A native of Canada, Anne has been making pottery for about 20 years.
While mostly self-taught, Anne credits her intro to pottery to Toronto potter, John Jarvis, as well as to Marilyn Farrell, who kindly invited her to work in her studio in King’s Landing, New Brunswick, in the spring of 1998. Other influences come from books and magazines, workshops and conferences she’s attended, and, of course, from other potters whom she has met online and in her travels, and developed close friendships with over the years.
Anne chooses to work mainly on the potter’s wheel, in both high-fire stoneware and porcelain, producing both utilitarian and decorative one-of-a-kind pottery. “I really like the clean, graceful, and classic forms that can be achieved on the potter’s wheel, especially ones that can stand on their own without adornment, but are a good foundation for most any decoration, whether it be a simple glaze, free form brushwork, or carved design.” She draws design inspiration from the world around her, and is strongly influenced by the aesthetic and spirit of Asian and Celtic design, and the Art Nouveau Period.
Anne has 2 young daughters (one of which is disabled) and finds there is a delicate balance when it comes to juggling potting full time and the daily demands of family life. “Every day is a new adventure!”
Anne’s work can be found in collections across the United States, Canada, Japan, and Great Britain.
Lowell started young, playing with clay he found as a child in Fort Walton, FL.. When he was about 11, he saw a folk potter giving a throwing demonstration at a local shopping mall after which, he was so inspired, he went home and made his first, albeit crude, potter’s wheel (with his dad’s help). It was made from an old bicycle rim, some wood, brick, and whatever else he could find, and that’s what he learned to throw on.
After taking his first formal pottery class at 21, Lowell met Florida potter Charlie Brown, who really opened his eyes to the raku firing process. Later, Lowell attended Memphis Academy of Art and then transferred into the sculpture program at Memphis State.
He is currently working on a body of work he calls “artificial artifacts”. These ‘artifacts’ aren’t meant to be an imitation of actual ancient finds, merely reminiscent of them. These pieces provoke thought and distant memories of long lost cultures, as we envision the possibility of who might have made or used these weathered vessels and what hands they have passed through. These clay vessels leave us with the impression that they have a story to tell, even if it comes from within ourselves.