEABOWL
6 day anagama firing, natural ash glaze
fired in New Brunswick using mostly pine
2.75 x 5 in.
$140

FLAT BOTTOMED VASE
6 day anagama firing, partially buried in coals, natural ash glaze
fired in New Brunswick using mostly pine
5 x 5 in.
$250

TEABOWL
6 day anagama firing, natural ash glaze
fired in New Brunswick using mostly pine
2.75 x 5 in.
$120

LARGE "HEALING" VESSEL
5 day anagama fired
natural ash glaze
fired in New Brunswick using tamarack and hemlock
thrown on a kick wheel
37.5 in. tall x 15 in. widest
$2,000

IGA VASE
porcelain
5 day anagama firing, buried in coals
natural ash and salt glaze and texture
fired in New Brunswick
7.25 in.x 5.5 in.
$300

Lee demonstrating his technique in the gallery during July 2007 Culture Crawl.

PORCELAIN VASE II
5 day anagama fired
porcelain with natural ash glaze
fired in New Brunswick using tamarack
10.5 in. tall x 10 in. at widest
$400

PORCELAIN VESSEL
7 day anagama fired
porcelain with natural ash glaze
fired in New Brunswick using tamarack and hemlock
10.5 in. tall x 6.5 in. at widest
$300

LEE WAS CHOSEN TO AUTHOR AN ARTICLE PUBLISHED IN THE IRISH-BASED INTERNATIONAL WOOD-FIRED CERAMICS JOURNAL "THE LOG BOOK"

DELTA COLLAR
twice fired 9 days anagama firing, natural ash and salt glaze
fired in New Brunswick using tamarack and hemlock
carbon trapping from 1st firing
10 in. tall x 9 in. at widest
$350

2 PRONG VESSEL
porcelain, coiled, thrown and altered
7 days anagama firing, natural ash glaze
fired in New Brunswick using tamarack and hemlock
22.5 in. tall x 9 in. at widest
$500

ANAGAMA IGA VESSEL
10 day anagama fired in the firebox,
partially buried in coals
natural ash glaze and texture build-up around base
fired in Arkansas using southern yellow pine
15 in. tall x 6 in. at base
$1,200

SMALL IGA VESSEL
10 day anagama fired in the firebox,
partially buried in coals
natural ash glaze and texture build-up around base
fired in Arkansas burning southern yellow pine
11.5 in. tall x 6 in. at base
$2,000

SUMMER TEABOWL (asymetrical)
10 day anagama fired in Arkansas kiln
using southern yellow pine
round bowl
5 in. diameter at widest on top, 3 in. tall
$200

GEOMANTIC WELL
6 day anagama fired natural ash/flame effect; multiple clay coiled thrown
41 in. tall, 22 in. diameter
photographed in natural light
$3,000

LEE DEMONSTRATING KICKWHEEL AND COIL CONSTRUCTION AT NB CRAFT SALE LABOUR DAY WEEKEND 2006

FLOATING VESSEL
multi clay 6 day anagama fired
natural ash and iron ore bearing glaze
$450

DICHOTOMY OF BEING 2 & 1
iga vases, natural ash glaze, 5 day anagama firing
#1 is 17.5 in. tall x 4.5 in. at widest - $700
#2 is 28 in. tall x 7.5 in. at widest - $1,200

WELL SPRING IN SPACE (also showing detail on top)
multi-fired, natural ash/salt and
anagama fired
natural ash glaze
38 in. tall x 15.5 in. diameter (top)
$1,500

LUNG BUBBLE
6 days anagama firing
natural ash glaze
17.5 in. tall x 11 in. at widest
$500

AIR POURS INTO
5 days anagama fired upside down
on seashells
natural ash glaze
10 in. tall x 11 in. at widest
$400

Artist's Biography:

Lee Horus Clark was born in the year of the Dragon, 1976. In 1981 he was the founding member of “the danger club” local daredevils risking life and limb to alleviate the “country boredoms” and found clay in a stream. He had no idea of his future relationship with clay. Early in life Lee knew he wanted to be an artist; he contemplated a career in illustration and photography. In 1995 he found clay again, by mistake, at the New Brunswick College of Craft and Design, fell hopelessly in love and abandoned photography. He graduated from NBCCD in 1998 with a Diploma of Fine Craft majoring in Ceramics and the Award for Excellence in Clay.

