Visit with me in April at the Museum of Contemporary Craft as my friend and I do a residency there.  The Tin Man will be featured in an exhibit, and new work is in their store.

After that, please join me at my annual open studio Mother's Day weekend.  Pickle tasting!  Kid friendly!

integration

Careen Stoll: potter, permaculturist, educator.....

The work in this gallery is from the past 6 years or so, and now I've moved to the country where I am making simple white wares with some colored glazes.  And doing a lot more gardening!

representation:

Eutectic Gallery - currently stocked to the gills with new work and some woodfired work

Biwa Restaurant has woodfired work for sale in conjunction with the below...

April: Museum of Contemporary Craft store in conjunction with a residency, small show, and benefit banquet collaboration with Biwa Restaurant.   TICKETS HERE (only a few remain!)

statement

I design my pots to be comfortable and minimal.  Think of beach stones and soft bodies: a full curve, muted color, asymmetry and dimples.  I choose porcelain for its working qualities and skin-silky touch.  As the densest clay available, it becomes impervious when fired to 2400 degrees in my highly innovative kiln.  In keeping with strong environmental ethics, I built an efficient kiln that fires with wood and waste vegetable oil in a carbon-neutral footprint. Pots from that kiln resembled wood-fired work.  In my new studio, I fire in an electric kiln using solar energy.

We crave comfort in a world whose only constant is change.  What generates comfort?  Time-honored rituals, pleasant memories associated with a space or encounter. Sometimes we may find a memento to embody the favorite memory.  Handmade dishes live in this lovely limbo between simple service ware and ritual object. We can still create environments that speak of generosity and sensory comfort.  When food is prepared and presented mindfully, I find a nourishment far beyond simply eating.

resume

Careen's biography:

I grew up sailing.  Maybe that’s where I learned to love the sensual and immediate qualities of working with natural elements.  Boats and pots share the primacy of form meeting function, and both cultures share a DIY mentality.

After Carleton College, I moved to a decrepid farmhouse (with wood kiln) in MN because Linda Christianson was nearby.  She mentored me, as did Silvie Granatelli, and then John Neely at Utah State.   In Portland, I built an innovative kiln named the Tin Man using wood and waste vegetable oil.  I volunteered for an arts organization and taught classes. 

After 8 years there, I was asked to move, so now the Tin Man is resting in pieces, and I am focused on teaching nationally, contracting construction of Tin Men, and of course, my studio practice.  Currently, I make porcelain once-fired fermenting crocks and banquet sets intended for restaurant use.  And I am developing a permaculture site.