Reitz Ranch

Please visit my new site:

The featured image above shows (from left to right) Sheryl Leigh-Davault, Ian Hall, and Dexter Woods in front of the Reitz Ranch studio.


First of all, I have rewritten my whole website (see the message and link above).  This was an intensive three-day job and I am still tweaking it.  Please visit the new site – this site will probably go away.

I have been doing ceramic work for eight years now with an intense dedication that arises from a deep love and respect for the medium.  My curiosity has been the impetus for an intense exploration of the diversity and expressiveness of the ceramic medium.  My artistic exploration continues with joining the Reitz Ranch (see below)

I grew up in New York City (Manhattan in particular) and everything you could imagine was easily accessible by public transportation.  I now live in a rural area of Arizona.  The Sedona “population” (people who consider Sedona their home) hovers at slightly over 10,000.  The number of people in Sedona at any given time is at least twice that.  As a popular tourist destination and as a result of its extraordinary natural beauty Sedona has developed a cosmopolitan air.  Within a half hour’s drive, there are various communities of similar size or smaller.  An hour drive will get you to Flagstaff (population over 100,000), and a two-hour drive in the other direction will get you to Phoenix.  My point is that there are fewer opportunities for ceramic exploration in my area than there are in larger cities.

Much of my time in ceramics has been spent studying at various small community colleges and other small educational facilities.  This gave me access to well-equipped studios.  In addition to a fascination with, various different firing techniques, I developed a love for cone 10 reduction firing which would not be possible at my tiny home studio.  As a result, I travel to other studios to do much of my work.

These studios provide close contact with many members of the local ceramic community as well as education, reduction firing and a good supply of materials.  However, with one notable exception, the teachers focus their attention on new learners.  Colleges being under strict Federal and state supervision seem very regulated and controlled.  In general, the ceramic artwork in these environments seems somewhat homogenous – driven by emulation and teacher guidance.  I have never felt comfortable working “within the box”.  I am the “rebel” explorer.

Reitz Ranch

Don Reitz was one of the eminent ceramic artists and teachers of the last 100 years.  He pioneered a style that radically changed the course of modern ceramic art.  He spent the last 16 years of his life developing Reitz Ranch in Clarkdale, Arizona.  He built a number of wood-fired kilns and people from all over the country come to the ranch to be able to fire their work in them.  Don envisioned the ranch as a place to incorporate his insatiable energy to both create his art and to extend his teaching.  The ranch is permeated with Don’s energy and by a vision that although incomplete remains much alive.

Don Reitz piece enjoying the late afternoon sun
Don Reitz piece enjoying the late afternoon sun at Reitz Ranch

Reitz Ranch is remote and in need of a lot of TLC.  In the past, a five-plus mile drive down a rough dirt road provided a challenge when visiting the ranch.  Just in the last year, the road has been paved although the last quarter mile of road to the ranch is a reminder of the past. 

Sheryl Leigh-Davault had started a ceramic studio in Phoenix but she was inspired by a larger vision.  She and her husband, Ted Davault, purchased the Reitz Ranch with the idea of restoring its vigor and creative vision as well as honoring the legacy of Don Reitz.

After Don’s passing in 2014, the ranch sat idle for a few years – this inattention made a  big undertaking even bigger.  On top of this, the ran had been developed in a somewhat haphazard manner.  The Davaults were (and are) faced with the daunting task of restoring the ranch as well as bringing their creative energy to that which was started by one of the great masters and pioneers of modern ceramics.  Additionally, the remoteness of the ranch provides its own challenges.

Sheryl not only brings creative vision but seemingly boundless energy to the ranch.  She is our studio “mother”.  Her nurturing and vision make the challenge of creating a successful ceramic center seem possible.  This is a huge undertaking.  She has been assisted by many people from all over.  Dexter Woods worked with Sheryl in Phoenix and brings his cheerful and focused energy to this undertaking.  He recently completed his BFA in ceramics and brings this energy as well as a readily available smile to help run the studio.  His dedication supports him in commuting from Phoenix – I am sure this commute is a burden for him and his wife.  A number of artists who assisted Don Reitz at the ranch during his life have become part of this endeavor.  Sheryl pointed out my omission of “Squeek”, her corgi, who along with a variety of other dogs provide barks and tail wagging.

