Ben Owen Iii Portfolio Web

Ben Owen Pottery

Installations in Clay

Photo by Jerry Wolford

Ben Owen III (b. 1968) has made pottery since he was 8 years old at the site where his grandfather and father established the Old Plank Road Pottery in the Seagrove area of Piedmont North Carolina in 1959. Ben III worked at the potter’s wheel during high school and in the early 1990’s while in college. He produced work in the shapes, glazes and traditions of his grandfather. As he grew older and more experienced, he traveled in the US attending workshops and conferences. He also traveled abroad, to Japan, Australia, New Zealand, Europe and recently to China where he diversified his experience while taking advantage of an exchange program and visiting local artists. Over the years, Ben has made work for Bob Hope, Perry Como, Elizabeth Taylor, Ronald Reagan, and recently has made a special gift for musical artist James Taylor as a lifetime achievement award on behalf of the University of North Carolina. Ben has been the recipient of many awards and honors, including NC Living Treasure in 2004 and being featured in the 2005 N.C. Museum of Art show “The Potters Eye”. Many of Ben’s one-of-a-kind works have recently been installed by interior designer Frank Nicholson in a series of hotels including the Umstead Hotel in Cary, NC, the Ritz Carlton in Tokyo, Japan, the Ritz Carlton in White Plains, NY, and the Boston Commons. Other installations have been for private residences as well. Some large-scale works have been created up to five feet in height to work in proportion with the surroundings. This portfolio represents some examples of the work Ben III produces and the possibilities of different variations in design based on application and installation.

Carved Egg Vase in Copper Penny Glaze Conference Entrance area of the Ritz Carlton Hotel Tokyo, Japan 2

Pear Vase in Copper Penny Glaze 18” x 18” x 32” H Wood-fired stoneware. Iron-rich Shino Glaze with accumulated wood ash.

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Gourd Bottle in Frogskin Glaze 14” x 14” x 28” H Wood-fired stoneware with iron and Wood Ash Glaze.

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Gourd Vase in Frogskin Glaze Reception area of the Ritz Carlton Hotel Tokyo, Japan 5

Genie Bottles in Natural Ash Glaze Heron’s Restaurant at Umstead Hotel Cary, North Carolina 6

Genie Bottle in Natural Ash Glaze 20” x 20” x 41” H Wood-fired stoneware.

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Tang Vase in Chinese Blue Glaze 20” x 20” x 32” H Wood-fired stoneware with Copper Glaze. Multiple firings.

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Tang Vase in Chinese Blue Glaze Heron’s Restaurant at Umstead Hotel Cary, North Carolina 9

Fountain at the Capel Residence Patina Green Glaze 42” x 42” x 60” H 10

Sung Jar in Patina Green Glaze 19” x 19” x 32” H Wood-fired stoneware with Copper Glaze. Crystal development from slow cooling technique.

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Waterfall Bottle in Ash Glaze 15” x 15” x 24” H Wood-fired stoneware with layered Iron and Cobalt Glazes. Natural Ash accumulation.

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Waterfall Bottles in Heron’s Restaurant Umstead Hotel Cary, North Carolina 15” x 15” x 24” H & 18” x 18” x 34” H

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MiSé Vases in Natural Ash Glaze Lounge Area, Ritz Carlton Charlotte, North Carolina 14

Photo by Pam Nicholson

MiSé Vase in Natural Ash Glaze 15” x 15” x 27” H Wood-fired stoneware with Natural Ash Glaze.

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Tang Vase in Chinese Red Glaze 14” x 14” x 26” H Chinese Red over earthenware clay.

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Tang Vase, Bowl, and Dogwood Vase in Chinese Red Glaze Entrance of Smith Anderson Law Firm Raleigh, North Carolina 17

Dogwood Vases in Chinese Red Glaze Hernandez Home Entrance Pinehurst, North Carolina

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Dogwood Vase in Chinese Red Glaze 19” x 19” x 36” H Chinese Red over earthenware clay.

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Genie Bottle in Chinese Red Glaze 20” x 20” x 41” H Chinese Red over earthenware clay.

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Ben Owen III, Solo Exhibit 2004 Cameron Art Museum Wilmington, North Carolina Show in conjuction with being named “NC Living Treasure”

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Copper Penny Glaze 1

Copper Penny Glaze is influenced by the amount of iron in the clay as well as the formula of the glaze. The range of color is dependent on the atmosphere of the firing in the kiln. During the early stages of a firing, at 1600 ° F, we purposely control the furnace to burn inefficiently creating carbon inside the kiln. The reaction of carbon, over a period of several hours, with the iron in the clay will create warm tones in the glaze and iridescent or opalescent qualities to the surface.

