A Table Full of Pots


Here is a table full of pots ready for the next step.  This photo was taken back in November and I’ve since glazed and fired them in the gas kiln at The Potter’s Studio in Berkeley, CA.  I’ll post photos of the finished pots soon.

It’s been so long since I have posted anything I just had to put something here in the new year.

I recommit to posting once per week and letting go of the need for it to be perfect.  It is a daily practice after all and the point is to post often to show my progress and the results of my practicing.

Thanks for reading, and thanks to my family for their continued support.


Richard Bresnahan – Body of Clay Soul of Fire

Richard Bresnahan book

Richard Bresnahan.  O.k. wow.  I had never heard of him until I stumbled upon a book in the SF library about him and his life as a potter.  When I picked up the book I briefly scanned the photos of pots as I usually do to decide if it was something I wanted to bother with and saw tons of amazing pots that appeared to be wood fired.  I left immediately with an armload of books including this one called Body of Clay Soul of Fire by Matthew Welch.
In the 70’s, Richard Bresnahan apprenticed with Nakazato Takashi in Japan on the island of Kyushu.  There he learned to make pots on a Karatsu-style kick wheel, build kilns and fire them, and how to use local materials.  He now has a pottery at St John’s University in Collegeville, Minnesota where he fires a huge wood kiln.  He uses local clay and local materials for his glazes and has found ways to take what others are throwing away and turn it into something beautiful.  This book touched a chord with me and my desire to study with a master potter, fire with wood, and use ash glazes is even stronger now.
Just looking at the photos of all these pots is inspiring.  Reading the book is even more so.  There is a video I found as well. The Richard Bresnahan story is full of lessons for life.  He boldly went after what he wanted and the community of friends, teachers, neighbors, and family all supported him.  His passion is undeniable and people come from all over the place when it’s time to fire that big kiln.
Read this book and be inspired.  I’m reading it now for the 3rd time.

Michael Cardew and Douglas Fitch – inspiration

I’m very inspired by Douglas Fitch at the moment and what appears to be a country potter lifestyle.  All I am going by are his videos.  After reading Pioneer Pottery and Pioneer Potter by Michael Cardew a couple years ago I knew it was the life I wanted.  I had to begin from there.  I learned how to throw and glaze and reclaim clay and a whole lot more.  Here I am now and have just watched all the videos Douglas Fitch made of his work and life there in Devon.  There are sheep running around and ducks at his feet and birds chirping, pots being thrown and covered with slip, and other glimpses of life.  It all looks like a great way to live a life.   Ajira was living in Sidmouth when we met, but we did not venture out too much in Devon when I went to visit.  Pottery was not up on my radar at that time.  I was too busy being in love.  We spent a little time at the Royal York Hotel in Sidmouth, went to Wales, London, etc. then we were on a plane to Cape Town, SA so I could meet her family before we got married in 2004.

I would love to go back to Devon or Wales now to apprentice or study making pottery with some of my favorite potters.  I love the connection to earth and place Douglas talks about in Hollyford Harvest – a film by Alex McErlain, 2009.  Digging your own clay, using slip, firing with wood, and practicing pottery tradition are all things I am interested in doing.  Hopefully my pots will have good form with life in them and vitality.

I tell myself it does not matter where I live, but maybe it does.  Everything I surround myself has an influence on my feelings and thoughts and therefore filters into my centering and energy level.  I often use the process of kneading my clay as a transitional cleanse away from the rest of my day and into the clay and this moment of making pots.  The spiral action is meditative, physical, quiet, and warms up my arms and shoulders.  I often do this with my eyes closed to increase my awareness and my sense of touch, and to discover what is happening with the clay. The weighing up of lumps is the start of what I am about to make.  All this touching informs me of the moisture content and plasticity and awakens my sensitivity and I am ready to throw.  So being somewhere else won’t change that, it will simply be a different moment of getting ready to throw.  But maybe the rest of my life will be more nourishing for my pottery making, family, and soul.

