Welcome to my shop. I'll show you around. This is my clay storage bin. I take all the clay here on site from a variety of local materials. This is my pottery wheel. It's a tretowheel wheel. And I don't know all the history of it, but it was popularized by an English potter Bernard Leach in the mid-20th century. And it doesn't exert a lot of torque on the clay as you're making, as it's spinning. It is unique in that it has to be continuously kicked, unlike other types of kick wheels. But it's very easy to slow down or stop. And it just, it has a character. It adds a characteristic to the clay that I like, rather than other types of kick wheels. So this is the wood kiln. It's a two chamber, catenary arch, noborigama style kiln. It was designed by Will Ruggles, a potter who's delivered around here. So the wood is all sourced in Baker'sville. They're edgings from a saw mill. The wood fire potters had the great fortune of having this mill so close by for over 20 years. This is mostly oak. Currently, I prefer popular and maple if I can get it. But all of these woods have different characteristics when they, the ash from these woods land on the pots and melt. The wood is typically just burned or landfill, so we're happy to put it to a more creative use. A good amount of the firing I spend sitting right here in my trusty beach chair, usually two or three people are here helping and we do it in shifts. But I stoke every five to six minutes. You're stoking for the period of 21 or 23 hours. So you need a crew around to make that doable. So I make a lot of different things. I've never really made a line of any particular thing. Not necessarily a production potter in that sense. But I love to make just simple pots, bowls, pictures, cups. When I first came to Pendland in 1990, my first teachers around that time were Will Ruggles and Douglas Rankin and there were wood fires from the area. And I really fell in love with making simple pots. And that's changed over time, not my love, but my pots. I've had a lot of other experiences in the meantime. I've traveled and lived in Italy for a while and got really, really excited about a trustkin art there. At some point in the early 90s, I began putting animal imagery on the pots and they're getting a bit more sculptural these days, but still functional. Something like this. I wouldn't have even considered putting a horse head on a bowl in 1991. But now it's hard to imagine not doing that, but I still enjoy making pots to use. And these are useful as well, just a little bit more ceremonial, perhaps I'm not sure. But I had great time living in Italy for quite a while, working for the University of Georgia there around 2012 and 2013 and just love the trustkin art. And those pots usually incorporate some kind of animal imagery or heads on them. But based with my already interesting folk pots from around the world has all kind of come together and just keeps changing. I'm not really sure what I'm going to do all the time in the studio and I like that sort of unpredictability and spontaneity in the pots. Each kiln load kind of teaches me about what I'm going to do next.