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THE NORTH CAROLINA POTTERY TRAIL
NESTLED IN THE COUNTRYSIDE OF NORTH CAROLINA YOU WILL FIND THE LARGEST CONCENTRATION OF WORKING POTTERS IN THE UNITED STATES.
WITHIN A 20 MILE RADIUS OF THIS AREA THERE ARE OVER 50 POTTERY SHOPS TO VISIT.
Frank Neef has been a full time potter since 1980. He received his initial training at Missouri State University in Springfield Missouri. Frank and his wife Cindy move to Seagrove in 2010 to live in the community of potters and realize their dream of opening their own gallery there.
Travis Owens is a potter at Jugtown Pottery in Seagrove, NC. He is a descendant of the Owen/Owens family of potters who have made pottery here since the mid 1800’s. Travis graduated from NC State University’s College of Design and has made pottery his life’s work.
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Frank and Travis, before we start actually talking about how pottery is made, Travis, can you tell us how many potteries are in your area?
We are considered as having the largest concentration of working potters in the country. There are around 50 potteries currently operating in the “Seagrove” area. This includes Southwestern Randolph County, Northwestern Moore County, and Northeastern Montgomery County.
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Set your own pace as you go from shop to shop. You’ll most likely be greeted by the potters themselves. Seagrove offers a range of pottery, from functional everyday use, contemporary, sculptural, folk art, to historical forms from the past.
And why are there so many right here?
Clay Pit in Moore County, NC
This area has long been a place for potters to work. Initially, potters settled here because of an abundance of available clay. These days, even with only a few of us still digging and preparing our own clays, this area is still known for pottery making, and a good location to visit if you’re interested in seeing a wide variety of work being produced in a relatively small area.
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Thank you, Travis.
Frank, let me ask you a few things as well. How many different pottery making processes do you think we may have here?
I think “distinct processes” may be a bit misleading as a descriptor. Many potters here consider this medium to be an art form or fine craft. Each person makes pottery in their own way – some parts of the process are very similar no matter who is making the pieces, while other aspects are vastly different and unique. That’s what makes the area a very special destination for collectors.
What about the soil or clay that is found here?
Very good question.
Within a few miles’ radius of the Seagrove area, there are clays ranging from dark red earthenware to light grey/white stoneware. This variation in clay deposits allow potters to blend different clays together into a “clay body” that will perform exactly the way the potter wants.
Because of these different clay deposits, the Seagrove area has become known as a place for potters to settle. And though most potters buy their clay from a supplier these days, there is still very good clay to be found locally. The wonderful clay that is found in the area drew potters here initially, and became a foundation for the pottery industry that is present today.
Very interesting Frank. Back to Travis - can you tell us how transportation helped the growth of potters here and helped them get their wares to market
Throughout history, different forms of transportation have had great impacts on the Seagrove area.
The Native Americans that were here before the European settlers came produced pots for their own use, but there was not much in the way of trade or sale due to lack of suitable transportation. Then, when potters from Europe settled here, they brought their wagons with them, and this allowed them to haul their wares to general stores and trading posts.
Then, in the 1920’s, a railroad was constructed here which allowed pots to be shipped up and down the east coast. There was also a “Plank Road” that ran through the area at about the same time, and that was helpful for efficiently moving pots regionally.
Frank, anymore you want to add here, before we move on?
It was my understanding that the Plank road that Travis just mentioned was constructed in the 1850’s and ran from Winston-Salem to Fayetteville, coming right through what would later become Seagrove.
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This is also interesting - In 1912, a railroad engineer named Edward Seagroves layed out the town and brought the rail line through the area. It was a common practice back then to name town after the railroad engineer who laid it out. Local folklore states that the “s” in his name was left off the town name because the sign painter ran out of room when painting the post office sign.
Frank, that really is interesting to know. Travis, we understand that your Jugtown Pottery is one of the oldest, if not the oldest, continuous pottery operations in North Carolina. What can you tell us about this distinction?
