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& evolved
March 11 – April 24, 2016 Northern Clay Center, Minneapolis, Minnesota
InflueNceD
& evolved Mike Helke Michael Hunt and Naomi Dalglish Tom Jaszczak Alix Knipe Matthew Metz Brooks Oliver Liz Quackenbush Tim Rowan Linda Sikora
Curator and Essayist: Mark Pharis Editor: Elizabeth Coleman
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FOREWORD Sarah Millfelt | Director © 2016 Northern Clay Center. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations embodied in critical articles and reviews. For information, write to: Northern Clay Center 2424 Franklin Avenue East Minneapolis, MN 55406 www.northernclaycenter.org Manufactured in the United States First edition, 2016 International Standard Book Number 978-1-932706-37-2 Unless otherwise noted, all dimensions: height precedes width precedes depth.
This project is supported in part by an award from the National Endowment for the Arts.
This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund, a grant from the Wells Fargo Foundation Minnesota, and a grant from the National Endowment for the Arts. Additional funding for Influenced and Evolved comes from Continental Clay Company, George Reid, and the Windgate Charitable Foundation.
The phrase “What happens in the studio, stays in the studio” is often what comes to mind when I think about the private process of making and thinking about making. Outside of academia, the process of making isn’t necessarily dictated by deadline or influenced by requisite reading. While artist statements are available in great abundance, the questions artists ask themselves, the context in which their work exists, their successes and failures — these things aren’t always evident in artist statements or obvious in the wares themselves. Influenced and Evolved goes beyond the typical artist-invite-artist or mentor/mentee exhibition, as it asks the questions: Where and how do influences come to you in the contemporary world? How have early experiences continued to feed your work today? How do materials and media influence your studio practice? How does your artwork relate to history? What’s been pivotal in your development? Curator Mark Pharis, a potter, retired professor of ceramics at the University of Minnesota, and member of NCC’s exhibitions committee, selected a rich mix of artists who not only shared their gorgeous ceramic art with us, but who also helped us examine how an artist’s studio practice evolves over time, and how pottery reflects on the nature of influences such as ceramic history, the Internet, and studio practice itself. The resulting exhibition is documented in the pages that follow. In conjunction with the exhibition, Tim Rowan and Linda Sikora were guests of the Clay Center, during which time they shared examples of their work and discussed their own influences as makers. Their visits enabled an intimate look at the studio practices and unique paths of these esteemed makers for NCC’s cadre of studio and teaching artists, adult students, and MN NICE enrollees. Additionally, several university students were able
to attend the lectures, furthering the reach of this singular exhibition. Not unlike the makers in this fabulous exhibition, all that Northern Clay Center does is made possible by the environment around us, big ideas from individuals who have been instrumental to our program development, a passing conversation, or image in a book, and generous support from those interested in our work. Influenced and Evolved — the exhibition, supplemental material, educational programming, and this catalogue — were made possible because of the support from a few key institutions and individuals. I offer up sincere thanks to our longtime exhibition funders: Continental Clay Company, George Reid, and the Windgate Charitable Foundation. Additionally, this activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund, a grant from the Wells Fargo Foundation Minnesota, and a grant from the National Endowment for the Arts. I extend a special thanks to the artists who took time out of their busy schedules to reflect on their making practices, to answer the myriad questions we threw at them, and to make new work for the show. Thank you to Mark Pharis for all of his contributions as curator of this show and as a meaningful member of our exhibitions committee. Thank you to Northern Clay Center’s exhibitions committee, which also includes Heather Nameth Bren, Kelly Connole, Ursula Hargens, and Robert Silberman, for your continued vision, hard work, and inclusivity on behalf of contemporary ceramics. And finally, thank you to the exhibitions staff, Michael Arnold, Exhibitions Manager, and Brady McLearen, Exhibitions Assistant, for your talents, long hours, and patience.
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Installation view.
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INFLUENCED AND EVOLVED Mark Pharis
We all start somewhere. Making begets thinking; thinking begets making. And this collaboration between head and hand advances creativity and culture.
