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Barking Spider Pottery.  Our pottery is made from our own specially formulated stoneware clay. All the ingredients are naturally occurring minerals mined in the eastern United States. Our glazes are made exclusively by us, having been developed after many years' research. Naturally no toxic materials are used in our clay or glazes. Our pottery is fired to nearly 2400 degrees F, a temperature well above the melting point of many metals. Consequently you will find each piece is extremely durable. Nearly everything we make is suitable for oven or microwave use and is dishwasher safe. Barking Spider site.

Beecham White Glass. Much of Gary Beecham's work has been heavily influenced by ancient glass, both in form and in technique.  The ancients treated glass as a plastic gem material, a substance that could be colored, stretched, melted and carved by the maker.  Gary has experimented with countless ways of manipulating glass involving blowing, fusing and cutting.  Over his twenty-five year career, he has become well-known for heavy, thick-walled vessels. My wife and partner Mary Lynn and I are completely involved in our work, both aesthetically and in making the glass pieces at every stage of execution, so the number of pieces we produce is small but personally and artistically satisfying. Beecham White Glass site. 

Dianne Borde-Sutherland. As a potter and painter, I find great expression using the Maiolica glazing technique, which allows me to create strong forms with cheerful and spontaneous surface design. My love of plants, gardens and the simple yet intricate forms of nature inspire me. By this process, I am able to make connections between myself, my life, the natural world and those who appreciate my work. The vibrant color and early drawings of artists like Picasso, VanGogh and Matisse as well as the traditional Islamic, Italian, Spanish and Portuguese tin-glazed pottery, continue to guide and influence my work. Dianne Borde-Sutherland site. 

Cadell Studios. I am interested in the figure and the spiritual being that is represented by it.  I wish to record the triumph of the human existence as I have observed it in the strong people who have entered my life.  Clay allows me the opportunity to form figures who sing of their past, and who are witnesses of their history.  By incorporating torn clay construction, I am trying to communicate the past of individuals who have had to endure hardship, persecution, and poor health.  People have always amazed me because of their ability to face life with determination when so little hope seems apparent.  Their stories have touched my soul in a way that words fall short in describing. It is my hope that this is communicated in my work. Cadell Studios site.

Yvonne Hegney & Thom Kittredge. Classical forms of hand-built, highly-textural, pit-fired clay married with found objects of metal, wood and stone. All is incorporated into a synergistic evocation of timeless transcendence. I feel great affinity with nature and organic construction and texture, while my interest in ancient cultures adds dimension to my work with a sense of encrusted agelessness. I find clay is the perfect medium to  convey a tactile message of sumptuous three-dimensionality, and through the process of pit firing I add color and depth to each piece. I then marry the finished form of clay with found objects of metal, wood and stone, to incorporate all in a synergistic evocation of timeless transcendence. Yvonne Hegney & Thom Kittredge site. 

Jane Peiser.  It's winter here in the North Carolina mountains, a good time for a fire in the fireplace. Gazing at the fire, I'm looking back on 73 years of life on this amazing earth, 40 years in which it has been my great privilege to earn a living making pottery. I love it when people sing together, laugh together, show me the pictures in their wallets... I feel a yearning for the wonderful side of human nature that I cannot explain, but when it appears in an occasional piece that I have made, it's a good, good, day in the studio. Jane Peiser site. 

Pine Root Pottery. I make wheel-thrown, wood-fired functional pottery.  Each piece is made by hand; a lot of my work is altered or assembled off the wheel.  My work is a collaboration between my talent, the clay, and the fire.  I work with the clay’s inherent qualities to make objects that are complimented through the wood firing.  Processes in nature such as wind, gravity, and erosion inspire my work.  Each pot is organic and loose in form while bold and defined in structure. Pine Root Pottery site. 

Rock Creek Pottery. For us, pots are a vehicle for interaction. Interaction between hands and mind, clay and fire, maker and user, food and dishes, sight and touch. Pots begin with the potter from within the long tradition of making things with clay. They are finished by the choices and enjoyment of the user. Interaction is the key to living, and we hope our pots enhance this process. Rock Creek Pottery site. 

JABOBS (just a bunch of baskets) - Billie Ruth Sudduth. Billie Ruth Sudduth is a widely acclaimed basket maker living in the North Carolina mountains. Her works are in many public and private collections including the Smithsonian Institution's Renwick Gallery; the Museum of Art and Design in New York; the Mint Museum of Art; Glaxo; and Bank of America. In 1997, she was named a North Carolina Living Treasure, the state's highest honor for creative excellence in the field of crafts. She is the tenth recipient and the first and only female to receive the award. Jacobs site. 

Two Trees Pottery. Joe Comeau lives in downtown Bakersville in the original bank built in the late 1800's.  Downstairs is his pottery studio/showroom where you'll find him working or greeting visitors. Small town life suits him as he creates pottery for the enrichment of everyday life.  Joe makes simple forms which are influenced by the aesthetics of the orient. You are invited to share the joy of using handmade items.. Two Trees Pottery site.