Rob Gentry
Claysmith
I founded my Pendleton Pottery Studio some 40 years ago, back in 1983… And now my adventure continues with a new chapter!
As the owner/builder of the Fire Song Anagama, I have been “rebooted” by the richness and serendipitous nature of the wood-fired work that comes from our partnership with this amazing kiln. The wonderful clay community that has grown up around these firings has become a great highlight of my professional career.
Mike Vatalaro
Ceramic Artist, Emeritus Professor of Art, Clemson Univ.
I have worked in and taught a wide range of ceramic technologies over the past 50 years. In 2004, I designed an anagama style kiln for Clemson University and began experimenting with the affects of wood firing on my work. The Fire Song kiln firing community has allowed me to continue this rich exploration. The wood-firing process can be both rewarding and challenging. The kiln provides a unique range of beautiful effects that are anticipated, but somewhat unpredictable. The challenge is to make work that is able to incorporate these expressive surface results in the finished piece. The firing is arduous, requiring a coordinated group effort which provides a wide variety of clay work that we all find stimulating. The community effort is most rewarding in that the shared successes and discoveries continue to provide artistic inspiration.
Charlotte Allen
I fell in love with clay in 1975, but have had entire decades where life and work got in the way without my being able to put a hand in clay. Recently retired from my career as an architect, I am now happily returning to clay and beginning to complete my studio, Yellow River Pottery.
“There is something primal about wood-firing which uses air and fire to transmute earth and water into someting useful, as well as teamwork towards a common goal into a community.”
Noel Benedict
While I had a career as a trial attorney, clay has been my passion since the early 1980s.
The anagama firing creates an atmosphere in the kiln that gives life to pieces. Outside, the same kiln gives us community, encouragement, and friendship.
Deb Bridges
I’m a retired social worker. I first started in clay in the late 80’s.
I love the rich, beautiful, unpredictable surfaces Fir Song produces. I make the pot and Fire Song brings it to life.
Ross Bryant
I travel 220 miles from Talladega, Al to come to this kiln. Every firing has been a unique learning experience for me.
Ed Bryan
Potter since 1976
A community comes together with a common purpose to wake the sleeping dragon. It breathes oxygen and carbon, heat and ash, all evident in the finished work.
Wendy Converse
Ceramic Sculpture Artist (Salem, SC)
I wood-fire to achieve unique surfaces that you just can’t get using any other firing method. And the community of artists that has come together at Fire Song over the years make it even more special.
Christina Dixon
Christina has been a professional studio potter (Roebuck, SC) since 2015 and ceramic studio manager/instructor at Spartanburg Art Museum.
“I love the spontaniety and variation in surface that thi kiln can bless us with – anagama firing is a team effort from start to finish, and the kiln is just as much an artist as we are.”
Ginny Gillen
Retired Ceramic Instructor & Studio Potter (Abbeville, SC)
Why Wood Firing? Earth and fire rely on the ash and flames to do wonderful things to the clay. To be a part of a strong supportive and historical community.
Jeff Goodman
Sole Proprietor of OZ Pottery
Studio opened in 2020; playing with clay since my retirement from the real world in 2019.
“I absolutely love the experience and enjoy the fellowship and knowledge I gain from the others in the craft at each Fire Song firing.”
Rod Haaland
I’ve been working in clay since the late 70’s. First in pottery through college and an apprenticeship with Ron Ponce and some post graduate work with Mike Vatalaro. During those days, I met Rob Gentry as he was just establishing his pottery, and we’ve been friends ever since. My cuiosity into the materials drew me into the ceramic engineering field where I have been working ever since. While making a living designing industrial ceramics, I have kept my hand in clay making throughout the years and still product pottery. Most of my work has been functional storeware fired in a digitally controlled electric kiln. The opportunity offered to me by ROb and te community that has become Fire Song is unique. The unknown of the wood-fire experience has made me think differently about my creative process. It is humbling, as I become dependent on the advice and experience of those who are part of this community. I learn with each firing lessons and ideas that feed into the next group of pottery I fire. The impact of the fuel, atmosphere ash, and the packing make it a participatory venture with each firing unique. I rarely get out of the kiln exactly what I expect. Sometimes it is disappointing. Usually I must come back to the work for a second or third look to begin to appreciate what it is. But often it is exhilarating in what it produces. To be sure, ther is no other firing that has given me this kind of life-stimulating adventure.
Ravinder Malik
I am a retired radiation oncologist. I have been doing pottery off and on for about 9 years. Wood-firing is full of suprises. It’ slike Christmas on kiln unloading day; you don’t know what’s going to be coming out of the kiln, just like you don’t know what’s in those wrapped boxes on Christmas. I love the organic and natural look of the wood fired pieces.
Susan McCalister
Self-taught sudio potter (Seneca, SC) since 2012.
I love the earthy results and the process of anagama firing with a great group of potters. I have learned so much from the Fire Song clay community.
Johnny Nutt
High School Art Teacher at TL Hannain Anderson, SC
I have been a working potter since 1988 and currently live in Easley, SC.
“What I enjoy the most about the anagama firings is the push and pull between having control and giving up control to the firing process.”
Michael Simmons
I have been making pottery since 2001. I have been part of numerous national shows. Firing an anagama requires a team effort. I enjoy the camaraderie of working with other makers as we all seek to create the best collagboration amonst ourselves, the clay and the fire.
Bob Taft
Fire was the original magical technology. It transforms clay into functional art.
The anagama kiln “Fire Song” is the epitome of the magic.
Chris Troy
Hands in clay for 28 years and counting (Seneca, SC)
“Fire Song brings people of diverse backgrounds together to work towards the common goal of creating wonderful, unique pots. And we have fun doing it!”
Robin White
Elementary Art Teacher and Part Time Potter for 30 years
“Wood-fired pottery is the perfect combination of four elements. Adding the spirit of this community is the ingredient that makes it worth doing over and over.”
Fire Song Anagama Kiln 