|
|
TALL CUP
porcelaineaous stoneware with natural ash glaze
4-day bourrigama fired (#2011-06d)
6 in. tall x 3.25 in. diameter
$55
|
|
TALL CUP
porcelaineaous stoneware with natural ash glaze
4-day bourrigama fired (#2011-04d)
6.5 in. tall x 3 in. diameter
$55
|
TALL CUP
porcelaineaous stoneware with natural ash glaze
4-day bourrigama fired (#2011-05d)
6 in. tall x 3.5 in. diameter
$55
|
|
TALL CUP
porcelaineaous stoneware with shino glaze
woodfired in David Eastwood's fast-fire kiln (#2011-15d)
5 in. tall x 3.25 in. diameter
$45
|
TALL CUP
porcelaineaous stoneware with shino glaze
4-day bourrigama fired (#2011-09d)
5.5 in. tall x 3 in. diameter
$55
|
|
COFFEE MUG
porcelaineaous stoneware with shino glaze
4-day bourrigama fired (#2011-03d)
4 in. tall x 3.25 in. diameter
$45
|
COFFEE MUG
porcelaineaous stoneware with shino glaze
woodfired in David Eastwood's fast-fire kiln (#2011-13d)
3.5 in. tall x 3.5 in. diameter
$45
|
|
COFFEE MUG
porcelaineaous stoneware with shino glaze
woodfired in David Eastwood's fast-fire kiln (#2011-11d)
3 in. tall x 3 in. diameter
$45
|
COFFEE MUG
porcelaineaous stoneware with shino glaze
woodfired in David Eastwood's fast-fire kiln (#2011-12d)
4 in. tall x 3.5 in. diameter
$45
|
|
WHISKEY CUP
porcelaineaous stoneware with shino glaze
woodfired in David Eastwood's fast-fire kiln (#2011-19d)
2.5 in. tall x 3 in. diameter
$45
|
|
SHINO VASE (2 views, detail on left)
porcelain woodfired for 4 days in the bourrigama
7.25 in. tall x 6 in. diameter at widest
$220
|
|
EGGSHELL WINE CUPS (2011-19 on left and 2011-20 on right)
translucent porcelain
woodfired for 4 days in the bourrigama kiln
|
|
 
EGGSHELL WINE CUPS (2011-19 on left and 2011-20 on right)
2011-19 is 3.25 in. tall x 3 in. diameter
= $45
2011-20 is 3 in. tall x 3 in. diameter = $40
|
CARBON-TRAP SHINO MUGS (2011-18 on left and 2011-17 on right)
porcelain
woodfired for 4 days in the bourrigama kiln
|
|
 
CARBON-TRAP SHINO MUGS (2011-18 on left and 2011-17 on right)
2011-17 is 4.25 in. tall x 3.5 in. diameter
= $55
2011-18 is 4.25 in. tall x 3.5 in. diameter = $55
|
|
NATURAL ASH VASE (2 views)
porcelaineous stoneware woodfired for 4 days in the bourrigama
7.75 in. tall x 6.5 in. diameter at widest
$250 |
|
TEABOWL (2 views)
porcelain with natural ash glaze
woodfired in n Puycelsi, Southern France (#2011-07)
2.5 in. tall x 5 in. diameter
$100
|
|
|
|
|
TEABOWL (2 views)
porcelain with natural ash glaze
woodfired in n Puycelsi, Southern France (#2011-08)
2.25 in. tall x 5.75 in. diameter
$120
|
LEE HORUS CLARK
I CAN'T HEAR YOU (#17)
stoneware
10 day anagama fired using pine and tamarack
natural ash glaze
10.5 in. tall x 3 in. at widest
SOLD |
|
LEE HORUS CLARK
UNTITLED (#19)
stoneware
10 day anagama fired using pine and tamarack
natural ash glaze
12 in. tall x 2.5 in. at widest
$240
|
|
LEE HORUS CLARK
UNTITLED (#5)
porcelain
10 day anagama fired using pine and tamarack
natural ash glaze
12 in. tall x 4.5 in. at widest
$360
|
|
BOTTLE (2 views)
woodfired porcelain with shino glaze
7 in. tall x 4 in. diameter
$150 |
|
|
IGA TSUBO
anagama firing for 5 days in firebox
tamarack for fuel
coiled and thrown on the kickwheel
19.5 in. tall x 16 in. at widest