For Matthew Metz, the historical influence of pots can be thought of as analogous to the canon of classical music: “The history of pots is central to my work. Being contemporary is not a goal for me.” Of course, Metz’s work is both — it is at once contemporary and simultaneously infused with myriad historical references. Like Metz, Brooks Oliver — a self-described magician/ designer — acknowledges the familiar and historic nature of ceramic vessels, but uses it as point of departure to re-imagine function with elements of presentation consciously influencing utility. “I make the martini glass of the vessel (clay) world,” he says. For Michael Hunt and Naomi Dalglish, who collaboratively work on a single body of work, the question regarding history is directly and deeply connected to Korean pots and Michael’s apprenticeship in Korea. The couple embraces tradition: “We have never felt the pressure to rush the evolution process, trusting that the path from imitation to ownership would happen naturally.” For them what begins as the imitation of a historic form ultimately leads to deeper exploration. Linda Sikora comments that, “Some people say history is an influence, as in ‘it influenced me,’ or ‘I was influenced by it.’” Sikora suggests that influences
are, at times, unsolicited and surprising, as they awaken the prospect of collaborations, new directions, and potential successes or failures. There are consequences for this attraction and openness that is cultivated by unfamiliar ideas. Sikora’s comments attribute and position the acceptance of risk as influential. Influenced and Evolved considers the creative practice and influences of nine artists. The work of the artists invited to exhibit represents a diverse range of studio practice, experience, and interests. Artists contributing to the exhibit include: Mike Helke, Michael Hunt and Naomi Dalglish, Tom Jaszczak, Alix Knipe, Matthew Metz, Brooks Oliver, Liz Quackenbush, Tim Rowan, and Linda Sikora. Each artist was asked to respond to five questions: How have early experiences continued to feed your work today? How do materials and media influence your studio practice? How is your artwork related to history? What’s been pivotal in your development? What’s the subject of your practice now and why? In addition, each artist was asked to provide a visual example of something — image, object, or text — that has influenced their creative practice; these were included in the exhibit and some are included in this catalog. Their influences are wide
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ranging, both physically and conceptually. They include photographs, from Liz Quackenbush’s image of a camel scrotum’s elaborate blue veins that look like tattoos, to Naomi Dalglish and Michael Hunt’s before-and-after-firing images of indigenous North Carolina clays. Other objects include Mike Helke’s books on barns and Matisse’s cutouts, numerous pots of metal and clay from personal collections, and Brooks Oliver’s martini glass. In my role as curator of Influenced and Evolved, I am deeply indebted and grateful to all the artists for their participation and their remarkable pots and sculptures, and I am equally appreciative of their thoughtful writing, and for loaning their personal materials of influence and inspiration. Long before the five questions that initiated the exhibit were circulated, I had been wandering through another set of questions and musing about what informs and supports an artist’s ideas in the studio. Where in the world does anyone’s work come from, given that in today’s rapidly changing world, the entire repertoire of historical and contemporary clay is immediately available to anyone who spends a few minutes searching the Internet? What matters as a body of work develops over time? How do the early experiences of an
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apprenticeship or an academic education sustain an ongoing studio practice and curiosity? What’s behind the curtain; how is an object’s evolution influenced by experiences and objects hidden, invisible, or otherwise inaccessible? Functional work is supported by the context of utility. Teapots, cups, and other domestic pieces, and our understanding of them, are supported by the cultural associations of home and domestic space. But, many artists are intrigued and inspired by form and content that originates elsewhere. Alix Knipe’s sculpture is subtly infused with references to both landscapes and figure. The rich clay surfaces of Tim Rowan’s work reference stone, cork, and metal. And, Tom Jaszczak’s early experiences with his grandfather and his garden influenced his desire to make objects. To the curious and observant, the artwork itself will provide insights to many of these questions, but some aspects of an artist’s studio work will remain unseen and arguably unknowable, which leads to more questions. How does the mostly invisible work, which is central to the studio work experience, evolve and foster new ideas over time? What is the role of an influential teacher, trial and error, serendipity, persistence,
vision, and luck? Among the most dynamic and emerging influences in today’s education and studio environment is the rapidly expanding role played by digital technologies. We are awash with images on every front and the urgency surrounding digital communication has grown exponentially. The Internet, Facebook, Instagram, and constantly changing modes of visual communication are revolutionizing the way artists see and think about their work, the way ideas develop, and the way they are shared. These observations, questions, and concerns are not unique, but are just a few among the variations that invade and float around in every maker’s studio. I am confident that there are no definitive or quantifiable answers to any of these questions. The ideas an artist finds in the studio are sourced from many places, things, and experiences — making a kind of aesthetic and cultural stew that is, at once, immediate and ephemeral, or alternately, transformative and enduring. It’s a stew comprised of all this moment has to offer, and seasoned with a wealth of experience that is endlessly dynamic. The intent of this exhibit is to provide a glimpse into some of the ways that influences emerge and cause ceramic objects to evolve.