Yes. Jugtown has been in continuous operation since its founding in 1917 by Jacques and Juliana Busbee.
They traveled our state giving lectures and presentations about art to local groups, and were good ambassadors of traditional crafts, which in the early 1900’s were rapidly fading away.
Jacques and Juliana Busbee at
Jugtown Pottery c. 1930’s
Was pottery one of these crafts that was beginning to disappear as well?
Yes, unfortunately pottery was no exception – the mass production of glass, metal cookware, and machine produced china and stoneware meant that by the beginning of the 20th century, there was little need for utilitarian pottery that could be produced by hand.
So what did the Busbee’s do to reverse this trend?
They located potters in Moore and Randolph Counties who were still operating much in the way their ancestors had for generations.
They introduced new forms and glazes to them, while still preserving the use of native clays and historic techniques. Their efforts quickly took hold and gave this industry a new lease on life.
Jacques Busbee and Charlie Teague packing pots in barrels
What about their connection to Jugtown Pottery?
Jugtown actually began in 1917 when the Busbee’s opened a store in New York City. Mrs. Busbee sold handmade pottery and other crafts while her husband built the Jugtown store and workshops here.
In 1922 they began stamping pieces with the Jugtown Ware stamp. Ten years later she closed the store and returned to Jugtown, where all the pots have been made and sold since then.
The Jugtown Sales Cabin
So, how did your family come to become involved with Jugtown?
JH Owen mixing clay with his children in the background
The first potter to work with the Busbee’s was JH Owen, my great grandfather. Together they developed what we think of now as Jugtown shapes. These new pots were inspired by early Asian forms, and JH began making pieces that were more artistic in nature while still maintaining the feel of a piece made in rural NC.
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As demand grew, young potters Charlie Teague and Ben Owen Sr (JH Owen’s nephew), went to work at Jugtown.
And today?
Vernon Owens (JH Owen’s grandson) grew up around the corner from Jugtown and began making pots as a young boy – learning from his father. He became Jugtown’s potter in 1960.
I grew up here at Jugtown, along with my sister Bayle, and we began making pots as children, watching our parents Vernon and Pam.
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Today, Jugtown is still owned and operated by the Owens family; Vernon, Pam, Travis, and Bayle.
Vernon Owens making a pot at Jugtown Pottery, 1980's
Travis, thank you for sharing all of this historical significance. Now Frank, I understand that you took an entirely different route to get here. Can you please tell us your story?
Pottery was never in my family as it was with Travis.
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I first saw pottery being made on the wheel, as a sophomore in college. I was a Psychology and Philosophy major, but I wanted to enroll in some classes that were more hands-on, so I took welding and pottery.
And how did this work out for you?
I found that things like melting steel and forming earth were about as hands-on as one can get in an academic environment. I was really not a very good welder, but I was totally intrigued by the hypnotic spinning aspect of the wheel, and the joy of creation that comes from forming an object from its raw elements.
So did you start making pottery soon after that?
After college I worked my day job was in the mental health field for the next 5 years, but I was “throwing pots" at night to decompress and as a form of personal therapy.
Can you explain to us what do you mean by “throwing pots"?
This is the pottery technique of shaping clay on a spinning potter's wheel.
It involves using hands and tools to manipulate wet clay while the wheel rotates, creating pots or other vessels.
What after that?
In 1980 I got a job at the Silver Dollar City theme park in Branson, Missouri. I did throwing demonstrations 4 times a day for the next 6 years. Making between 6,000-10,000 pots a year makes you better, so I set up a home studio and started to make pots for myself that I then wholesaled back to Silver Dollar City. I also began selling at local crafts fairs and galleries.
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For those that may be interested in learning more about my time at Silver Dollar City, there is a special section that you will find after the end of this conversation.
