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Generally people are disconnected from art, disconnected from nature. There
is no value or respect for it in our culture, our culture is off-centre. We have
lost the connection; we are disconnected from our source. I am trying to
make a move toward a positive statement about the importance of the natural
environment. We ate so far away from that, and it is the cause of so many
of our problems. Artists have a responsibility to plant the seeds of positive
change.

LK: What are your favorite books, magazines or publications?

CJ: At the moment I am a little preoccupied with house-making books
because of our move. However you can never buy enough clay books; and I
have never regretted buying a clay book. “Beauty” by John O’Donahue is a
good book, (Cathi pointed to a pot she had made and a quote from the book
that she had added to the pot).

Andy Goldsworthy’s “Collaboration with Nature” and the DVD “Rivers and
Tides” is brilliant and one that I often use at workshops. On site sculptural
work, made from nature and returns to nature. His stuff just is! I can’t believe
someone doing this spectacular work.

LK: How do you create your patterns so easily?

CJ: The terra sigilatta surface is like pamtmg with water colors. I bought an
$8 brush because a friend said tt was an excellent brush but I didn’t use it for
6 years. When I started putting designs on my work, I needed that brush and
it helped forms evolve.

LK: What is important to your

CJ: Traveling is important, it broadens your horizons, and you appreciate
how other people do things. Travel helps you grow, helps you to learn about
yourself. I am a workaholic, but I am not going to keep doing something
unless I enjoy it. I was stressed out a short time ago, my blood pressure was
out of control and I had to relax and slow down a little.

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8

LK: What is your definition of success?
CJ: Feeling good about the work I am doing,
having the respect of my peers.

LK: What are you uncomfortable about?

CJ: Right now I am working outside the
box; I am working on sculptural work. I am
stepping off the cliff. It is a real challenge
and the project is throwing me some curves,
teaching me some difficult lessons. I have
been working on this collection for two years.
I recetved a Canada Council Grant to do the
work and I have been to Banff and to Archie
Bray, working on these pieces. | am moving
along slowly, I am about half-way through the
work. It is reflecting nature, reflecting spirit
and the show 1s in September. Pieces are
breaking, trying to create an image that 1s six-
feet-tall. How do I make these pieces? The
learning curve 1s huge, with lots of cracking,
frustrations with the firings, things blowing
up in the kiln. Maybe I am still stuck on
the functional ware, food-friendly concept,
thinking of sculptural work as functional work.
Trudy Golley has helped with lots of direction.
The clay choice has also been a key factor to
the success so far.

As the interview moved down to her studio,
a young lady from next door arrived and
Cathi moved easily into helping/guiding her
through the process of finishing a clay box
that she has been working on. After taking a
few photos I took one last look around the
studio that Cathi has called home for several
years and left hoping that I had captured
some of what makes Cathi, Cathi.

Cathi has produced a DVD that details
her salt-glazing process from decoration,
preparing the salt, firing the kiln and finally
taking the viewer through an explanation of
how placement in the kiln dramatically affects
the salt and flame effects. This DVD allows
you to share some time with Cathi in her
studio. You are also introduced to her two cats
who just want to make sure they are noticed.
This DVD is well-produced and provides
insight into Cathi’s creative process; it is an
excellent addition to any potter’s library. @
www.cathiyefferson.com Louis Kennett

Work Ready for the Kiln