Sunset over the kiln yard at Reitz Ranch
Sunset over the kiln yard at Reitz Ranch. There is over 10 cords of wood stacked for wood-firings.

The ranch is attracting a variety of artists who are looking to use the studio space and the fabulous kilns that Don Reitz built.  Some of these artists are new to ceramics, some have decades of experience, and of course, there is everything in between.   Classes and individualized instruction at an affordable price have started and the number of people purchasing studio usage is steadily increasing.  I drive about 45 minutes each way to get to the ranch.  One of our members drives 90 minutes each way to use the studio.  Wood firings will bring artists from all over the country.

The atmosphere is relaxed (a welcome relief from the controlling environment of the college studios).  A surprising variety of styles and interests are represented by the studio members.  Studio members bring a high level of dedication and a diversity of skills.  Each member brings their own distinct style and interests.  We inspire each other while pursuing our own directions.  I would call this a very healthy environment for artistic development!

Part of the ranch’s vision is to have workshops offered by eminent and highly skilled ceramic artists.  A three-day workshop by John Britt was recently offered.  Two more workshops are coming up.  They feature well-known and highly accomplished artists.

Working in the atmosphere of the legacy of Don Reitz is an incredible opportunity.  The ranch is in the process of establishing its direction and is in a strong growth mode.  If you live in the area and desire to be involved in ceramic art, the ranch should be very high on your list (whatever your skill level).

One of Don's wheel heads on my Randall Kick Wheel
One of Don’s wheel heads on my Randall Kick Wheel

Sheryl gifted me a pottery wheel head that was attached to a rusty wheel sitting in a horse pasture.  With the help of a friend and with a lot of pounding I was able to remove the head.  A machine shop was able to modify the head to fit my 50+-year-old motorized Randall kick wheel.  Parts are no longer available for this wheel and I am pleased to finally have this project complete!  In addition, I get to work on a wheel head baptized by Don Reitz.

Visit the ranch online.

What I Have Been Doing

The local open studio tour this past spring was a success with good sales and traffic.

Luke Metz creating at Reitz Ranch
Luke Metz creating at Reitz Ranch

My experience has been that college ceramic classes typically do a massive end of the semester push to get everything fired.  Glaze test tiles are fired at the end of the semester and thus are of no assistance.  The fact that we fire on a regular basis at the ranch is highly conducive to learning the glazes and exploring glaze combinations.  I have been doing exactly this and find it exciting.

I have also been exploring surface decoration through the use of thick slip, stains, and underglazes.  Free from the constraints of the college environment, I have been giving my imagination free rein.

Please enjoy the photo gallery below which shows a sampling of my latest work.  Click on any image for a full view – now you can use the arrow keys to navigate through the gallery.  These pieces were all reduction fired to cone 10.

Gallery not found.

Sauerkraut and a Brand New Year (2018)


Hello, Red Rockers (that is fans of  I am excited about 2018 and have no idea where it will take me.  I plan to be making plenty of sauerkraut.

Upcoming Shows

The 38th Annual Juried Member Exhibition runs from March 2nd through March 25th.  Four of my pieces have been juried into the show.  It will be held at the
          Sedona Arts Center
          15 Art Barn Road
          Sedona, Arizona 86336
          (928) 282-3865 

The SVAC Open Studio Tour here in Sedona, Arizona will be April 27, 28 and 29 10am – 5pm.  When the brochure is available, I will add a link to this.

Here Is What I Am Up to with My Pottery

High-fire Antelope Canyon Series created by Luke Metz
Antelope Canyon Series – made with a porcelainlike clay that has been lightly coated with a special wash and left unglazed on the outside.
High-Fire "Earthquake" was made by Luke Metz in Sedona Arizona
“Earthquake” – Cone 10 reduction fired Soldate 60 clay
Wood-fired textured vase. There is no glaze on the outside of this piece. The wonderful variations of color are caused by the fire and ash.
Wood-fired Textured Vase – there is no glaze on the outside of this piece. The wonderful variations of color are caused by the fire and ash deposits. This was fired in the Reitzagama kiln to cone 12.

