2019 Annual Fall Sale will be held on October 4,5,6.
Friday noon-6, Saturday and Sunday 10-5
Join us at our home in beautiful rural Minnesota for our annual Fall Sale. We will have a wide array of pottery by five potters for purchase. Fill your new mug with beer or coffee and your new plate with sweet and savory snacks. Then have a seat by the fire for lively conversation. If you would like a tour of the studio Matt is always available. We hope your Summer is going well and can't wait to see you in October!
Directions to Fall Sale
2785 Stark Road Harris, MN 55032
Take Interstate 35 North to exit 152
(Harris Exit, Co. Rd. 10).
Go west (left) 3.25 miles
(about 1/4 mile past Fish Lake)
and look for sale signs.
The driveway is on the left (south side)
If you get to the town of Stark
you went 1/4 mile too far.
ALSO: On the same weekend WIll Swanson and Janel Jacobson welcome guest potters Jeff Oestreich, , Ernest Miller, Linda Christianson, and Joe Singewald to their Annual Fall Show. They are only a 11 mile drive from our place.
VISIT: www.sunnrisemnpottery.com for more details.
The preservation of a disappearing landscape through imagery on functional pottery is the reason I create. Inspired conceptually by the regionalist painters of the early 20th century who sought to document the rural landscapes of America, I see myself as a modern day Regionalist working with clay. I make pottery decorated with the landscapes, flora, and fauna of Minnesota. This region is being vastly altered by commercial development and urban sprawl, forever changing its natural character. My hope is that the daily use of my pots will be a gentle reminder to the public of the vanishing natural world around us.
The pots are created from stoneware and often altered in the wet stage, then fired in a soda kiln. This firing process not only creates a very durable object, it imbues the work with great variation and depth, creating a natural and mysterious surface of a warm and earthy palette. The imagery is created from a combination of slips, stains and glazes. I primarily use ash glazes, because the main ingredient comes from the landscape I am drawing inspiration.
I am fascinated by the burst of energy that finds a new form and the calm obsession required to winnow that shape into the most ideal proportions. The color and line are applied to the surface in a playful re- examination of the original idea. This process of invention, perfection and appraisal is the strategy that I use to charge a cup, bowl or sculpture with a vibration which can create a positive disruption in patterns of living. If I can make something unexpected through my explorations that is noticed by someone else, then I feel that my things can be of use. The implied interaction of pottery that is so deeply ingrained in our culture makes it a perfect vehicle for this purpose and the variety of forms and functions makes this genre an infinite source of inspiration. The desire to sculpt comes from within the pattern of my work as a potter and with less frequency and with more complex rules of performance. I do not think that I can do one without the other, for each experiment fuels the next in a type of perpetual-motion studio practice without conclusion.
The goal of my work is to create strong, clean forms that capture the spontaneity of the clay formed on the wheel. My pottery is a reflection of my life experiences, travel and personal relationships. I work with a variety of clay bodies and firing atmospheres: low to high fire, soda and wood.
My pottery has been historically wheel-thrown and functional; however, since an inspiring workshop in Tuscany and the construction of a wonderful new studio, my focus has changed to include wheel-thrown altered and hand-built work. Clay has always been an important part of my life. Recently it has inspired me to make a profound change in my life’s direction through a career transition. I now have the opportunity to give my passion the time it deserves.
Hironobu "Nishi" Nishitateno
My passion for making pottery springs from a desire to bring beauty and nature into daily life. I find inspiration everywhere I go, traveling with noptebook in hand, sketching designs and shapes that can be incorporated into new works.
My style is based on the simplicity and functionality of Japanese pottery, using natural materials and colors typical in nature. It is my belief that pottery should not be the center of attention on the dinner table. It should be simple and attractive, while discreetly adding to the delicious appearance of the food. I strive to create pottery that resonates with me and brings out my inner peace. It is my hope that the natural simplicity of my pottery can bring the same peace to others.
Adam Gruetzmacher is a studio potter working in Saint Paul, Minnesota. In 2010 he graduated with a bachelors degree in Fine Art from the University of Wisconsin to pursue a career as a potter. He makes functional tableware using traditional wheel throwing and hand building techniques. Working in such a way allows for subtle variations to occur naturally over the arc of a making cycle; enabling him to consider each piece individually. With great respect for craftsmanship, Adam is interested in exploring the intersection of historical hand-making traditions and the aesthetic of mass production. He takes pride in making every-day objects that work well and are crafted with care and consideration.
David “Swen” Swenson
I use clay and sound to make most of my work. I make some ceramic work intended for daily utility. Bouncing between sculpture and pottery fairly regularly keeps me from having a hard agenda when I enter the studio to maintain a spontaneous and honest exploration.
My favorite ceramics are old pots from various parts of the world and this current body of work discusses classic ideas and motifs in a contemporary interpretation. Specifically, I’ve been looking at historical pots from Iran, Japan, China, Korea, Turkey, Norway and Morroco. In an effort to develop personal style, I have quoted painted pattern structures and design methods to adapt them to my own forms. The resulting pots are hybrid in structure and surface from these sources.