This Gallery displays a selection of my traditional, hand made, redware, slipware, sgraffito, agate, and blue and white delftware pottery. You can purchase this pottery at a store near you, through my online store, or stop by my booth at a show near you to see what’s new, and for unique, one-of-a-kind work. For the latest and greatest, and for information on occasional special offers, like me on Facebook.
Care and Use
- Food Safe
- Oven proof
- Can chip easily
- Coasters recommended.
I accept custom/commemorative orders. If you would like something from this Gallery customized, or if you have specific needs, contact me for details.
Stephen Earp Pottery accepts wholesale accounts. Contact me for wholesale price lists. Please include your company or store tax resale ID number.
A Note on Interpretation.
The challenge – and fun – of making historically inspired pottery is learning the vocabulary and history of a particular pottery style, and then accepting these as guidelines for exploring and expanding that style. The pots I make incorporate several degrees of interpretation, from reproductions of certain stylistic methods, to individualized work inspired by those artifacts and styles. I am also occasionally commissioned to make replicas of specific items.
Making historically inspired ceramics is not just about the forms alone. It’s about the history of artistic expression on a communal level, and what that story has to offer us today. This work asks us to consider not just the past but how we understand our relationship to the past. For example, I appreciate the early redware potters’ approach to their tools and materials. They generally made do with what they had near at hand, rather than doing whatever it took to get what they wanted. That pragmatism takes on a profound sense today, as we address our own footprint on the planet.
One could reasonably assert that because today’s artists have such ease of access to the world’s entire cultural heritage for use as inspiration, we have a degree of responsibility – lest we become guilty of blatant appropriation. When I present my work to the public in conjunction with living history museums, traditional arts fairs, historic home tours, and similar venues, it must first pass the scrutiny of curators, historians, and academics. In my work, I strive to preserve, expand, and encourage recognition of this fascinating early arts heritage.