Lee has been the recipient of a number of important travel and creation grants by the New Brunswick Arts Board and the New Brunswick Crafts Council, including being invited to participate in the 2001 International Workshop of Ceramic Arts in Tokoname , Japan . This 7 week long cultural and technical exchange with 14 participants from around the world included studio work, tours of kilns sites and firing an anagama twice and participating in an exhibition. Lee returned to Japan in 2003 where he assisted in a 10 day anagama firing for Shiho Kanzaki in Shigaraki, Japan. Kanzaki sensei is a world leading progressive traditional master in the art of the anagama. In 2004 Lee assisted with Kanzaki sensei again in an anagama firing in Pennsylvania. In the same year, Lee oversaw and participated in the construction of an anagama kiln in Arkansas in the style of Kanzaki's kiln of Shigaraki, Japan .

Lee's work has been shown in a number of exhibits since his graduation, he has given workshops around New Brunswick and in the USA and will be featured in a documentary by Montréal filmmaker Claude Gagnon, expected to be released in 2006.

In October 2006 Lee has been sponsored to attend an International wood fired conference at Northern Arizona University in Flagstaff, Arizona, an excellent opportunity to learn and create with colleagues from around the world.

Lee has built his anagama kiln in the woods of New Brunswick and produces his masterful work with no power or running water. Woodfiring and throwing on a kick wheel has changed the way he thinks of pottery and has created a legend in the making.

Artist's Statement:

Tryptic : solve et coagulae

The driving force behind the work is an insane non-descript feeling of must do. An attempt to describe the world in terms that I feel accurately depicts the complex interactions of people, elements, and dimensions. The work is not simply a literal depiction of the vessel and its contents but delves into the negative and positive spaces, masculine and feminine, consciousness and matter; at the best of times erasing the line between the two. This is used as a metaphor for the consolidation of the being and the elements i.e. water, air, earth in the equations of alchemical philosophy. Describes the direct correlation of the vessel and the human spirit/being and the metaphysical union of the consciousness and the natural world as a recipe for a complete understanding of this state of being; that is human. This supercedes gender, space, time, religion and our perceived separation from the "natural". The action of refining clay, firing with wood that "dissolves" and coagulates on the clay; that itself is on a molecular level recoagulating into stone through the action of heat. (much like human creation) This recoagulation completes a cycle started with water that is present throughout the entire process and our bodies and minds. The alchemical practice in meditations combining consciousness and the elements is similar in nature to Taoist/Buddhist, Kabalistic and Shamanic/Animistic methods to unify and balance the world consciousness on an individual level. This body of work is the third and final show in a series that has been used to explore and participate in affecting change in myself and those willing to participate in the presentation of these works; that is you. It is a challenge to look deeper than that which is before your eyes and to perceive complex interactions beyond the limitations of space, time and matter. Enjoy

The everlasting curiosity of the intricate interactions of everything on every level and my complete lack of understanding of anything keeps my life full of learning and consolidation of otherwise total opposite compulsions. That is where ceramics fulfills the dichotomy of being and becomes the reasons for life in the context of my being. Woodfiring in particular is the unification of the mental, physical, metaphysical and elemental qualities of life.

The future will bring more.

THE ANAGAMA KILN IN SIMONDS, NB -
LOOKING FROM THE BACK

THE KILN - VIEW FROM THE FRONT

QUERCY GOLLSE - GETTING READY TO CHECK THE FLAME

THE FIRE BOX

THE ARTISTS AND FRIENDS POSE
(LEE IS 2nd FROM RIGHT)