$2,500
"ATMOSPHERE" ROUND VASE - STONEWARE
6 day anagama firing, natural ash glaze
fired in New Brunswick using mostly pine
22.5 in. tall x 16.5 in. at widest
$2,500
|
|
PILLAR IGA VESSEL (2 views)
stoneware
6 day anagama firing, natural ash glaze
fired in New Brunswick using mostly pine
33 in. tall x 5 in. at widest
$2,000
|
|
|
WHISKEY CUP (or for gin and tonic, or tea)
porcelain (#110)
5 day bourrigama firing
natural ash glaze
fired in New Brunswick
2.25 in. tall x 2.5 in. diameter
SOLD |
|
WHISKEY CUP (or for Baileys)
translucent porcelain (#2010-03)
10 day anagama firing
natural ash glaze
fired in New Brunswick
1.5 in. tall x 3.75 in. diameter
SOLD
|
|
WHISKEY CUP (or for espresso)
porcelain (#106)
5 day bourrigama firing
natural ash glaze
fired in New Brunswick
2.5 in. tall x 2.75 in. diameter
SOLD
|
VASE (2 views)
porcelain (#118)
10 day anagama firing,
natural ash glaze
6 in. tall x 4 in. at widest
$200
|
|
|
VASE (2 views)
porcelain (#116)
10 day anagama firing,
natural ash glaze
8.5 in. tall x 5.5 in. at widest
$250
|
|
|
|
IGA VASE
translucent porcelain (#2)
9 day anagama firing, all
natural ash glaze
texture from firebox region of kiln
12 in. tall x 5.5 in. at widest
$450
|
|
|
|
VASE (2 views)
porcelain (#117)
10 day anagama firing,
natural ash glaze
10 in. tall x 5.5 in. at widest
$275
|
VASE (2 views)
porcelain (#4)
5 day bourrigama fired, all natural ash glaze
9 in. tall x 5 in. at widest
$300
|
|
|
|
|
SAKE IGA VASE (2 views)
stoneware (#79)
10 day anagama fired in Arkansas using southern yellow pine
5 in. tall x 3 in. at widest
SOLD
|
|
|
DICHOTOMY OF BEING 2 (3 views)
iga vase, natural ash glaze
5 day anagama firing
28 in. tall x 7.5 in. at widest
$1,200
|
|
|
|
|
DICHOTOMY OF BEING 1 (2 views)
iga vase, natural ash glaze
5 day anagama firing
17.5 in. tall x 4.5 in. at widest
$700
|
|
Statement:
We, Lee and Yolande, live, love and work together, with the help of our little buddha-boy Horus and baby Treva, in rural New Brunswick. We divide our time between our church/studio in Florenceville-Bristol and our kilns and solar-powered home in the backwoods. Lee is one of North America's most talented woodfiring potters and kiln builders, and has been working as a professional artist/sculptor for over ten years. Yolande apprenticed with Lee for three years and currently pursues ceramic art, painting and writing.
Woodfiring is our path and our passion; it is a spiritual calling and the focus of our life. Described by collectors as the jewels of ceramic art, woodfired pottery is the most complex, difficult, ancient, profound, durable, and magical way to fire clay. The anagama (tube chamber) was developed in Korea and introduced to Japan in the fifth century, remaining a huge influence on Japanese ceramic art for many centuries. The Japanese aesthetic of wabi-sabi (beauty in the imperfections of nature) is strongly tied to woodfired ceramics, the ritual of Japanese tea ceremony and Zen Buddhism. These practices are associated with the revival of the anagama in Japanese culture, and the introduction of this firing method to the west. In North America, the anagama has only been in use for the past thirty to forty years.