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Then I got more involved with a process I had always been intrigued with - Crystalline Glazing. In 1986 I began making only glazed porcelains, and went out full-time on my own.
Were you very successful at the beginning?
Since you asked, I will tell you that it was to my great advantage that I had a supportive wife who had a real job while I traveled to art fairs, and my income was sporadic. We never missed a mortgage payment and the kids never went hungry. Once my wife retired from teaching, she started doing more art fairs with me.
How did you end up here?
While traveling to art fairs, we seemed to almost always have bad weather, and the constant travel, setting up and tearing down became too much for us.
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I had a long-time friend that lived in Seagrove and he was instrumental in our making the decision to move there as an alternative to doing all these shows on the road. So In 2009 we moved there and soon after we built a studio to make pots behind our house.
I will tell you that It is a most humbling and rare opportunity to live and work around so many talented potters here. After 40 + years of making pots I’ve found “clay-topia.”
Frank, earlier you mentioned you’re having worked at the Silver Dollar City theme park in Branson. There is much more to this story than you could mention here and I have included a separate section for your full story after the conclusion of this Conversation.
Thank you for doing that and I think that those that can take the time to read this will find it also quite interesting.
Earlier we asked you and Travis to acquaint us with some of the different type of pottery that you both produce and how these are made. Travis, let’s start with you. First, what does your basic material consist of?
Our Jugtown process begins with clay. We prepare all our clay bodies
onsite, and we dig our clay locally.
While producing our own clay certainly is time and labor intensive, we prefer the look and warmth of pots made with native clay, so we feel the added steps are worthwhile.
Travis Owens digging clay in Moore County, NC
How about you Frank - at a high-level what can you tell us about your pottery?
Our specialty is what I call Crystalline Glazed Porcelain.
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Our work is wheel thrown and hand-built porcelain. Our pots are decorated with hand cut out designs and nature inspired appliques.
They are glazed in the elusive crystalline glaze, which we have been doing for over 30 years.
What would you say are some of the differences between your operations and products and those used by Jugtown?
As Travis has pointed out, Jugtown starts with using clays. I call these stoneware clays, and I believe that most of these come from this area.
On the other hand, I use what is called porcelain clay, which is primarily made from kaolin, a fine-grained white clay. It is totally white and has a very tiny size and is not found in our area in sufficient enough quantities.
Frank, where do you get kaolin for your porcelain clay, if not locally?
You might find it interesting to know that I actually use a kaolin that comes from England.
This particular kaolin is known for its whiteness and purity. This works best with the crystalline glaze I specialize in, and is basically the same material used in department store dinnerwares like Lenox or Noratiki China.
Thank you Frank, very interesting that you get kaolin from England. Now I think we should talk about the processes you both use to create your finished products. Travis, can we start with you?
All our pots are handmade on a potter’s wheel. Most of the techniques we use today were passed down through the generations, but we may make a few changes or additions whenever we feel they will enhance the quality of the finished pieces.
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Once the pots are made, they are left to dry until all the moisture is gone, and sometimes this drying can take two to three weeks, depending on the piece.
Raw pots in the kiln to be bisque fired at Jugtown Pottery
Once the pots are dry, they go into the kiln for the first firing called the bisque, which goes to about 1800 degrees. After this first firing, they are ready to have the glaze applied.
And can you please tell us about the final firing step?
The final step is the last firing to the final temperature in the kiln. This can range from about 2250-2400 degrees, depending on what type of firing we’re doing.
We use both wood fired and gas fired kilns, and we build and maintain our kilns onsite.
Frank, back to you now. Can you tell us a little about your process?
I would like to start by saying that the shaping of pots on a wheel is basically the same for all of us, and has changed very little in the 5,000 years man has been known to use a wheel to form pottery.
It typically involves centering, opening, pulling the walls up, shaping the form, and finishing.
So what did the Busbee’s do to reverse this trend?
They located potters in Moore and Randolph Counties who were still operating much in the way their ancestors had for generations.