I find it almost unbearable sometimes to be stuck here in this place wanting something else as time flies by.  I convince myself to appreciate what I have and go from that place of gratitude, but I want what I want.  City life is no life for a country boy.  I tried to be big city living in San Francisco.  I tried to be tech and fast paced and hip with music production.  I tried to be on the cutting edge but I found the constant attempt to keep up exhausting and not very authentic.  So it was not for me.  I want a peaceful quiet country side with a community of potters and teachers and friends and group firings and flowers, trees, hills, and green.  I want to walk in the woods and play in the mud with my boy.  I want to have animals as friends who visit and are not threatened by me as a human.  I want to go surfing in the sunshine with no wetsuit.  And I want to make thousands of pots and find my voice as a country potter.  I want to get on with it and yet I know that learning from a master potter will in the long run get me there on more solid ground.  For now I am practicing and learning as much as I can.

A country pottery is challenging in the burbs.  Where do I build my wood kiln?  Fire code?  Too close to the house?  I even have free bricks enough to do it but not the space.  So what?  I will find a way.  There is no stopping me now.  Too many things have come together on my path for me to turn away.

I am certainly not complaining.  I am totally grateful for all the gifts and support.  It supports the theory that if you boldly go for it, the universe steps in and provides.  I have clay, glazes, bricks, wheels, tools, bins and buckets, burners, curiosity, a desire to learn more and more, a blog, a facebook page for Cameron Sharp Pottery, a library card, and the internet.  I’m healthy and strong.  I have support of friends and family, the praise of people who have seen my pots, a friend who is tight with a gallery, the ability to make pots, and the patience to go through the experience of learning by doing, the awareness to know when to let one go and make another.  I have so much going for me already.  I simply have to continue to be inspired and make more pots.  I will trust the process of going through and not worry about what is on the other side.

free kiln bricks

Caruso gave me all the bricks from the Evelyn Kramer kiln in SF

I got about a thousand bricks from a man named Caruso.  He said I could have them if I took apart the kiln, swept up, and hauled them away.  He said the kiln I dismantled was used by his friend Evelyn Kramer.  It was a natural gas kiln made of hard and soft fire bricks with some ceramic fiber here and there.  It sat on top of a layer of concrete blocks which he also gave me.  It took me 3 trips to load and transport them in my van from San Francisco to San Pablo, CA.  He also gave me some pyrometric cones, an 80 mesh sieve and three giant wisks for mixing up glazes.  On the walls of the garage we went through to get to the backyard and kiln, were old photographs and faded pages torn out of of books and tacked up.  Images of pots by Shoji Hamada, Bernard Leach, Michael Cardew, and others covered all the walls.  There were posters and flyers of The Potter’s Studio in Berkeley, CA as well as a card from the Richmond Art Center.  These were all from the seventies.  I feel honored to be taking these bricks on to the future and saving them from the dump.  Caruso said that if I had come one day later they would have been gone, hauled away by the city. So thank you Caruso for the bricks and all the extras, and for being so patient and willing to make arrangements for several trips out there to get them.

Life is a mystery.  Just when you think it’s going one way, things happen and suddenly the path opens up and the weather clears and the sunshine beams down and warms the possibilities.  The past with it’s anchors and baggage and house full of grief needs to be lit on fire and burned down to the ground to make way for all the new life that is just there on the path waiting to be lived.  Taking a few steps on this good path feels so right, so correct, so in-line with my soul and my true self.  A happy potter.

The simple pleasure of the sun warming my face is as good as it gets.

Everything can have that quality of life if I let it.

So a big thanks to Douglas Fitch for all the inspiration and the videos you post.  When I get to Devon I’ll look you up.


Emerging Artist

drying clay in the winter sun

drying out clay in the winter sunshine

Emerging artist.  emerging artist?  emergency artist?  emerging from what? from where? What is an emerging artist?  I guess it means becoming known on the scene.  I like this idea of always beginning.  Each pot is a new beginning, each session of kneading is a new beginning, and each washing up.