I have been continuing my interest in my Antelope Canyon series of pieces.  I love the fluidity of the shapes and the element of surprise as the piece is viewed from different angles.  I have explored this idea with different glazes and different types of firings.

I am feeling drawn to further explore functional ware.  My mugs continue to do well and I have ramped up production on these.  I made some bread bakers, which also serve as casseroles and covered serving bowls.  I am a fan of crispy hard crusts and this baker does it.  The featured image above for this page shows one the bakers with a loaf of bread that I baked in it.  These are selling. 

I am also interested in seeing how well sauerkraut fermentation crocks sell – I ferment my own sauerkraut.  These crocks are designed to prevent oxygen from getting back into your batch.  Sauerkraut, by the way, is an excellent natural source of probiotics various vitamins.  So these sauerkraut crocks are on my production list.

One of my to do’s is an exploration of Kurinuki.  This involves carving pieces from solid blocks of clay and then hollowing them out.  I am fascinated by tea bowls and look forward to trying this with them.  The downside is that this process is highly labor intensive.  One my interests that have been put on the backburner is carving thrown porcelain pieces.  So many things to explore and not enough time…

All that being said, I continue to explore the “art” side of ceramics with decorative pieces.  However, I have not done any alternative firing (such as raku) in the last few months but I am pursuing this with high-fire reduction pieces.  I am hoping the next few months bring more wood-firing and possibly a soda-firing.

John Britt and Luke Metz at one of John's glaze workshops
John Britt and Luke Metz – glazing workshop taught by John at the Reitz Ranch in Clarkdale, Arizona

I just completed a three-day intensive workshop with John Britt.  We explored mid-fire and high-fire glazes.  The workshop involved some hands-on and a lot (LOT) of theory.  Great stuff!  I feel like I have made a quantum leap in my understanding of glazes, and am still left with the feeling of being a beginner.  I think this area will require years of practical and experimental investigation on my part – I look forward to this.

Friends, thank you for reading my blog and stay tuned.

New Shows and New Studio Space

Fall 2017 Update

Events – Two Shows

The Sedona Open Studios tour (with a great variety of media) is right around the corner.  I will be sharing my studio for the tour with Sharron Porter.  Sharron does award-winning bas relief landscape paintings.  We are anticipating a good turnout.  The studio will be open from 10 am to 5 pm Friday, November 10 to Sunday, November 12.  Come by to shop or just to say hello.  This link will show a map and list of for all 65 participants (44 studios are on the tour).

Don Reitz discard
Don Reitz discard

I will also share a booth at the Annual Made In Clarkdale Showcase with Doug Hill, who explores a variety of media.  The show runs from Thursday, November 30 through Sunday, December 3 – great time for gift shopping.  I created the website for the show.  Visit the schedule page for times and special events.

Pottery News

Wood FIred Porcelain - near firebox
Wood Fired Porcelain – near firebox

I now have studio space at the Reitz Ranch which was the studio of the eminent ceramic artist, Don Reitz.  His creative energy and presence are very noticeable in the studio.  Being there gives me access to cone 10 firing, to atmospheric firing (i.e. salt and soda firing) and to wood firing.  Being a total newbie in regards to wood firing, I am very excited to get into this.  I continue to do saggar, raku, and cone 6 electric firing at my home studio.

Faux Kintsugi - 21 inches
Faux Kintsugi Saggar Piece -21 inches

I am continuing to explore thrown forms with a sculptural emphasis; although I am still doing functional pieces.  Much of my current work has been inspired by a recent visit to Antelope Canyon (see below).  Many of these pieces have been pit fired resulting in a finish reminiscent of the colors in Antelope Canyon.  I have also been working with assembled thrown pieces.  One of these, which is 21 inches tall and saggar fired, broke when I carelessly picked it up by its long thin neck.  After some consideration, I repaired it with a faux kintsugi method I developed.  I like the final result. 

