Alleghany Meadows is a studio potter in Carbondale, Colorado. He received his M.F.A. from New York State College of Ceramics at Alfred University. He apprenticed with Takashi Nakazato, Karatsu, Japan, received a Watson Foundation Fellowship for field study of potters in Nepal, and was an artist in residence at Anderson Ranch Arts Center. Alleghany has presented lectures and workshops at various venues around the country, including classes at Penland School of Crafts, Mendocino Art Center, and Oregon College of Arts and Crafts. He has shown widely in such venues as Odyssey Center for Ceramic Arts, Ashville; Baltimore Clayworks, Baltimore; Lill Street, Chicago; Chester Springs Studio, Chester Springs, PA; Santa Fe Clay, Santa Fe; and Artstream, a nomadic gallery.

Artist Statement:
My investigation is a search for beauty. I make work in an active search for emotion, feeling, content and form in objects for domestic space. My work is intimately connected through size, form and surface to the human body and to nature. I wish to make work which inspires creative decisions in actions such as preparing a dessert or arranging two daffodils in the spring.
I am fascinated by ways which my work can effect time and experience. Perception of the world is an evolving process directly linked to experience. We experience the world through our senses. Memory and my understanding of memory are connected to the sensuous experiences I have with material objects. A new teapot becomes familiar as I learn its subtleties, the pace and rhythm with which it pours, its weight and balance when full. Each experience of having tea engages my senses and through continued use, the teapot acquires a patina of memory which reflects back these experiences.
Repetition and rhythm in my studio process are similar to autumn leaves on the forest floor, tracks of a bird in wet sand, ice crystals on a frozen stream-such patterns, although composed of repetitive elements, continually change without exactly repeating themselves. I am fascinated by the physical responsiveness of porcelain to my touch, by the plasticity of lines, and the transformation from fluid to solid. The salt firing process brings together the pliability of wet clay and the rigidity of fired pieces. It adds fluidity to glazes, sliding the concentration of glaze from edges and creating pools on raised areas of the forms.
A small cup, when held in the hand, can become a metaphor for touch of the human body. The form connects intimately with living. An individual cup reveals life at its most basic and profound level. It is a pause, a quote, a highlight from a broader, investigative labor which continues as a process of understanding the meaning of life . . .