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MIKE HELKE holds an MFA from New York State College of Ceramics at Alfred University. Prior to that, he studied ceramics at the University of Minnesota, Minneapolis. Helke completed a 3-year adjunct position at the University of Wisconsin – River Falls and recently moved to Stillwater, Minnesota, where he maintains a studio. He joins the faculty this term as an adjunct professor at the University of Minnesota –Twin Cities. Helke says of his work, “Any source or experience could be the precursor to what physically happens in my work… as a maker, the action of my hand can trace the memory or energy of an experience through illusive rhythms generated by form, positive and negative shapes, and building process marks.” Helke’s work has been exhibited regionally and nationally, most recently in the exhibition New Work — Mike Helke and Sarah Jaeger, TRAX Gallery, Berkley, California; in the Artstream Nomadic Gallery, NCECA 2015, Providence, Rhode Island; and the Yunomi Invitational, AKAR Gallery, Iowa City, Iowa. In 2008, he was the recipient of a Jerome Ceramic Artist Project Grant, awarded by Northern Clay Center.
Pouring Pot, Bowl, and Vase, 2015, earthenware, 11” x 26” x 6”.
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Where and how do influences come to you in the contemporary world? When at work in the studio, I am able to develop my own rules and standards and consider how they “work or do not work”. There is something very meaningful about this intimate connection — this ownership. Individuality and creativity help me develop solutions/ways to work within and adapt to our “off-the-rack” world. How have early experiences continued to feed your work today? I have learned to question my experiences. The idea of questioning/wondering and otherwise subverting the standards and rules that I learned early in my ceramic journey has become a significant factor/ influence in my work. Also, I have learned that I cannot expect early experiences/understandings/beliefs to be relevant to my current life and work or at least to be relevant in the same way they once were.
What’s been pivotal in your development? Learning the value of, and taking risks in, my work. Not only does this nudge the work forward, it gives it breadth and perspective.
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MICHAEL HUNT and NAOMI DALGLISH, of BANDANA POTTERY, live and work in the mountains of western North Carolina, where they have a large, Thai-shaped wood kiln. Michael apprenticed with Onggi potter Oh Hyang Jong in Kwangju, Korea, and was a Resident Artist at North Carolina Pottery Center in Seagrove, North Carolina, as well as a core student at Penland School of Crafts. Naomi earned a BA from Earlham College in Richmond, Indiana. Their work, which mostly uses local materials, is largely the result of collaboration and is focused on creating woodfired utilitarian pottery. Although they make and glaze their pottery together, individually, Naomi creates the figurative sculptures, and Michael creates the larger jars. The couple met at Penland during a kiln-building workshop.
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How is your artwork related to history? Because we have chosen to work within a historically rooted tradition, we have never felt the pressure to rush the evolution process, trusting that the path from imitation to ownership would happen naturally….The initial imitation of an old form is a starting point that often leads to a deeper exploration. If we don’t continue to feel spurred on by a sense of discovery, we don’t feel the need to make that pot anymore. What’s been pivotal in your development? There isn’t really any one thing that either of us would point to as the most pivotal or defining moment in our development, since it feels like a slow evolution, but [it] is important…that we met each other and now work collaboratively. We both are involved in all parts of the making, decorating, and glazing process, but consider the pots that we make to be one body of work.
Landscape Vases, 2015, wood-fired local clay, slip, punchong glaze, left to right: 11” x 4.5” x 1.5” and 9” x 6” x 2”.