They introduced new forms and glazes to them, while still preserving the use of native clays and historic techniques. Their efforts quickly took hold and gave this industry a new lease on life.
Jacques Busbee and Charlie Teague packing pots in barrels
So then, when does your process start to differentiate from that used by Jugtown?
It is what I do next is what I think makes my pieces unique and also different than Jugtown’s.
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First, I dry the pieces to a stage called leather hard which usually takes about a day, and then I trim them to a final shape with a carved foot on the bottom. Then I decorated them with a unique designs which are first drawn on the pieces and then cut out using an exact-o knife
​I should also mention that catching the pot at the correct degree of moisture is important to allow the blade to slide easily through the porcelain while cutting.
It appears that you spend a lot of time on each separate piece. If this is indeed the case, can you tell us a bit more?
Most of the time (80%) that I spend completing each pot comes after it has come off if the wheel. On some pieces, I can literally spend hours doing things like trimming the form, drawing the design, and cutting the design out.
There are only a small percentage of my work that isn’t treated this way as my primary focus it to create one of a kind art pieces.
Travis, I think that kilns would be the next logical thing to talk about. I am sure that many of us have heard that kilns are a crucial part of the process, but know little more than that.
At Jugtown we have five wood fired kilns. Three are “Groundhog” kilns which were the type used by the earliest European settler potters.
These are really basic, with a firebox at one end, and a chimney at the other end. The flames and ash from the fire pass through the stacking chamber as they head to the chimney, interacting with the pots and creating wonderful and striking effects on each piece.
Firing the Groundhog Kiln at Jugtown Pottery
What about your gas fired kilns?
Yes, we have three of these, they are more modern and are hand controlled. They produce pots that are more uniform in appearance and this consistency works well for things like tableware and serving pieces.
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We also have a large, adapted Groundhog style kiln that incorporates two more fireboxes, staggered throughout the stacking space, and a small upright fast-fire wood kiln that is designed to fire very efficiently.
Pots about to be unloaded from the gas kiln at Jugtown Pottery
The information about kilns is most interesting and informative. Anything else about kilns before we move on?
Back to wood firing kilns for a minute.
Wood kilns have more varied results. Because there is not as much control with a wood fired kiln, the results can vary quite a bit from piece to piece. Because each piece of wood is different, and the pots are set into the kiln in different ways each time, the path the flame takes through the stacking chamber is different during each firing, yielding differences from firing to firing.
Looking into the Groundhog Kiln during unloading at Jugtown Pottery
Thank you Travis for explaining about your kilns. Frank, can you tell us about your kilns as well?
You might want to know that all the kilns I use are electric, and contain a computer chip so that I can have total control over how fast or slow the kiln temperature climbs. I can hold it at a specific temp. and keep it there for a prescribed time to grow the crystals.
For me, the advantages of using only electric kilns is that there is no wood to prepare, no wild temperature swings every time you feed it wood, and no long hours feeding and watching the kiln. From time to time I do need to check my kilns to make sure they are on track and holding temperature correctly. ​
While a wood kiln is an ancient tool that has been used for thousands of years, an electric kiln with a computer is a relatively new product of the last 40 years. Of course, all types of kilns be they powered by gas, wood or electric achieve the same end product - making clay into pottery.
We have not talked about Glazes yet ,and I think we all would like to learn more about them before we leave both of you to go back to your work. Travis, let’s start with you, what can you tell us?
Thank you and glad to.
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We actually formulate our own glazes onsite, and of course these are individually designed to complement the shapes they are applied to. Once the glaze is applied, it dries quickly, and the pots are set aside to be loaded into the kiln.
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You should probably also know that our glazes are a mixture of things like silica, feldspar, wood ash, and other minerals, plus elements to produce colors like cobalt or copper. These ingredients are mixed to a slurry, then the pot is dipped into it, creating a coatings that will melt and become as durable as stone when the pot is heated in the kiln.
