Linda Keleigh

Linda Keleigh, Pottery by Design, employs a primitive smoke firing technique to clayware that is burnished by hand to a surface that is void of texture and completely smooth to the touch. “This surface provides an unvarying canvas on which the fire can paint its designs. Truly tactile pieces,” she says.

TCR: How did you first become interested in and get involved in working with pottery, and how did your work evolve from where it started to the work you create today?

LK: I should start by saying that it was not my intention to have a career in clay. For most of my adult life I worked my way up the corporate ladder in both the financial and broadband industries to be what most people would consider quite successful. I commuted 75 miles each way to the office, put in the long hours, made the company profitable and came home exhausted. As a diversion from the daily grind I would, on occasion, take courses in something, anything, that was not corporate related. In the winter of 2000 I signed up for a ceramics course at a local community college here in New Jersey. When I touched the block of raw clay for the first time I can truly say I experienced an epiphany. I knew that clay had to be a part of my life.

Over the next couple of years I concentrated on finding the technique that was most gratifying to me by reading all available texts and attending workshops of artists that I admired. I was drawn to the tactile nature of burnished clayware such as those created by Native Americans and concentrated on that method. During the burnishing process I truly feel as though a part of myself, my spirit if you will, is imparted into the vessels. I have experimented with saggar firings in both gas and electric kilns and ultimately settled on barrel firings where I achieve the most intense coloration to date.

To get my vibrant colors, I rely upon nature itself to help me paint the images during my barrel firings when I use a multitude of combustibles along with local and exotic woods as my fuel. This type of firing is uncontrollable and the losses suffered are high -- but the pieces that survive make it all worthwhile. Taking chances and having the will to experiment has rewarded me with some lovely work. And as an aside, I also have the occasion to watch flames dancing during the firings. Some would say I'm a pyromaniac -- I wouldn't disagree.

TCR: How have you pursued your career? Can you provide a brief timeline of when you got started, and how your career has evolved?

LK: Initially, my work was available through various galleries around the country. Soon I realized that the one thing missing from my new career was the interaction with individuals. I wanted to speak directly to the people who purchased my work to explain my processes and get valuable feedback, which in turn helps me grow as an artist. That prompted me to join the retail show circuit, which I've been enjoying immensely. It's at these events that I get the chance to see the sparkle in the eyes of those who purchase my pottery and know that I've made the correct choice in my life's work. It's also given me the opportunity to speak with other potters who stop by and want that bit of a nudge to try something a little different.

In addition to the retail shows, I give presentations and workshops to instruct other clay artists on the techniques I use. It's a fine feeling to be able to give back to the community that has given me so much satisfaction.

TCR: Who is the market for your work? What is your strategy for reaching them?

LK: There is no specific demographic for my customer base as they come from a variety of age groups and walks of life. Initially people reach out to touch my work because of its stone-like quality. It's very much like polished marble -- quite sensuous to caress. My work appeals to those who enjoy a tactile piece of art as well as those who are initially drawn in by the vivid colors of the pottery. Occasionally, people see images burned into the clay from the fire -- that will be the one piece that reaches out to them. I've found that most individuals like possessing something that speaks to them personally and is totally unique. I'm proud to be able to bring that to them.

TCR: Where does the bulk of your business come from...is it wholesale shows? Direct to gallery sales? High-end retail shows? Commissions? How do you make your living from this art?

LK: A large part of my business comes from the high-end retail shows that I do annually. I still show my work through galleries as well as have repeat customers who visit me in my home studio. The Internet has also played a part in my success as it has afforded me the opportunity to have my work viewed and purchased globally. This year I'm toying with the notion of having an open studio during the fall season.

TCR: Have there been major turning points in your career? If so, describe what they were and how they affected your craft and your success?

LK: I believe each artist has milestones that they reach throughout their career -- from the first time you make something you're really proud of or accepted into the first juried show when, in hindsight, you know the slides weren't quite up to par. And definitely when you see the look of wonder in the eyes of your buyer that say they understand all the hard work you've put into that piece and they just have to have it.

One of the more significant events would be being chosen as one of the five featured artists in a book released by Lark Books entitled "Alternative Kilns & Firing Techniques" authored by James C. Watkins and Paul Andrew Wandless where we each detail our techniques. It's always a pleasure to receive a note or meet someone who has the book and tells me how they are inspired by it.

Another turning point, which was an eye opener, was simply a reduction in my work procedure. By not applying terra sigillata to my pieces after burnishing, I eliminated two steps in my process -- the application and another round of burnishing. My work is just as beautiful and I cut my production time. Now, of course, I'm constantly looking for more shortcuts to free up valuable time.

TCR: Do you see any business challenges specific to artists who work in your field? How have you overcome these?

LK: The challenge that faces most potters is quite simple -- there are a lot of very talented artists out there with just so many outlets for sales. I think the last few years have been challenging to all potters, especially those making non-functional items. People have been spending money on necessities and certainly thinking twice about buying non-essential items. It's a big decision to bring a piece of pottery home to admire and not have any other use for. It's for those people that I believe you must do the best work you are capable of and always keep the work fresh.

My forms tend to be quite soothing and uncomplicated which contrasts nicely with the intense flash of color from the fire. It's the uniqueness of my work that sets me apart and has gotten my work noticed. I'm also very fortunate to have a good support system at home.

TCR: What has been the most difficult thing you have encountered in your work?

LK: The inability to delegate. Coming from a life in the corporate world I was able to assign specific duties to my employees to get projects completed. In this world I am a company of one. I have to set aside time for marketing, accounting, sales and simply being the file clerk. Then there's the precious time actually spent on the potters' wheel or chopping wood. It's all time consuming -- and all necessary to run a successful business.

TCR: What, in terms of business insight, have you learned to do or not to do over the years?

LK: The most important thing is to diversify -- not just what you do but where you sell. Galleries may come and go -- so, do some retail shows. You may or may not get into the shows you've applied for -- so have some gallery representation.

TCR: How has the Internet affected your business?

LK: The world has become a much smaller place because of the Internet. When I launched my Web site the first e-mail I received was from another artist in South Korea admiring my work. It made me realize how far reaching an Internet presence can be. Although I don't have a shopping cart on my site, it has made information about my work available worldwide and has generated numerous sales both nationally and overseas. My customers, or potential customers, can see where I'm showing in the coming months and it's been a wonderful source for networking.

TCR : What is the next step for you?

LK: My next step in growing my business would be fine-tuning the shows I attend and reassessing which galleries partner best with me. Currently I participate in retail shows in the northeast region only. I would like to expand to other regions in order to get exposure for my work in different market areas. Of course, that's all dependant on time, which is a precious commodity at this point.

TCR: What is your show schedule...if you have one...and where is your work available and through whom?

LK: My work availability is updated periodically on my Web site, www.potterybydesign.com

TCR: If you would like, please share your personal situation: married, kids, etc?

LK: Married since 1989 - no kids to speak of unless you consider two dogs and a cat children.

Linda Keleigh
Pottery by Design
(732) 922-6492
www.potterybydesign.com

 

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