I reference the prudence of Southern Appalachian domestic objects. Quilts, tools, and furniture represent my family’s tradition of use and ritual. Their efficiency and economy inform my studio practice.

I have inherited many family heirlooms. They help me to understand that objects can convey emotional and cultural ideas. Comfort, durability, and a sense of nostalgia are qualities that I admire in heirlooms. The repetitious cycle of eating, cleaning, and storing help me to soak in the familiar intimacy that resonates from handmade objects.

Early memories bring me back to being nestled underneath quilts. Quilts are a way for me to connect with my grandmother: her protection, love, and practicality. Quilting resurrects scraps of clothing into new forms. The visual framework of reclamation allows me to combine colors, textures, and patterns. I use these devices to create surfaces that have visual depth.

I indulge in the human desire to decorate. Islamic pottery, English slipware, and African textiles encourage my need to embellish. By creating dense layers of pattern I wish to generate the feeling of abundance. Adornment is synonymous with the expression of emotional fullness and gratification.

I make forms that are for private domestic service. Physically my pitchers, platters, bowls, mugs, and teapots serve nourishment. Culturally they are instruments of community. Food and the relationships that surround its consumption influence my choice to make pots for daily use.

Southern domestic objects weigh heavily on my values. It is an honor to make pottery that can be used every day.

Ben Carter 2007