Careen Stoll: potter, permaculturist, educator.....
I am a full-time potter, working on commission for bulk pricing of my new work in white porcelain. I also make the BMW of crocks for vegetable fermentation; all work is fired in a kiln powered by solar cells. I strive to live, work, and fire in ways that minimize my carbon footprint and keep my body healthy. Right now that means spending time developing a foraging greens garden on soil reclaimed from blackberries at my new studio location! If you can pull me out of the sun, I am available to teach workshops.
Eutectic Gallery - currently stocked to the gills with new work and some woodfired work
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.
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.