Suze Lindsay is a studio potter living and working in the NC mountains. Her ceramic studies include a two-year fellowship from 1987-89 at Penland School of Crafts as a “core student”, followed by earning an MFA from Louisiana State University. She also holds two educational degrees, one in special education and the other in Montessori teaching theory. In 1996, after completing three years as an artist in residence at Penland, Suze and her husband, Kent McLaughlin set up and began potting in their studio in Bakersville, NC under the name Fork Mountain Pottery.
Suze Lindsay’s stoneware pots subtley reference the figure, as she is known for her altered pottery forms that are decorated and fired in a salt kiln. Her mark-making is strongly influenced by the study of historical ceramics with a focus on surface decoration used to enhance form by patterning and painting slips and glazes. Suze has taught at numerous art centers and universities including Haystack Mountain School of Crafts, Penland School of Crafts, Arrowmont School of Arts and Crafts, Anderson Ranch Art Center, Nova Scotia School of Art and Design, Metchosin International Summer School of the Arts, Jingdezhen Ceramic Institute Curaumilla Art Center, and Ohio University She has been a presenter at the Utilitarian Clay Conference in Tennessee, the Alabama Clay Conference, North Country Studio Conference in Vermont, and Fusion-Ontario Clay and Glass Association Conference in Toronto. Awards include Best of Show in the First Annual Strictly Functional Pottery National, and Emerging Artist at the 2000 National Council on Education for the Ceramic Art conference.
Her work is in the permanent collections of George E Ohr Museum in Biloxi MS, Taipei County Yingge Ceramics Museum, Taipei, Taiwan ,San Angelo Museum of Fine arts, San Angelo, TX., Islip Art Museum, NY, Kennedy Museum of American Art, Athens OH, Greenwich House Pottery, NY, Lancaster Museum of Art, East Petersburg, PA, Rocky Mount Arts Center, Raleigh, NC The North Carolina Pottery Center, Seagrove, and Manchester Craftsmans Guild, Pittsburgh, PA Solo Exhibitions in 2006 include the Manchester Craftsman Guild in Pittsburgh, PA and the North Carolina Pottery Center in Seagrove NC.
I believe pottery can transcend the purely utilitarian, becoming a work of art that is integrated into our daily living. I envision functional pottery not only in terms of straightforward usefulness, but also, its ability to invite the user to take pleasure in everyday activities, inviting participation, promoting hospitality.
Our culture appears to have less and less appreciation for meaningful ritual, such as Sunday suppers at Grandma’s. The gathering together of family and friends around the dinner table can be a catalyst for ritual. As we see more people at fast-food restaurants, it appears that a home-cooked meal is a thing of the past. Since pottery has a strong relationship with food service and meal times, it has the potential to intensify the depth of meaning and memory each person carries away from the table. Cooking, eating, and sharing, are all important uses for my pots.
Pottery exists in a socially interactive framework involving daily rituals that vary from the mundane to the exalted. My work varies according to the event, such as a homey breakfast for two, a candelabrum to light a dinner party, or a platter to serve a main course.