An Artist in Previous
Greater Gig Harbor
Open Studio Tours

The Greater Gig Harbor Open Studio Tour 2013

September 20, 21, & 22

10am to 5pm



" One day I’ll make the perfect vessel, but then I’d have to quit. 
There’s only one in me.  Until then I keep working."

Ron has been a long-time teacher and artist in the greater Seattle area.

His work is shown in a number of Northwest galleries

He divides his work into functional porcelain and one-of–a-kind vessels that have a Pacific Rim influence.

Potters who make functional ware have a lot to consider.  How will it be used, handled, stored?  What is its sense of place?  What forming techniques will best suit the concept? What decoration best unites the form and function with the surface?

Commercial manufacturers consider material, labor, and shipping costs, widest customer appeal, and current trends.

We often make the same object but, at our best, the objects are worlds apart.

One of my favorite parts of the creative process is developing the “skin” of the vessel.  Many years of research have gone into the development of glazes that work well with the shape and/or color of the container. 

It is not uncommon to work three years on a particular glaze effect before it is ready to market.

When making non-functional pieces, I am concerned with the character or personality of the piece.  I think about where it will sit and what meaning it brings to the place where it resides. 

When working with utilitarian pieces, additional consideration must be given to the functional requirements for which it was designed.~~Ron Carson

About the process:

For more than 40 years clay has been my preferred media.  It is limited only by imagination and patience.  It tolerates only so much work being done at any given time, and a good thing too, because I seldom work on a piece for longer than a half hour before I let it dry some and attend to another piece before returning to it for yet another half-hour engagement.  Fortunately making shapes on the wheel encourages repetition but each form is slightly modified with each new lump of clay.  The evolution of a shape may take days, weeks, or years.  Unlike many artists who assess the work as it progresses, clay people must imagine what it will be when it is finally finished.  It shrinks substantially and usually the color and surface of the unfired glaze seldom resembles the fired product.  Additionally, sufficient work must be made to fill a kiln.  The firing chamber of my kiln is sixteen cubic feet so many pieces have to be made to fill the space.  If I work on a series of pieces I must take notes to make sure that I can get (or never want to get) the same results again.  When the kiln door opens it confirms my best (and worst) ideas.

About the shapes:

I am most influenced by traditional work of Japan and China.  Many decorative elements have a Pre-Colombian or Aztec influence.  Visiting other cultures has opened me to new shapes and surface effects.  The sculptural shapes are essentially decorative but were derived from objects that were originally functional.  They are watertight, lead free, and very durable.

I am represented in several galleries in Washington and participate in a limited number of local and regional fairs and invitational shows. 

I frequently do commission work for individuals and interior designers.

Enjoy the newest art and widest range of individual artist's original work providing the rare opportunity of seeing the artists in their studio environment and offering explanations and demonstrations of their materials and art process. This is also a unique time to purchase fine art directly from the artists.

Greater Gig Harbor Open Studio Tour 2013


September 20, 21, & 22
from 10am to 5pm

for more information.


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