Ceramic Arts Network published an online “Artist Q&A” on me:

Personal News

Anniversary Trip – Antelope Canyon

My wife, Sue, and I celebrated our wedding anniversary by touring many of the natural wonders that are nearby.  After a relaxing day in Durango, Colorado, we spent a couple of days visiting native American ruins in Mesa Verde National Park and then headed to Monument Valley via Valley of the Gods and Gooseneck State Park.  It was then on to Page, Arizona to visit Horseshoe Bend and Lower Antelope Canyon.  We saw much spectacular scenery in six days without feeling unduly rushed.  A memorable vacation – if you are logged into Facebook you can see my Facebook post (Southwest Tour 2017).  Sue and I also did a five-day retreat in Sedona in October with Bentinho Massaro.


Photo Gallery


Sculptural Wheel Thrown Pottery

Early Summer 2017 Sculptural Exploration

Ceramic altered bottle by Luke Metz

The featured image above was thrown as a single piece and then sculptural modifications were added.  It is 16 inches in diameter and glazed with multiple layers of Shino glaze.  It was fired to cone 10 in reduction.

I just completed a summer class at Coconino Community College exploring adding sculptural modifications to wheel-thrown forms.  I have greatly enjoyed working there but I feel that perhaps my projects may be more than is appropriate for a community college.  So, this may be my last semester there – time will tell.Shino high-fire mug by Luke Metz in Sedona, Airzona

I was able to take on an advanced project of using sculptural alterations and marks to create movement and fluidity in my pieces.  I had become bored with traditional shapes.  I used the work of Chris Gustin to provide direction for this endeavor.  This was surprisingly challenging.  I had Sculptural Ceramic Vessel by Luke Metzone large sectional collapse because I was rushing it to be able to complete it within the month of the class.  A number of pieces cracked due to the added stresses of making sculptural alterations to thrown pieces (all of the pieces started on the wheel).  Also, during the learning process of developing this technique, I had a few pieces that were discarded because they were too heavy.  Despite these setbacks, I was able to produce a body of work of which I am proud.

Ginger Jar Urn by Luke Metz in Sedona, AZ

A variety of glazing techniques were employed including dipping, pouring, brushing, splattering and spraying.  The results that most pleased me were achieved with an initial dip into Shino glaze and then selective spraying using three different additional glazes.

Many of the pieces are medium sized and were done with 5 to 6 pounds of clay.  A few larger pieces were done with up to 25 pounds of clay.  The mugs, tall vase, and the flared vase with lugs shown in the gallery at the bottom are not altered.  I did a number of warm-up pieces without alteration and ended of liking some of them.

Small Shino Jar by Luke Metz in Sedona, Arizona

This was a very satisfying project for me and I feel that it has opened an area of exploration that is just beginning for me.  I intend to work on refining this sculptural style and to bring some new elements to it.  I want to use a clay body without grog to emphasize the surface convolutions, and also to explore the use of cone 6 oxidation glazes on these pieces.

I hope to update this at the end of the summer or in early fall.

Here are some additional pieces from the summer semester:

Further Explorations and Fun With Shino

Announcing a New Gallery Presence 

Luke Metz in Sedona, Arizona
Photo Evidence – hiking

Let me begin by announcing that I now have a space to display my pottery at the Sedona Artist Market in West Sedona, Arizona beginning June 1st.  I hope this works out since it is only one mile from my home.  Below are my explorations with Shino Glaze.

We have had a wonderful spring here in Sedona and I have been able to do some hiking.  I have included a photo as evidence (this is not fake news).

Playing With Shino

The curse of putting Shino over other glazes
The Shino Curse

I continue to explore Shino glazes and I continue to be fascinated by them.  In my rush to get over 150 pieces glazed, I lost track of what I was doing and ignored the old saying, “Shino first or suffer the curse!”  Have you ever wondered why Shino first?  I have.  I have included here photo documentation of the result.  