A plate being glazed at Jugtown Pottery
Frank, what about your glazing? What can you tell us?
Just adding a bit to what Travis just told you, glazing is the application of the glass coating to pottery and can differ from potter to potter. It can often be as simple as allowing the wood ash from the firing to build up on the surface of the piece, or it might be the adding rock salt to the kiln at a certain temperature.
When exposed to extremely high temperatures, sodium chloride, commonly known as salt, will split into its constituent parts, sodium, and chloride. Then the sodium attacks the silica in the clay to create a pebbled glass coating over the piece.
Frank, you also use zinc in your glaze as well, correct?
Yes. That is correct. Precise temperature control encourages the zinc in our glaze to restructure itself into a crystal form within the glass of the glaze. This is the weird property of zinc, and the basis of galvanized metal.
I grow zinc crystal within the glaze by melting all the materials together, just like any other pottery that uses glaze. Then I bring the kiln down to a very specific temperature window and hold it there of up to 6 hours.
This constant temperature helps encourage the zinc to reform into a crystal structure that can take a variety of shapes, depending on the temperature of that specific spot in the kiln. Often times I have no specific idea what kind of glaze might end up on the piece.
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There is one more step that is required for this type of specialty glaze. Do you want me to explain that as well?
Yes, please do?
Before my glazing process begins, I mount each piece separately on a special basin that catches any glaze that flows off the pot. The base is then removed by tapping the juncture line with a chisel, until it releases. Then I take each piece to a grinder where I remove any excess glass and then it is smoothed, and leveled.
These extra steps are unique to the crystalline glaze process.
Frank, thank you for sharing your unique approach to glazing with us. Now, do you have any closing words for us before we leave you?
As far as what’s happening in the area currently, the Seagrove area is now an international destination. We regularly have visitors from all 50 states and host folks from many countries each year. There are potters working in the area from Estonia, Japan, and several states. We’re close enough to larger cities that it can be a day trip visit, yet the drive from pottery to pottery on rural roads is enduring to visitors.
And you Travis?
I think that the Busbee influence on the Seagrove area is still evident; the work they did to promote NC pottery created an interest in, and a market for pots, and made it possible for those of us still here to be able to do what we do. We’re also proud that the Owen/Owens family has been able to pass the craft down through the generations, and that we continue to produce work that is found in homes and collections worldwide.
Also, for those that would like to see more of a step-by-step process on how we make pottery, there is a special section on this after the conclusion of this conversation.
Guest Interviewer closing remarks.
Jugtown Pottery is located at 330 Jugtown Rd., Seagrove, NC. It is open year round Tuesday – Saturday, 8:30-5:00. There is an onsite museum that takes visitors through each era of Jugtown’s history. The Sales Cabin, where all pots are sold, is still maintained in the first building built onsite, along with the workshop and kilns that were also built at the time of Jugtown’s founding.
-----> Visit www.jugtownware.com to learn more.
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Pottery by Frank Neef is located at 258 E. Main St. Seagrove, NC. It is open Tuesday – Saturday. 10:00am to 5:00 pm. All other times are by appointment. Its gallery is handicapped accessible and features the work of Frank, his wife Cindy, and a few close friends. His studio was built to match the house, and is located 50 yds. behind the house. They welcome visitors to their home every day except Sunday and Mondays.
-----> Visit https://discoverseagrove.com/potters/pottery_by_frank_neef/ to learn more.
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Learn about special pottery events that are held in this area each year at:
A POTTERS LIFE
Lee Dunlap and Bobby Owens digging clay for Jugtown Pottery in Moore County, NC
The process begins with clay. The clays at Jugtown come from many sources within several miles of Jugtown.
There may be as many as 5 different clays blended together to form one clay body.
Consistency is very important, as well as how the clay will perform in the kiln, and how it will hold up with use once fired.
