Courtney Martin creates original pottery in the mountains of Western North Carolina. Using throwing and handbuilding techniques and her own glazes, Courtney generates lively and fun pottery for use. Her unique line and polka-dot style as well as the wood-fired cross draft climbing kiln she built, has helped Courtney find audiences all over the world. In July 2010 Courtney had a solo show in Okinawa, Japan.
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Courtney Martin Artist Bio
Courtney Martin is a full time studio potter living and working in the mountains of North Carolina near Penland. She grew up just outside of New York City on Long Island. After high school Courtney went to college at the University of New Mexico. During her first year at UNM, she took a ceramics class on a whim and fell in love with clay. After graduating with a BFA in ceramics, Courtney moved to western North Carolina to work with and apprenticed for Terry Gess, Michael Kline, Cynthia Bringle, and others. While working with other potters, learning more about making pottery and the business of pottery, Courtney continued to develop her own voice in ceramics. She has taken and assisted in classes at Penland, Arrowmont, Odyssey and Santa Fe Clay. In 2006 she stopped working for others and began making her living making pots. In 2007 Courtney was awarded the Regional Artists Project Grant towards funding to build a kiln. By August of 2007 she had completed building a wood fired cross draft climbing kiln. Since building her kiln, Courtney work has continued to grow and find audiences all over the world. In July 2010 Courtney had a solo show in Okinawa, Japan.
Courtney Martin Artist Statement
When I sit down at my wheel to make pots, I think about how they will be used. Will this bowl be the right form for black bean chili? Is this pitcher best for sweet tea or maybe just ice water? How will cherry tomatoes look presented in my pottery? It is exciting to me that I may create something as intimate as the cup for your hot chocolate.
When I think about how I will glaze the pots, I often imagine my decorations as dressing the ware. Where I will put dots, where I will lay lines. How will the pattern wrap itself around the pot?
After the pots are all gussied up, I load them into the kiln. I love contemplating the flames circling the pottery, and placing the pots where they need be so that the finished ware looks and feels desirable. My aim is to make pots with integrity, which continue to be sweet and joyful.