Presenter Profile:
Karen Burk

I was born in Lawrence, Mass., in 1948. I had many interests on my way
to and through University but very little exposure to art. In the process of
finding my way to clay, I dabbled with nursing school, gota BA in Psychology
and Russian Literature from Boston University, worked for a psychiatrist,
taught English in high school and generally did absolutely nothing related
to art or craft. It was completely by accident, while pursuing a Master’s
degree in yet another career foray, that a friend who needed company asked
to me go with her to a pottery night class. My story is the one I hear from
many of my students and colleagues who have also put their hands into
this material by chance and suddenly found the switch for the “what am I
supposed to do with my life?” light bulb.

Over the last 28 years, ve operated my own business as a potter,
growing gradually into high-end functional work, and exhibited widely. I
am indebted to many mentors and teachers and have been a teacher myself
since 1983 at the New Brunswick College of Craft and Design where Iam
currently the head of the Ceramics program.

I come from a blue-collar background and love the sense of workmanship and
purpose I get from making pots. I’m reassured by the domesticity, the civilized effort
of it all, the promise of order and home and the intimacy of well-worn, well-loved
objects.

I like the tension of contrast: form that 1s restrained and severe but surfaces that
are slathered, softened, and seduced with rich plant and floral decoration. In my latest
work, and in much of the work that came before, ’m chasing a hybrid of strong and
gentle, male and female, solid and ethereal. I also like to play with the tension between
art for the wall or art for use. Most of my plates and large bowls are designed to be
hung with the idea that the wall becomes not only a place for display but convenient
storage for a pot equally at home on the table serving that special rice dish. It’s my
answer to the art/craft debate.

I love the jittery calligraphic line and fill of Matisse and Dufy and their sensual and
outrageous colours. Medieval Islamic pottery has been a strong influence of late. Pm
unashamedly drawn toward beauty but would like to give it the strong form, bones and
stamina to stand up for itself 1n a dangerous world and earn its keep in the kitchen.

I use a technique I borrowed from the Iznik (Turkish) potters (who also lent the
idea to William De Morgan) called pouncing to transfer designs to my work and these
are subsequently painted with engobes and oxides at the bone dry stage. After bisque
firing, the pots are glazed with a clear feldspathic crackle glaze and fired to cone 10
in light reduction. It’s this group of techniques and materials I plan to demonstrate at

the workshop.

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Karen Burk