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2) Sun Ray Bowl 3) Equator Bottle 1) MiSé Vase 18” x 18” x 5” H 16” x 16” x 24” H 20” x 20” x 38” H 4) Covered Jar 8” x 8” x 15” H

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5) Melon Vase 15” x 15” x 18” H

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Copper Penny Glaze 6

The presence of wood ash coming in contact with the glaze accentuates the glaze with flashes of apple green and yellow tones to deeper brown shades on areas of the pot. The name copper penny was chosen after many customers, over the years, commented that it looked like the surface of a penny.

7) Thumbprint Bowl 6) Edo Jar 9” x 9” x 6” H 10” x 10” x 18” H 9) Hour Glass 7” x 7” x 16” H

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8) Equator Bottle 16” x 16” x 24” H

10) Sung Jar 7” x 7” x 14” H

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Patina Green Glaze 1

The Patina Green Glaze was first developed by Ben III, in the early 1990’s while in college at East Carolina, as a glossy forrest green made from a copper pigment.. When testing the glaze in the wood kilns back home at the family pottery, the results were strikingly different with many variations of color and surface.

1) Sung Jar (light) 2) Carved Bowl 15” x 15” x 28” H 12” x 12” x 8” H 4) Equator Gourd Vase 15” x 15” x 32” H

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3) Edo Style Jar 9” x 9” x 18” H

5) Bottle 16” x 16” x 24” H

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Patina Green Glaze 6

If fired in the wood kiln with no salt added to the firing, the color will be a darker green with small crystals on the surface. If finished in a wood and salt firing, the salt will brighten the color and create more blue-green hues with random small crystals on the surface. Each firing can be different, based on the wood used as the fuel or the weather during the firing stage.

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8) Equator Bottle 7) Equator Bowl 6) Sung Jar 16” x 16” x 28” H 16” x 16” x 24” H 12” x 12” x 9” H 9) Platter 10) Covered Jar 22” x 22” x 3” H 16” x 16” x 22” H

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Natural Ash Glaze 1

The Natural Ash Glaze is produced by relying on the wood-firing process as the glazing agent. Most pieces dedicated to this glaze are placed in the kiln with little or no glaze applied to the exterior. During the firing process, the wood is stirred occasionally in the firebox to give flight to the flakes of ash that are produced during the firing. When these small flakes become airborne, they cling to the exposed areas of the pots and accumulate over a period of time. As the kiln reaches about 2300 ° F, the accumulated ashes will begin to melt and form a natural glaze that bonds to the surface of the pot.

1) Egg Vase 2) Flair Bowl 3) Sung Jar 14” x 14” x 25” H 16” x 16” x 5” H 20” x 20” x 36” H

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4) Bottles 16”, 12” & 9” H

5) Edo Jars 10” x 10” x 16” H

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Natural Ash Glaze 6

As the wood-burning kiln is heated to 2400 ° F, the wood ash will liquify and begin to run down the side of the pots, as if one had poured honey on the vase. By glazing the pots in this way, no two pieces have the same appearance due to the placement in the kiln. The type of wood, weather conditions, and the length of the firing will dictate the amount and color of the Natural Ash Glaze. The firing process can range from 20 hours to 4 days. Different types of clay used will also create unique colors in the finish. A white clay will flash orange to buff color with the ash overlapping and a stoneware (gray clay) will be a darker toasty orange to brown finish.

6) Edo Style Jar 16” x 16” x 27” H

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7) Edo Jars 8) MiSé Vase 16”, 12”, & 9” H 15” x 15” x 27” H

9) Genie Bottle 22” x 22” x 41” H

10) Sung Jar 15” x 15” x 28” H

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Chinese Blue Glaze

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The Chinese Blue Glaze is one of our most collectable colors because of the variety of hues and variations of finish from each firing. No two pieces come out exactly alike. It is our most difficult color to produce. Although many of the forms are similar to our Chinese Red pieces, there are some shapes we make specifically for this glaze. The color is achieved from several mixtures of copper in a glaze and fired to 2250 ° F.

