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.
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
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 . . .