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TOM JASZCZAK received his BA in visual arts and a BS in biology from Bemidji State University, Minnesota. After graduating, he apprenticed with Simon Levin at Mill Creek Pottery in Wisconsin, where he learned the process of wood firing. His work has been exhibited throughout the US in various juried and invitational exhibitions. Jaszczak’s pots are earthenware, slipped, decorated, and soda-fired. Jaszczak states, “The cumulative journey of a pot tells a story and the story brings the user into the moment of making and firing. Slips, trimming lines, finger marks, edges, wad marks, and shadows capture a moment in time and tell more of the story. I want my pots to be grounded in form and have an identity as a material. With the combination of slips and clays that I use, I try to capture the potential of every firing.” Jaszczak has been an artist-in-residence at the Archie Bray Foundation, Helena, Montana; and The Armory Art Center, West Palm Beach, Florida; and he is currently a resident at Penland School of Crafts, Bakersville, North Carolina.
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How have early influences continued to feed your work today? Early on my grandpa was my hero and still is. He has a huge garden and he feeds our large family from it and my grandma made amazing meals with the produce and the meat we would bring back after hunting or fishing. I still do this when I come home to visit them. I believe this is called the farm-to-table movement now; I always called it “going to grandma’s.” How is your artwork related to history? My work is largely uninfluenced by history. I am not one to sit down and research historical pots. I have never been much of an academic in this way; things have to be more hands-on. What’s been pivotal in your development? I am always working. I have always spent so much time in the studio, and I am stubborn about it. This discipline has helped me learn so much about what I want to make and more importantly keeps things moving.
Liquor Bottle & Cocktail Cups, 2016, soda-fired earthenware, slip, underglaze, cups: 3.5” x 3” x 3”, bottle: 7” x 4” x 3”.
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ALIX KNIPE is a ceramic artist living in Carbondale, Colorado. She received her MFA from the University of Nebraska–Lincoln and her BA from the University of Minnesota, Minneapolis. Her work is a play between hard and soft, geometric and sensual. Reminiscent of pottery, Knipe’s work falls within the inherent qualities of volume and containment, but steps beyond function and utility. She states that her work “comprises hard lines and soft planes that are geometric and sensual, elegant and animated, architectural and organic. Richly layered surfaces, affected by the volatiles of the kiln, are used to visually enhance and activate spaces.” Recognized for her work both nationally and internationally, in 2011 Knipe received a Fulbright Fellowship Grant to work in Turkey for nine months. Her work can also be found in the publication 500 Vases.
Carry-on, 2014, earthenware, room temperature glaze, 22” x 15” x 14”.
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Where and how do influences come to you in the contemporary world? We have the capability to be part of and explore first hand the tangled connection of contemporary ceramic art to its past. I can walk into a museum in Greece, and have their ceramic history laid out in front of me, imagine an old Greek woman 1,400 years ago drinking out of that cup, which is surprisingly the same shape as a cup I bought at NCECA last year. What’s been pivotal in your development? During graduate school…I was over-stretched, over-conscious, and over-critiqued, so I took a much-needed break and moved to Turkey for a year, on a Fulbright Fellowship. [There] I let go of the fact that the work needed to be finished. Without finish there was only play. This freed me of the constraints that all ceramic artists know so well; clay’s peculiarities that dictate what we can and can’t create and have it survive through the kiln.
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MATTHEW METZ is a studio potter living in Alfred Station, New York, where he has maintained a studio since 2006. His highly-decorated work draws inspiration from traditions around the world: Asian pottery, American decorative arts, Greek and Roman pots, and other folk traditions. But, with that in mind, he makes the work without a particular narrative direction. Metz has lectured and demonstrated extensively across the United States, and received numerous awards and grants, being awarded an Individual Craft Fellowship through the National Endowment for the Arts, as well as two McKnight Ceramic Artist Fellowship awards through Northern Clay Center. With exhibitions throughout the United States, his work can be found in the permanent collections of the Minneapolis Institute of Art, Minneapolis, Minnesota, and the Racine Art Museum, Racine, Wisconsin, among others.
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Where and how do influences come to you in the contemporary world? My 7-year-old daughter Isabel influences me. She draws for herself with no self-criticism or selfediting. She draws for pleasure and it shows in the work. I am trying to learn from her. If a 7-year-old isn’t contemporary, who is? How is your artwork related to history? I think of the history of pots as being like the canon of classical music. Or maybe, more aptly, the standards of popular music — Gershwin, Cole Porter; the difference between how Sarah Chang and Hillary Hahn would play the same piece by Mozart; “My Funny Valentine” by Louie Armstrong versus Diana Krall. I would always be more interested in a Copeland or Dvorak than a Schoenberg. What’s been pivotal to your development? After being a resident at the Archie Bray Foundation, I moved with Linda Sikora to Houston, Minnesota….It was very rural, really isolated. There was a real value to that isolation. I had taken in so much through school and residencies and this gave me space to try to develop my own voice, stepping away from the constant input.