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1) Dogwood Vase 2) Flair Bowl 3) Persian Jar 19” x 19” x 36” H 18” x 18” x 5” H 10” x 10” x 16” H 4) Han Vases 12” & 9” H

5) Candlesticks 5” x 5” x 14” H

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Chinese Blue Glaze 6

This glaze was first developed at Jugtown Pottery in the 1930’s. After Jacques Busbee’s death, his wife Juliana requested that the glaze not be produced. From different accounts and research, the recipe for the glaze was lost. When Ben Owen Sr. began working on his own, he worked with his son Ben Wade Owen Jr. recreating this glaze in his own experimentation. The results were similar but with its own style. This glaze has been continued by Ben Owen III at Ben Owen Pottery.

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8) Persian Jar 6) Tang Vase 7) Ming Bowl 20” x 20” x 36” H 12” x 12” x 6” H 15” x 15” x 25” H 9) MiSé Vases 9”, 12” & 16” H

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10) Han Style Vase 8” x 8” x 16” H

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Multi-Layered Glaze 1

While Ben III was in college in the 1990’s, he was introduced to a spraying technique with an air-driven spray gun that some potters use to build up layers of glazes on the clay surface. With some experimenting, he was able to create a variety of finishes using accents of three or four different colors and using an ash glaze as a top coat to blend or bleach the underlying colors.

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1) Combed Planter 2) English Melon Teapot 3) Combed Sung Jar 19” x 19” x 20” H 7” x 9” x 8” H 16” x 16” x 24” H 4) Carved Han Vase 9” x 9” x 16” H

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5) Covered Jar 8” x 8” x 15” H

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Multi-Layered Glaze 6

Some finishes are a base of iron yellow with cobalt blue or copper green covering with orange to silver developing from the overlapping colors. Each pot is unique. As a similar process to Natural Ash Glazes, Ben III frequently places these finishes in the wood kiln to accentuate the colors as well.

6) Covered Jar 10” x 10” x 16” H

7) Flair Bowl 16” x 16” x 4” H

9) MiSé Vase 7” x 7” x 14” H

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8) Sung Jar 10” x 10” x 16” H

10) Melon Egg Vase 16” x 16” x 20” H

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Yellow Matte Glaze 1

The inspiration behind the Yellow Matte Glaze was to create a smooth, “soft” surface on the pots that would be a change from the glossy finishes typical in the Owen family of glazes. From looking at surfaces created during the wood firing process, Ben wanted to recreate a similar surface but with the option to make it uniform or add an accent by spraying on the clay surface. The yellow pigment is made from iron oxide and the matte finish is created from the use of magnesium and strontium in the glaze.

1) Hour Glass 7” x 7” x 16” H

2) Carved Bowl 16” Dia.

4) Covered Jar 12” x 12” x 22” H

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3) Carved Egg Vase 10” x 10” x 14” H

5) Spiral Platter 16” Dia.

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Mulberry Glaze Mulberry is made from a copper pigment. In a clean-burning atmosphere a copper glaze will finish light to dark green, depending on the amount of copper. When the kiln is adjusted to burn with more fuel than oxygen, carbon will build up in the kiln chamber and will be absorbed into the clay and glaze. At a temperature of 1600° F and higher, the carbon will begin to affect the copper in the glaze and produce a red finish. This glaze matures at 2250 ° F. The timing and duration of the firing are critical in a successful burgundy to wine-red finish. If there is not enough carbon present, a light green to white finish will result.

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1) Tang Vase 2) Flair Bowl 3) Cylindrical Vases 20” x 20” x 36” H 16” x 16” x 5” H 12” x 12” x 32” H 4) Bowl 5) Bottle 14” x 14” x 9” H 8” x 8” x 16” H

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Chinese Red Glaze Chinese Red has become one of Ben III’s signature glazes over the past 25 years. Ben’s father, Ben Wade Owen Jr., developed the glaze after many customers requested a red finish. Chinese Red was not produced by Ben’s grandfather, Ben Owen Sr., although many of the forms that he studied early-on in his career were shapes from China that included a red finish. The red glaze is reminiscent of the old Chinese Red overglazes used in the 16th century and has worked well with Ben III’s simple Asian translations.

