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Harry Levenstein
Potter
Hello, and thanks for stopping in. My name is Harry Levenstein. I make pottery intended for daily use and appreciation. I am currently working out of the ceramics studio at the Bard College at Simon's Rock in Great Barrington, MA. I formulate and mix all of my own clay bodies and glazes, using locally sourced materials when possible. I hope that by choosing to use thoughtfully handmade objects in place of thoughtless and sterile factory-made, or disposable wares, we can add a layer of depth and appreciation to our daily routines and communal gatherings.
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Statement.
I make pottery that combines strong form with functionality, and celebrates the materials and processes with which it was made. Wavy rims above curvy profiles add a sense of rhythm, and provide a canvas for the effects of the atmospheric firing. Generous spouts, handles and bellies speak to their given functions. Strong trimmed lines and soft connections tell the tales of the clay’s wet state and the maker's hand. Muted tones of dark clay, with touches of bright glaze or flame-induced flashing reminisce of the landscapes they were born in.
Formal inspiration often nods to historical ceramics, but also arises through careful observation of my day-to-day life. I have lived in many places, and the unique environments of each inevitably have had their influence on what I made while living there.
Historically, woodfiring has a deep tradition of place-based pots. I become a part of each place that I settle into enough to make work. The pots that I make while living there become a reflection of that connection both conceptually through form and design, and literally because they contain local materials, and are fired with locally grown wood. I love experimenting with the complex atmospheric effects that various woodfiring techniques have on the clay. By designing my own clay bodies I gain more acute control of the fired palette, which is further informed by the environment in which they were made. Like a tree or a boulder, I hope that when the pots are finished, they can exist quietly, yet strongly in the spaces they occupy.
Formal inspiration often nods to historical ceramics, but also arises through careful observation of my day-to-day life. I have lived in many places, and the unique environments of each inevitably have had their influence on what I made while living there.
Historically, woodfiring has a deep tradition of place-based pots. I become a part of each place that I settle into enough to make work. The pots that I make while living there become a reflection of that connection both conceptually through form and design, and literally because they contain local materials, and are fired with locally grown wood. I love experimenting with the complex atmospheric effects that various woodfiring techniques have on the clay. By designing my own clay bodies I gain more acute control of the fired palette, which is further informed by the environment in which they were made. Like a tree or a boulder, I hope that when the pots are finished, they can exist quietly, yet strongly in the spaces they occupy.
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