While I am on the topic of glaze faults, I have found an appreciation of crawling with Shino glazes although I have not achieved much control of the crawling (perhaps an area for more experimentation).

Shino on porcelain
Coconino Community College 2nd Prize

I won second prize at the student art show at Coconino Community College this past spring.  I wanted to test out the Shino on porcelain – this pottery piece that won.  It has already sold but an image is included in the photo gallery at the bottom of this post.

I also had fun playing around with making mugs.  After working my way through 2 dinnerware sets and striving for conformity, I was glad to try different shapes and sizes (from 4 ounces to 16 ounces).  All the handles were pulled while attached to the mug (I have moved away from extruded handles and am appreciating the look of the pulled handles).  My exploration also yielded a comfort lip on the mugs that I love.  In fact, it was so much fun I intend to continue was exploring large mugs.  Here are a few mug shots (pun intended).  Some of these are available at the Sedona Artist Market.

Mug Shots

Rehydrating Dried Out Clay

Often people offer me bags of dried out clay.  In the past, I have turned down clay that is extremely dried out.  I didn’t mind slightly dried out clay which I would cover with wet rags and was able to restore to optimum consistency.  However, I could not turn down an offer for 100 pounds of dried out cone 5 porcelain (I love working with porcelain).  Previously, I had not been successful with re-constituting large hunks of dried out clay (frustrating experience).  I was not willing to break it into small pieces and then soaking it. 

I used a 12-inch masonry bit to drill four holes in the clay from the top.  It was a challenge to hold the block of clay in place while drilling with my monster half inch drill (it has so much torque it is a challenge to hold on to).  I had been told that 1 cup of water added to the clay in the holes and on top would be sufficient.  After two days of the clay with the water in a sealed bag sitting in a gallon bucket filled with water, there was minimal hydration of the clay.  I added another generous cup of water and waited another two days.  Voila!  Or as my British friends are prone to say, “Bob’s your uncle!”  My friends from Oz are probably saying, “Good onya, mate!”  I am excited to have a relatively easy manner of reclaiming dried out bags of clay.  Now I will accept offers of dried out clay (yes, bring it on).


Future Plans

Last summer I felt like it was time to explore new avenues with my art.  I am pleased with where it has taken me. It is time for some new experimentation and expansion.  I am not sure what this means yet, but I am excited to find out – stay tuned for a summer or early fall post.



Shino Gallery



Upcoming Shows

The banner piece above is a raku piece titled “Linear Exploration”.   It won third prize at the Annual Members Exhibition.  See my awards page.

The 37th Annual Members Exhibition at the Sedona Arts Center runs from March 3rd to April 3rd from 10 -5 every day.  The three pieces I submitted were juried into the show.  The awards are announced at the gala opening on Friday, March 3rd from 5 – 8 pm – there will be food and drink. 

The Renegades show features art from 10 local artists.  I am one of the artists.  The show is in the lower gallery of the Sedona Arts Center and runs from Wednesday, March 22nd to April 4th.  The hours are 10 – 5 every day.

The Sedona Arts Center
15 Art Barn Road
Sedona, Arizona 86336
(928) 282-3865


Kicking Off 2017

The year has been busy so far.  I have been focusing on pit-fire and saggar firing with a little raku thrown in.  I am also working on a couple of four place dinner sets that will be reduction fired to cone 10 with a Shino glaze – I expect to post pictures in the Spring.  Here is a gallery of some of my work from the past month.  Stay tuned, I have a couple of shows in March and will do another post in about a week.

Pottery Wheels – Thinking About Getting One?

People often ask my advice about pottery wheels. This is a substantial investment and should be given careful consideration.  You will probably have your pottery wheel for a long time!  I have used numerous different wheels and currently own three wheels from different manufacturers.  I hope the information below is helpful.