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1) Tang Vases 2) Flair Bowls 3) Carved Hour Glasses 9” & 12” Dia. 12” & 16” H 12” & 9” H

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4) Egg Vases 5) Carved Globe Vase 16”, 12”, & 9” H 12” x 12” x 24” H

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Chinese Red Glaze In 2007, Ben III was commissioned by the Governor of North Carolina to create a series of Chinese Red pots to honor Chinese officials on a special ambassadorial tour. Ben III was able to accompany the delegation and take part in the presentation of his artwork. He was also afforded the opportunity to visit the pottery villages where the Chinese Red, that has influenced his family’s work, may have originated.

6) Bell Vases 6” & 8” H

7) Candlesticks 10” & 14” H

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8) Dogwood Vases 12” & 16” H

10) Lily Jars 9) Egg Vase 12” & 16” H 15” x 15” x 30” H

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Chinese Red Glaze

There are different hues of red depending on the firing and glaze application. Although our effort is to keep it a rich true red, beautiful variations occur from firing to firing.

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11) Carved Globe Vases 12) Hour Glass & Globe Vase 13) Covered Jar 16” & 12” H 6” x 6” x 12” H 8” x 8” x 16” H 15) Square Shoulder Vases 14) Bottle 8” & 11” H 8” x 8” x 12” H

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Turquoise Matte Glaze The Turquoise Matte Glaze was created to produce a smooth, “soft” surface on the pots that would be a change from the glossy finishes typical in the Owen family of glazes. From looking at surfaces created by Chinese Blue and Patina Green, Ben III wanted to add to the green glazes he makes but with the option of a weathered copper surface. The ivy green to sage pigment is made from copper oxide and titanium oxide and the matte finish is created from the use of magnesium and calcium in the glaze. Carbon present during the firing process will also affect the range of color in the green.

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1) Water Pitcher 2) Bowl 3) Japanese Style Teapot 12” x 14” x 22” H 12” x 12” x 8” H 7” x 10” x 11” H 4) Teapot 5) Pitcher 6” x 9.5” x 8” H 9” x 9” x 13” H

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Teadust Glaze 1

Teadust is a glaze that the Chinese potters created while accidentally overfiring earthenware red pots and melting the clay to a puddle. With experimentation, these potters eventually developed a black glaze. Today, Ben has developed his own versions of a black glaze with the addition of iron, calcium, and magnesium oxide.

1) Carved Bottle 9” x 9” x 12” H

2) Carved Bowl 18” x 18” x 6” H

4) Sung Jar 20” x 20” x 38” H

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3) Pear Vase 7” x 7” x 11” H

5) Melon Egg Vase 16” x 16” x 20” H

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Teadust Glaze While researching slow-cooling processes after firing in the wood kiln, Ben III found small proxyene crystals forming on pots in a mustard yellow to green color. A satin to matte finish is created from the crystals on the surface. If it is allowed to cool quickly the finish will be a solid glossy black. If placed in a salt firing atmosphere the glaze is olive green (Frogskin).

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6) Edo Jar 7) Melon Egg Vases 8” x 8” x 16” H 12” & 16” H

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8) MiSé Vase 8” x 8” x 16” H

9) Urn 10) Sung Jar 14” x 14” x 15” H 20” x 20” x 38” H

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Green Celadon Glaze The Green Celadon Glaze features a transparent finish originating in China and Korea. It is made from a mixture of feldspathic rock, clay, and flint rock with the addition of small amounts of iron oxide as a pigment. Ben III’s experimentation with celadons began with research in college and further study in China and Japan. This finish is excellent for revealing carved designs on the surface while showing the underlying clay. The Green Celadon Glaze relates to the color of jade and is reliant on the type of clay, the iron oxide, and the atmosphere in the kiln to create the exact environment for the color to develop.

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1) Landscape Bottle 8” x 8” x 16” H

2) Sea Biscuits 10” & 12” Dia.

4) Carved Bowls 8” & 12” Dia.

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3) Sung Jar 16” x 16” x 22” H

5) Water Pitcher 9” x 11” x 13” H

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Blue Celadon Glaze The Blue Celadon or Goryeo Celadon Glaze originated in Korea during the 10th and 11th century. The finish is made from a feldspathic rock with additions of clay and flint rock and small amounts of yellow iron oxide as a pigment. This finish is excellent for revealing carved designs on the glaze surface or the underlying clay surface. The finish relies on the type of clay, the amount of iron oxide and the firing atmosphere that is used to create the right environment for the color to develop.