Pitcher, 2016, black porcelaineous stoneware, slip, salt glazed, 11” x 6.5” x 6”.
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BROOKS OLIVER is currently a resident at the Archie Bray Foundation in Helena, Montana. He received his MFA in ceramics at Pennsylvania State University, University Park, Pennsylvania, and a BFA from Southern Methodist University, Dallas, Texas. Oliver uses the ceramic vessel as a familiar and approachable means to engage viewers into questioning their preconceived notions of function. He likens his role as a maker to that of a magician or illusionist, challenging the viewer’s perceptions and leaving the viewer questioning the utility of his work. Oliver states, “I have identified three crucial aspects to creating a successful illusion: to make the viewer question their assumptions, to construct a context around how the viewer perceives what is happening, and to generate a moment where belief is suspended. Within my own work, I use the ceramic vessel to convey my fascination with these three aspects of an illusion.”
W Vase, 2015, porcelain, glaze, underglaze, 14” x 17” x 3.5”.
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How have early experiences continued to shape your work today? Growing up as an amateur magician, I have always been fascinated by illusions and I love when the eye is tricked and the mind is boggled….Like a parlor magician in a tuxedo, or an illusionist on stage with a bedazzled cape with flashy lights, whenever possible, I set a stage and construct contexts around my forms. What’s been pivotal in your development? Two significant events in my life have shaped my life and art. The first was when I switched my major from mechanical engineering to ceramics….Within six months of switching majors, I came out of the closet as a gay man. Switching majors had helped me realize the importance of enjoying life, while coming out taught me to be fearless in doing it.
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LIZ QUACKENBUSH is a professor of art at the School of Visual Arts, Pennsylvania State University, University Park. Her terracotta pieces are inspired by ceramics produced during the 13th to the 17th centuries in Iran, Spain, Portugal, Italy, France, and England. The dry terracotta of the clay body is balanced by her use of bright gold luster and intense colors. Seducing the user with the dynamic natural charm of earthenware, Quackenbush’s work romanticizes the creepycrawly beauty of the great outdoors. Patterns of animal and reptile skins act as inspiration for her surface decoration. Quackenbush has exhibited widely in solo and group exhibitions, recently showing at the Aidron Duckworth Art Museum, Meriden, New Hampshire, and with the Artstream Nomadic Gallery at NCECA in Providence, Rhode Island. Her work has also been published in numerous magazines and books including: Ceramics Monthly, Ceramic Review, The Best of 500 Ceramics: A Decade in Clay, and The New Maiolica: Contemporary Approaches to Colour and Technique, among others.
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Where and how do influences come to you in the contemporary world? When my son was young, he would see things I would miss. Partially because of his proximity to the ground, he would notice things I would overlook…he looked over and saw a frog that was perfectly camouflaged to blend in with the lichen on a rock. That frog was two things at once — it was a living breathing frog and a part of the lichen covered rock. How have early experiences continued to feed your work today? My grandmother was particularly creative and was always reinventing with craft materials. She loved making things that would be enjoyed by others. Sharing her handwork was a way of sharing her love. For me, making things is imbued with good feelings.
Teapot, Small Vase, Small Cruet, Small Cruet, Pitcher, 2016, porcelain, glaze, tallest form: 6” high.
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TIM ROWAN is a studio potter living and working in the Hudson Valley of New York state. He received a MFA from Pennsylvania State University, University Park, and a BFA from the State University of New York at New Paltz. His education included a two-year apprenticeship with ceramic artist Ryuichi Kakurezaki in Japan. Rowan’s work appears calculated, with hard lines, and geometric forms, which stand in contrast to the natural, wood-fired surfaces and the usually delicate nature of clay. He has been an artist-in-residence at several institutions including the Archie Bray Foundation, Helena, Montana; Watershed Center for the Ceramic Arts in Newcastle, Maine; and the Fuping Ceramic Art Village, Shaanxi Province, China. His work has been featured in solo exhibitions, most recently Continuity, at the Sara Japanese Pottery, New York, New York, and group exhibitions throughout the world. It can be found in the museum collections of Currier Art Museum, Manchester, New Hampshire, and the Fuller Craft Museum, Brockton, Massachusetts, among others.
