Sheila Morissette
Echoes and Whispers

Every space has its own energy that it divulges towards
the creative process. I've often wondered how much
influence a space has towards the work being created.
In my case, it seems to be of significant influence.
Over the years, I have worked in several different stu-
dios, some at home and some public and have felt dif-
ferent energies come from each. Throwing pots with
others in the studio or throwing pots alone are for me
different processes and the work varies in subtle ways.

My husband and I moved to a new house close to two
years ago and I now have the best studio that I've ever
worked in. It is bright, spacious and is surrounded by
elements of nature that form my inspiration. Having
always drawn my inspiration from nature, my regular,
electric fired line of functional
ware is decorated with a leaf

have even joined the Ombu team as a backup techni-
cian.

I have found such freedom in making pots for wood
firing as I have been able to accentuate surface texture
and allow form to exist simply in and of itself. The kiln
becomes a major contributor to the work, with the
atmosphere in the kiln decorating the pots. The partic-
ipation in physically firing the kiln, stoking wood on a
rhythmic basis becomes the energy that feeds the kiln,
which produces the flames that gently flow through the
pots, leaving kisses of ash and glass behind. When the
kiln reaches a certain temperature, the flame created
after stoking can be thirty feet long and flows over the
pots and kiln shelves like a gentle waterfall that leaves

you speechless. You peek into

motif that was inspired by leaves
that I collected as a child, and
still treasure today, as they are
carefully preserved in a book. memory.
Some of my favourite mementos
are pebbles that I collected from
the beach or "great sticks" that I

find on my walks. It seems I'm

in repetition

always coming home with some-
thing in my pocket.

These new studio surroundings
have inspired an evolution in my
work. I have often used spirals

Memory: It is at the root of every-
thing. It is integral to the making of
pots; the process itself, formulated by

There is memory in the potter's hands

in the rhythms created by the
wood firing process

in the flame as it travels
through the pots

in the pots echoing the flame
and ash’s path

the peepholes and try to imagine
what it is like for those lucky
pots sitting inside being stroked
by what looks like magic.

This new studio has been carved
into the cliffside and is sur-
rounded by large beautiful boul-
ders and arbutus trees. One day,
as I was unpacking pots from a
wood/soda firing, something just
"clicked" and I looked at my
pots and then at the boulder
through the window and realized
that somehow they were the

as a symbol in my work but they
have taken on a new meaning
for me now, becoming a more defining part of my
work. From my wheel, I can see from the mountains
to the ocean where eagles regularly visit, spiralling their
way gracefully and effortlessly through the sky. This
circling is now directly reflected in the graceful spiral I
add to my forms as a finishing, altering touch. It is the
touch of a moment, a glimpse of an eagle circling.

Being a true admirer of wood fired work; I have always
had aspirations of being able to participate in wood fir-
ings. ‘This isn't something that one often has the
chance to do, especially living in the city, so when I
heard that the Shadbolt Centre for the Arts had built a
wood and soda kiln (Ombu), I knew I had to get

involved. I have participated in most of the firings and

6 Potters Guild of British Columbia Newsletter

same. The pots emerged from
the kiln echoing the colours and
whispering the textures of my surroundings, holding
the same spirit that went into creating and firing them.
The pots were directly connected to this place, this new
studio and its surroundings: they were home again. I
have since become obsessed with photographing these
pots on the rocks, finding great satisfaction in their
similarities.

These wood and soda fired pots, as well as a collage of
the photos, will be on exhibition at the Gallery of BC
Ceramics from September 2nd to October 4th. I hope
you can join me at the opening reception from 6 - 8 pm
on Thursday September 2nd.

Sheila Morissette

September 2004