Clay drying in bins at Jugtown Pottery
Pam Owens and Bobby Owens glazing pots at Jugtown Pottery
All of the pots made at Jugtown are thrown or "turned" on a wheel. While the pieces are similar, no two are alike. Once made, the pieces must dry slowly and evenly so they will not crack. Then they are bisque fired to about 1800 degrees and cooled. This renders them stronger yet still porous so that they can be handled and glazed. Next, the pots are
either lined with glaze, glazed all over
or partially glazed and wiped clean on the base and edges. Then the pots are carried to kiln to be loaded.
Pam Owens making a pot at Jugtown Pottery
Travis Owens loading the Groundhog Kiln at Jugtown Pottery
Loading the kiln is careful work; this process needs several workers to get the pots safely into the kiln. Passing them from hand to hand insures that the glaze will not be chipped off.
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Kilns are fired with wood or gas at Jugtown and firings take from 9-30 hours.
All salt glaze is wood fired and the work is shared as the fire must be steadily fed with wood and the temperature is closely monitored.
Bayle Owens passing pots into the kiln during loading at Jugtown Pottery
Pots in the kiln after a firing at Jugtown Pottery
Once the pots are fired and the kiln has cooled, the pieces are sanded and cleaned and ready for the shop.
Looking into the kiln during a firing at Jugtown Pottery
MY TIME AT SILVER DOLLAR CITY BY FRANK NEEF
Silver Dollar City (SDC) was a family owned theme park, in Branson Missouri.
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It contained a blacksmith shop, pottery shop, basket makers, gunsmiths, candle crafts and about a dozen other crafts, where guests could watch craftsmen create their wares. While SDC also had ride attractions, the focus of the park was the many crafts on display.
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​It received national attention in the mid 60’s, when it was featured on several episodes of the Beverly Hillbilly’s
I made items that were sold in the pottery shop. I did 4, one-hour demonstrations each day.
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​During my demos, I would make an item on a wheel, explaining the various processes each piece would go through before it was finished. I also talked about the history of pottery as I worked. People would sit there for hours watching, asking questions, and interacting with the potters.
After my demos were completed for the day, I would finish processing any uncompleted pots, as well as all the tasks necessary to keep a pottery shop flowing - such as mixing clay, glaze, stacking kilns, and shuffling pots.
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Back then there were 4 full-time potters and 1 or 2 student/apprentices during the summer.
In my second year there I started keeping track of how many pots I made each year. I was surprised to find I was making thousands of pots. The next 4 years I averaged between 6,000 to 10,000 pots.
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While still working there, I decided to open my own studio and make something different than the functional stoneware I was making at SDC. Since I always had an interested in crystalline glazing, this soon became the focus of my work at home
To supplement my income from SDC, I started doing art fairs in the Midwest, selling to galleries in major cities there. I was making pots at SDC 40 hours a week and making pots at home 30-40 hours a week.
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In the mid-1980’s I felt that things were starting to change at SDC. The nature of our presentations was changing and we were given more rigid guidelines for our demonstrations which I felt were limiting the amount of time that one could spend watching us work. At least for me, much of my enjoyment in doing these demos was gone.
By 1986 I was doing more shows on my own and decided to leave SDC to go out on my own full time.
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For the next 25 years my show range expanded from Minnesota to Texas, Colorado to Ohio. I did some 12 to 18 shows a year, and stocked 4 to 8 galleries around the country.
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We finally decided to relocate to Seagrove in 2010, and after that I quit doing traveling shows a few years later.
Another interesting side note about my time at SDC. While I was still there, SDC decided to buy a steel ride park in Gatlinburg TN, and started negotiations with Dolly Parton for it to become Dollywood. I was offered the job of head potter at Dollywood if I would relocate there. I turned their offer down because I felt that I would not be able to do the kinds of things that were important to me in my pottery demonstrations.
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I decided to leave SDC when the new park opened.