My Favorite Pottery Wheel

My favorite pottery wheel remains the Skutt “Premier” with the SSX foot control (pictured above). This is perhaps the Cadillac of wheels. It has a huge amount of torque (more than any other 1 hp. wheel I have tried) and the (optional) SSX foot control gives micro precision speed control and holds its speed accurately. You can’t have too much power and sometimes that extra power is helpful – this wheel is as easy to control as wheels with much less horsepower. The ability to reverse the spin direction of the wheel is a nice feature albeit one that I use infrequently. The wheel has an easily removable splash pan which I generally only remove when I have a large amount of trimmings. Otherwise, I remove the easily removable wheel head and sponge out the splash pan. I appreciate the little touches of the wheel design such as the knurled nuts that hold the bat pins since these are easier to work than wingnuts. I have had this wheel for a few years and it has performed flawlessly.

Things I Look for in a Pottery Wheel

Luke Metz working on a Brent Wheel
Luke Metz working on a Brent Wheel

I work with pieces that range from tiny to massive and this wheel excels at anything I throw (pun intended) at it. I often throw 20 pounds or more and this wheel has never faltered. Some of my assembled pieces have been over 100 pounds.

It is nice having a huge splash pan where I put my water and throwing tools. However, the large size of the splash pan does provide a challenge for cleaning in the sink. I am able to use up to a 16” bat with the splash pan in place; however, larger bats do require either throwing without the splash pan or using a shaft extender. Unless you have a Skutt wheel with the non-removable splash pan, I would NOT invest in a shaft extender. The non-removable splash pan models are appealing but when I was looking for a wheel these did not have a built in drain – if and when Skutt adds this feature I would consider this model a worthy candidate.

A final note: so many schools have Brent wheels and consequently many students rush out and buy Brents (this often keeps the price of used ones high). These are well-made workhorses but there are many other brands that are just as good or better. So look around. I hope this blog was helpful. Do your research and happy wheel hunting!

Consider Throwing Standing Up

I did invest in the Skutt leg extenders. They work well but in my opinion, a little more height would be nice – with full extension of the legs when standing I still need to add a brick under each leg to achieve optimum wheel height.  I threw for years sitting and this finally caught up with me necessitating a couple of months of chiropractic care followed by a couple of months of physical therapy. Standing seems to relieve much of the stress on my back. It took a couple of months for me to fully master throwing in the standing position. Now I feel I can throw better in this position and I can see my work in progress better. If you are throwing large, standing is not a problem as long as your wheel is secure (does not move when substantial lateral pressure is applied). If you are throwing tall you will probably need a step stool. When standing I suggest bracing your arms on the splash pan as additional support for steadiness.

Used Pottery Wheels

If you are looking for a used pottery wheel, you probably will not find a Skutt/Thomas Stuart wheel. People hold onto these. If you do see a used one, give it serious consideration. I have never encountered a well-maintained wheel that couldn’t do the job for pieces under 15 pounds.  If you work with less than 15 pounds of clay, don’t obsess over what wheel to get and don’t fret about the horsepower. Instead, pick something in good shape, that holds a steady speed, and is affordable.  However, I have found many wheels (even older 1 horsepower wheels) that would come to a stop when working with large amounts of clay – I usually am able to overcome this by using a softer hand.

If you are looking at used wheels, look for a wheel that is reasonably quiet and does not make any grinding noise. Test the torque on the wheel head ideally by centering a large piece of clay (or you can come up with a creative alternative testing technique). Pedals often fail; so, check it for smooth and consistent operation and that it maintains a consistent speed. If you cannot find replacement parts online for the wheel you are looking at, then stay away from it.  Sometimes sellers have wheels without splash pans – factor in the cost of a new splash pan.  The amount of work table space for your water and tools should be considered.  The power and pedal cords should not be frayed and if it is a reversible wheel make sure the reverse function works.  If considering an older or off-brand wheel, then research the availability of replacement parts.

