Artist Statement:
My thrown, carved and altered porcelain pottery is both functional and decorative. I have studied techniques and styles of Korean, Chinese and Japanese ceramics as well as early American Art Pottery, itself influenced by the East. My pottery is influenced by these bodies of work but is distinct from them. The techniques, glazes and decorative motifs are different and at the same time grow from these traditions. My aim is to produce intimate work that can be held in the hands and which, by its use, brings beauty to the user’s environment and small moments of communication between the user and myself.
Bio
Kathryn Narrow was born in Philadelphia but left for Korea at 10 months old where she lived for 3 years. She followed this by years in Washington State, Idaho and then two years in Japan. Kathryn believes these formative years living with and among potters and pottery became a strong influence in her life. Perhaps her first trip even foretold her eventual career. She studied ceramics formally with Bill Daley and Petras Vaskeys at the Philadelphia College of Art. Following graduation, she became a production potter for 15 years, taught at several colleges & art centers and, then became an arts administrator at The Clay Studio. Retirement has brought Kathryn full circle, to being a full time potter again. She is currently an instructor at The Clay Studio's School.
What The Clay Studio means to me:
I have been involved with The Clay Studio since 1978.
When I joined, I was a Resident Artist. I was a production potter working in functional ceramics and selling at craft fairs and wholesaling up and down the east coast. As a member of a cooperative, I sat in on the monthly discussions about the workings of the studio, the application for the PA Non-Profit application we prepared to enable us to accept non-taxable gifts, and did various jobs. All of these were new experiences to a single potter working from a home studio.
These were just the beginning of my learning experiences. These would include building kilns with others, mapping studio spaces, classrooms, chemical labs, gallery and shop spaces. My first job was running the school program, artist billing, the gallery and shop, managing a commercial space, and keeping up repairs. These as well as assistant to the Director, the studio’s first paid position. From there I became the Gallery Manager, School Manager, Claymobile Director (a program I created), General Manager, and finally Managing Director. Additionally, there were 2 - 6 month periods as temporary Director, during searches for a new director.
I managed to keep working in clay during all these jobs. I shifted from a production potter to making limited edition and one of a kind porcelain work. I continued applying to craft shows of a more limited type and showed work in galleries around the country. The reason was the artists, associates, students, staff, board, and collectors that I met through the Clay Studio. It was this environment that was the focus of my continued learning and growth. The Clay Studio has become my life center and a second family.