Untitled, 2014, wood-fired stoneware, 14” x 14” x 10”.
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Where and how do influences come to you in the contemporary world? Some of the angularity, heaviness, and segmentation in my work may be attributed to these stones [outside my studio]. They have also led to my experimentation with actually incorporating stones into some of my work and firing the stones directly. It seems that the evolution of my work happens organically at its best. In that sense, influences can’t be forced, but need space to come into being. How have early experiences continued to feed your work today? My parents were both immigrants from Eastern Europe, who were deeply affected by their experiences during the Second World War. Like many in their generation, this was buried in their psyche and never outwardly processed. As a result, we were a rather insular and private family and my brothers and I were left alone to raise ourselves. This freedom was empowering and also detrimental. Early painful childhood experiences focused my energy inward, and it wasn’t until I began working with clay in college that I finally had a voice and path in my life.
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LINDA SIKORA is a professor of art at New York State College of Ceramics at Alfred University in Alfred, New York. She has traveled across the United States as a visiting artist and lecturer, exhibiting extensively. Rooted in function, Sikora states, “I am interested in pottery form for its familiarity and congeniality, its ability to disappear into private/personal activities and places. But this is only one aspect of the work that, through its intelligence of color, form, and stance, can also excite/awaken attention and thereby reflects back to viewers their own imagination.” Sikora has been regularly published in journals such as Ceramics Monthly, American Craft, and Ceramic Art and Perception, among others, and her work can be found in public institutions such as the Art Gallery of Nova Scotia, Halifax, Nova Scotia, Canada; the University of Colorado, Boulder; and the Los Angeles County Museum of Art, Los Angeles, California.
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Where and how do influences come to you in the contemporary world? There is no hard boundary between the realms of studio artist and educator, but they are distinct. I appreciate the mixed space in the middle — it is unique to this double endeavor. I occasionally lament not having the time to move more physical material, but also know that the work has a particular momentum due to moving around “matters of the mind”. How is your artwork related to history? “Excitement about a historical piece can lead one to discover a process or quality of handling in the studio. Or, reflecting on one’s work can lead one to a historical period. Some people call history a source. The gesture is to go toward — go to the source. Some people say history is an influence, as in ‘it influenced me,’ or, ‘I was influenced by it.’ Influence suggests something that comes unsolicited; the gesture is one that comes towards you….When influenced or inspired by something (from history for example), you are excited by it — it stirs you, it wakes you up. And, you can make a decision to enter into collaboration with it” (http://www.stonepoolpottery.com/writing/ beneaththesurface.html).
Polychrome Jar, 2016, stoneware, polychrome glaze, wood/oil/salt fired, 16” x 15” x 15”.
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NORTHERN CLAY CENTER
Northern Clay Center’s mission is the advancement of the ceramic arts. Its goals are to promote excellence in the work of clay artists, to provide educational opportunities for artists and the community, and to encourage the public’s appreciation and understanding of the ceramic arts. Staff Sarah Millfelt, Director Michael Arnold, Exhibitions Manager Brady McLearen, Exhibitions Assistant Board of Directors Lynne Alpert Bryan Anderson Nan Arundel Mary K. Baumann Craig Bishop, Chair Heather Nameth Bren Lann Briel Robert Briscoe Phil Burke Linda Coffey Debra Cohen Nancy Hanily-Dolan Bonita Hill Sally Wheaton Hushcha Christopher Jozwiak Mark Lellman Brad Meier Alan Naylor Rick Scott T Cody Turnquist Ellen Watters
Director Emerita Emily Galusha Honorary Directors Kay Erickson Warren MacKenzie Legacy Directors Andy Boss Joan Mondale
Unless otherwise noted, all photographs are by Peter Lee. Design by Joseph D.R. OLeary, VetoDesign.com
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2424 Franklin Avenue East Minneapolis, Minnesota 55406 612.339.8007 www.northernclaycenter.org