Wind sneaks up-valley, twining through alder heavy with first spring bloom, and then up the steep hillside to Richard Rowland’s Anagama kiln. That same wind then tumbles into the mouth of the dragon kiln, pushing wood ash up the barrel of the Anagama. In this magical process, several hundred pots are glazed with wood ash.
The kiln is fired non-stop for a week; fired with collected and recycled wood, almost seven cords, and the results are as lovely and unpredictable as the Northwest skies.
David has been a team member of this process for a couple of years now. He crossed the line as a professional potter after college, and has remained loyal to the art for nearly 40 years. Call that a love affair.
His pots reflect rich colors that imbue the landscape of his home and environs. He seeks the rich blue hues and grays of the winter skies, crimson of an ocean sunset, and all the subtle greens of a Northwest forest. It might be fair to say that his pottery is at one with nature and the forces that drive it, a dervish of currents and color. And touches of both magic and luck.