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1) Bottles with 3) Han Vase 2) Bowls Carved Leaf Design 3” & 3.5” H 9” x 9” x 14” H 18.5” & 14” H 5” Diameter

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4) Sung Jars 9” & 12” H

5) MiSé Vases 13” & 10” H

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Turquoise Blue Matte Glaze The Turquoise Blue Matte Glaze was created to produce a smooth, “soft” surface on the pots that would be a change from the glossy finishes typical in the Owen family of glazes. This brilliant blue color is made from copper oxide in an alkaline glaze. Examples of blues like this have inspired Ben from middle-eastern pottery and the semi-precious stone, Lapis lazuli. There is a wide range of color from this glaze due to the application and the firing. A more mottled effect is achieved from layering the glaze on the surface.

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2) Teapot 3) Dimpled Hour Glass 1) Edo Jar 6” x 9.5” x 8”H 9” x 9” x 16” H 10” x 10” x 16” H 4) Teapot 6” x 9.5” x 8” H

5) Sung Jar 10” x 10” x14” H

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Frogskin Glaze Frogskin is the same glaze as the Teadust, but fired in the third or forth chamber of the wood kiln where salt is added to the firing at the very end. The sodium in the salt reacts similar to the way bleach works on clothing by bleaching the iron-rich glaze creating an olive green to mustard colored finish with a glossy surface. Historically, Ben III’s family and many other potters in the Seagrove area became aware of a natural clay from Albany, NY (known as Albany Slip) that could be used as a glaze by itself to produce this type of finish with the addition of salt thrown in the kiln at the end of the firing.

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1) Covered Jar 8” x 8” x 12” H

2) Carved Bowls 14” & 10” Dia.

4) Thumbprint Bowl 14” x 14” x 7” H

3) Sung Jar 16” x 16” x 22” H

5) Equator Bowl 14” x 14” x 8” H

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Salt Glaze 1

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Salt Glaze was first discovered by German potters in the late 14th and early 15th century. Due to the high firing temperatures, stoneware clays are required. The pieces can be handled and decorated with clay slips of many different colors, or glazed partially with Cobalt Blue Glaze. The surface may resemble the texture of an orange peel. This was an early glaze used by settlers during the 19th century in the Seagrove area. Many of the pieces we make in Salt Glaze are functional, even the more decorative large-scale pots. The pots are loaded in the back chamber of the wood kiln or in a separate salt kiln, fired with gas. They are heated like other firings up to the peak temperature and then “soaked” for an hour. At that time ordinary kitchen salt is introduced through special ports in the kiln. We add approximately 25-50 pounds of salt in the kiln. The salt will liquify and eventually turn into a sodium vapor. The vapor will unite with the silica in the clay pots and accumulate on the surface.

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2) Etruscan Jars 1) Waterfall Bottle 8” x 8” x 11” H 18” x 18” x 36” H 4) Candlesticks 14”, 18” & 22” H

3) Neolithic Vases 22” & 32” H

5) Sung Jar 15” x 15” x 24” H

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Ben Owen III in his Seagrove Showroom, 2008 Ben Owen Pottery is open Tuesday through Saturday, 10:00 am to 5:00 pm. (Closed in January.) Ben and his assistants welcome retail customers and designers who can browse the showroom, choose from available pots, or discuss special needs which may lead to commissions. Phone conversations and emails are often utilized to confirm details and make proposals. Ben III’s creations are each hand-made with skillful attention to every detail. Therefore, please allow 3 - 6 months for delivery. See contact infomation on following page.

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Ben Owen Pottery For more information about custom designs, contact Ben at the following: Ben Owen III Ben Owen Pottery 2199 S. Pottery Hwy 705 Seagrove, NC 27341 336-879-2262 [email protected] More information is available on Ben’s website at:

www.benowenpottery.com I sincerely hope you have enjoyed this portfolio and I look forward to hearing from you in the future!

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Publication Credits Ben Owen Pottery Installations in Clay, First Edition Contributing Editors: Ben Owen III, LoriAnn Owen, Shannon Criscoe, Susan Chriscoe Designed by: Graphic Artist Shannon Criscoe of SC designs Photos by: Ben Owen III (unless otherwise noted)

Photo by Warner Williams, 2008

Ben Owen III (b. 1968) lives with his wife LoriAnn (b. 1968) and their three children beside the pottery shop and studio. Children: Avery Claire (b. 2000), Juliana Dare (b. 2002), and Ben Owen IV “Ivey” (b. 2005).

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Notes

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Ben Owen Pottery

www.benowenpottery.com