In 1999 Lee traveled to Japan for the first time which led to his meeting and firing with Shiho Kanzaki, the Shigaraki-based Japanese master of anagama. Like Kanzaki, our primary interest lies in firing with no applied chemical glaze, and instead maintaining enough heat in our kiln to achieve spontaneously, through the alchemical interactions between clay, wood and fire, a natural ash glaze dripping with constellations of brilliant colour. Our kiln, the 27 foot long Little River Anagama (the first incarnation of which Lee built in 1998, based on Kanzaki's design) is usually fired twice a year. It takes us several months to make enough work to fill the kiln, several weeks to acquire, cut and split the many cords of sustainably harvested wood that we burn, and several days to pack the kiln with work placed precisely on the kiln shelves. We fire for between 8-11 days, during which the fire must be stoked every 3-5 minutes, 24 hours a day, for the entire 8-11 day duration. Over the course of this time, the ash from the wood burned is carried by the flames through the kiln, and lands on the many pieces. When the heat reaches 1300 degrees celcius, the wood-ash melts to create the entirely natural glaze.
Unique among most contemporary woodfiring ceramicists, we fire intuitively, without the use of cones or pyrometers, technology which, in our experience, detracts from the essential spontaneity of the process and from our deeper ability to understand the kiln's sensitivities and responses. In addition to the anagama, we also fire shino ware in our box-style wood kiln and woodfire raku. For us, firing is a family affair, a spiritual journey, and a profound ritual. It is humbling and joyful to push our bodies and the work of our hands to their utmost limit. With every stoke, the vessels and sculptures we make are bathed in light and purified by the intensity of the flames. Firing a wood-kiln is an extremely high risk endeavour, and each piece that we make and which survives the trial by fire, is utterly unique, and one-of-a kind. In a world over-full of mass-produced, disposable items, many see woodfiring as the antithesis of consumer irrelevancy, and as a philsophical and aesthetic balm for our age. In and of themselves, our works are beautiful, complex, non-hazardous (unlike most raku pottery), and suitable for use, both formally and day-to-day. We hope that your new cup (or vase) brings you happiness--that it makes sacred the pouring into, and the drinking from.
|
|
| |
Lee demonstrating his technique in the gallery during July 2007 Culture Crawl.
LEE WAS CHOSEN TO AUTHOR AN ARTICLE PUBLISHED IN THE IRISH-BASED INTERNATIONAL WOOD-FIRED CERAMICS JOURNAL "THE LOG BOOK"
LEE DEMONSTRATING KICKWHEEL AND COIL CONSTRUCTION AT NB CRAFT SALE LABOUR DAY WEEKEND 2006
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 attended a firing with Kanzaki in Pennsylvania. The next year, Lee built a Kanzaki-style anagama for an artist in Arkansas. In 2006, Lee attended the International Woodfired Conference "Twenty-Five Years of Tozan Kilns" at the Northern Arizona University in Flagstaff, Arizona, and gave a compelling lecture on his firing methods.
In 2009, Lee and his wife, fellow ceramic artist Yolande Clark, undertook a dramatic renovation of the Little River Anagama, tearing down the back chamber and rebuilding the chimney. Later that same year, the couple designed and built a smaller bourry-box style wood kiln next to their strawbale solar-powered home in Knowlesville New Brunswick.
Lee's work has been exhibited widely, and has been acquired for both private and public collections coast to coast, including his Iga vase "Cut Collar" which resides in the permanent collection of the Beaverbrook Gallery, Fredericton. He is known world-wide for his craftsmanship, artistry and creativity with clay, his skill as a kiln-builder, and his generosity as a kiln-building consultant.
Lee is looking forward to upcoming exhibits in Western Canada with his wife Yolande, and they are eagerly planning the construction of their new Anagama kiln, to begin in 2012.
THE ANAGAMA KILN IN SIMONDS, NB -
LOOKING FROM THE BACK
THE KILN - VIEW FROM THE FRONT |
|
|
PRE-FIRING |
|
|
|
SCULPTURES IN THE FIRE BOX
|
|