Pottery Kick Wheels

One of my pottery wheels is a Randall motorized kick wheel. I love it. It was given to me. Parts are impossible to find (but the price was right). There are a number of brands of kick wheels on the market today – the Lockerbie appeals to me. The motor assist in my opinion is worth getting. The kick wheel is a pleasure for decorating. There is something about using a kick wheel that is magical, but I wouldn’t be happy with this as my only wheel. It takes a lot of practice to achieve good speed control while keeping your upper body still and your attention focused on your piece. A standard electric wheel gives you the ability to maintain a fixed speed while moving around or even standing on a stool for extra height. Another limiting factor is the weight and large footprint of a kick wheel. If you like throwing outdoors, many people leave their kick wheels outside (do cover it though).  A disadvantage of the kick wheel is its large footprint and lack of portability.

Luke Metz

Wrapping Up 2016

Things have been hoppin’ at Pots By Luke


Hyper-Dimensional Polymorphic Exploration
Hyper-Dimensional Polymorphic Exploration

I have been making raku for both my Cosmic Series and for my Banded Series. Saggar firing has been an area of experimentation lately. On the functional side, I have been producing mugs, tea bowls, tumblers, pitchers, bowls, platters, and baskets. I have also finally started on experimenting with cone 6 glazes – much room for exploration. I will be creating some pit-fire pieces in February.  This is a particularly busy time of the year for sales, and I am glad that I have a healthy inventory.

"Stained Glass Image" by Luke Metz in Sedona, Arizona
Banded Series – Stained Glass Image

Hyper-Dimensional Polymorphic Exploration  (top image) is an out of the box exploration of form and texture.  I had a lot of fun with this piece and with pushing its limits.  The Stained Glass Image piece from my raku banded series is more exploration of banding on raku pieces.   Not shown are a number of raku banded series vessels as well as a couple of stunning raku wall platters in this series.  Happiness is a whimsical raku piece from my raku cosmic series that has four smiling faces (one on each side). It has a number of “halo” images. This piece makes me smile.  The Porcelain Vase has some interesting use of Tea Dust Tenmoku glaze. The Saggar piece was a fun exploration using many organic and inorganic components for the firing.  I am excited to explore using other materials.  Color Splash from my raku poly-tonal series represents more playing with color and masking.  The featured image (the banner of this post) is the lifeguard station at La Jolla Beach in California at sunset.

Upcoming Show

Raku piece by Luke Metz titled Happiness
Raku Cosmic Series – Happiness

The annual Made In Clarkdale show was only four days this year and the format of the show changed dramatically. Some attendees loved the changes and some did not. That being said, this was the financially most successful year for the show. My sales were very good and so I am happy with the show.

Family Time

My wife and I were able to get away from Sedona for a couple of long weekends. We enjoyed a lazy few days at the beach in La Jolla and visiting friends in the area. We also had a long weekend in Santa Fe staying with friends there. Of course, we spent an afternoon visiting numerous galleries on Canyon Rd and we also visited a glass studio (fascinating and beautiful).

Fall 2016 Art Shows

I couldn’t get myself to do a post without a photograph.  This teapot has a two cup capacity.   Sales have been good in October and I am looking forward to good sales in November.  In addition to loose and fluid forms, I have been playing with raku, making porcelain chawans (Japanese tea bowls) and I am planning to do some saggar firing.

Art Lessons show
The Verde Valley campus of Yavapai College juried nine student works from all their ceramic students into the student show.  One of my raku pieces is in the show.  The gallery is open Monday through Thursday from 10:00 am to 3:00 pm.  The show runs through November 10th.

YC Art Gallery
601 Black Hills Dr. F-105
Clarkdale, AZ 86324

The 30th Annual Made In Clarkdale Artists’ Showcase
I have again been juried into the annual Made In Clarkdale show.  This year the show has a totally revised format and runs for four days.  This has traditionally been a very popular show – attendance at the gala opening (Friday, December 2 from 6 pm to 9 pm) has been close to a thousand.  The show runs from December 1st to December 4th  from 10 am to 7 pm except Sunday when the show closes at 4pm.  I will feature lots of new work.  If you can, I encourage you to visit the show.

The Clark Memorial Clubhouse Auditorium
19 North 9th Street
Clarkdale, AZ 86324

Ceramic Art by Luke Metz