A beginner is always searching and learning something new by doing it.  Theory can get your mind going but really, doing it is where the learning begins.  There are so many forms I want to make.  It is endless.  I want to make and sell pots that people can buy and use.  I’m more attracted to green than blue, more to red and brown than purple, orange and black to me are better than pastel anything.  I like creamy milky satiny white and yellows.  I like transparent jade greens and deep translucent emeralds more than muted olive green.  I like browns.  I like reds that are warm and irony more than reds with blue.  I want to make pots that look as if they just took a breath of fresh life, and glaze them in such a way that maintains fluidity like water.

Ok so I am emerging.  I am emerging from an old tired career that was suppose to be a means to an end and somehow has become what I do and have done for far too long.  When you do something for so long it gets routine and boring.  It is not the beginner’s experience.  I want very much to start fresh like a spring flower and bloom in the sunshine of newness and learning.  An experience of trying something new every day is invigorating and challenging, encouraging me to resist judgment and frustration with a gentle intention of freedom, forgiveness and fun.  If it is not fun why do it.  Warren Mackenzie says that making pots ought to be fun.  I’m with him.  I want to have fun and enjoy what I do.  It will not be easy and it will be a long road.  The road is long anyway so making pots has just as much of a chance for me than anything else.  More of a chance because I love doing it.  I’ve been there and done that, and there and that don’t appeal to me anymore.  I want here and this instead.  ooh I like!  Been there done that, now I want to be here and do this.

I made a little piece of music the other night on my computer and found myself enjoying the first 20 minutes and then it became something else.  Something I did not enjoy, something that was trying to be something it was not.  It became a searching and sifting through process instead of a creating one.  My process of songwriting used to be free and flowing until I involved a computer and production.  Even when it sounds cool or hip or funky etc. it sounds like everything else.  When I used to just sing to write the song, it was more real and unique and more human and less machine.  I think making pots needs to be this way as well, fast and free.  To spend too much time on a single pot can take all the life out of it.  I want to always improve my throwing skills so I can let it all go and just make pots, like an actor rehearses lines, memorizes blocking, studies the scene and then lets it all go for the performance trusting that the work has been done.  It is like that with making pots.  Learn technique first and then let it go to be free and trust that the time spent on the basics will always be there for me to tap into.

This winter sunshine is a gift. It’s helping to dry out my clay chunks so I can slake them down.  It’s keeping my glazes from freezing and feels good on my face.  I’m filled with gratitude for everything that has led me to this moment.  All the ups and downs are part of the journey and this moment is where I want to be doing this.

Be here do this.


Let’s start here – Gratitude

Let me start with gratitude and a big thank you to Simon Leach.

When we moved in 2010, I was searching for info about gardening so I could create one for my little boy to play in.  I was looking up composting, soil amendments, water conservation and then landed on a video of someone making an olla.  It is an earthenware pot with a wide belly and a longish neck. You bury it in the ground with the neck sticking out, fill it with water and cap it with a stone.  Then you plant around it and since the pot is unglazed the water seeps out slowly and does not evaporate.  It’s almost 100 % efficiency.  For larger spaces you can bury as many as you like.  I was also interested in permaculture so I thought about making a spiral garden with a pattern of ollas forming a spiral. With the stones on top it would look cool to have a spiral of floating stones.

Anyway with the way YouTube works and gives you tons of related videos for each one you watch I watched another pottery video and another…  Eventually I stumbled upon Simon Leach.  I instantly connected with his straight forward style with no music or fancy editing and text etc. He just let the camera roll and did his thing. It was natural and honest.  He let me see his moments of oops as well as offered a lot of detail about how he was doing what he was doing.  Since I was up in the middle of the night anyway with my son who was 1 at the time I kept watching while holding him in my arms and rocking him back to sleep.  I watched all the videos on his channel and at that time it was 600 or so.  Then I watched them again in order.  I had not even touched clay at this point.  I was obsessed with this business of throwing on the wheel. I was being entertained and absorbing all of it in a gentle almost passive way.  It was liking priming the pump, getting ready, or fixin’ to start.

This was back at the end of the summer in 2010.  I’ve come a long way in my pottery life since then and would like to express my most sincere gratitude to all those who have supported me and helped me along the way.  Thank you Simon Leach.  Your videos are inspiring, informative, and have helped me find this new direction for my life along the path of clay.

Thanks for visiting my blog.