Ben Owen

Pottery
Installations in Clay
Photo by Jerry Wolford
 Ben Owen III (b. 1968) has made pottery since he was
8 years old at the site where his grandfather and father
established the Old Plank Road Pottery in the Seagrove
area of Piedmont North Carolina in 1959. Ben III
worked at the potter’s wheel during high school and in
the early 1990’s while in college. He produced work in
the shapes, glazes and traditions of his grandfather. As he
grew older and more experienced, he traveled in the US
attending workshops and conferences. He also traveled
abroad, to Japan, Australia, New Zealand, Europe and
recently to China where he diversified his experience
while taking advantage of an exchange program and
visiting local artists.

Over the years, Ben has made work for Bob Hope, Perry
Como, Elizabeth Taylor, Ronald Reagan, and recently
has made a special gift for musical artist James Taylor as
a lifetime achievement award on behalf of the University
of North Carolina. Ben has been the recipient of many
awards and honors, including NC Living Treasure in
2004 and being featured in the 2005 N.C. Museum of
Art show “The Potters Eye”.

Many of Ben’s one-of-a-kind works have recently been

installed by interior designer Frank Nicholson in a series
of hotels including the Umstead Hotel in Cary, NC,
the Ritz Carlton in Tokyo, Japan, the Ritz Carlton in
White Plains, NY, and the Boston Commons. Other
installations have been for private residences as well.
Some large-scale works have been created up to five feet in
height to work in proportion with the surroundings.

This portfolio represents some examples of the work Ben III

produces and the possibilities of different variations in design
based on application and installation.
 Carved Egg Vase in Copper Penny Glaze
Conference Entrance area of the Ritz Carlton Hotel
Tokyo, Japan
2
 Pear Vase in Copper Penny Glaze
18” x 18” x 32” H
Wood-fired stoneware. Iron-rich Shino
Glaze with accumulated wood ash.

3
 Gourd Bottle in Frogskin Glaze
14” x 14” x 28” H
Wood-fired stoneware with
iron and Wood Ash Glaze.

4
 Gourd Vase in Frogskin Glaze
Reception area of the Ritz Carlton Hotel
Tokyo, Japan
5
 Genie Bottles in Natural Ash Glaze
Heron’s Restaurant at Umstead Hotel
Cary, North Carolina
6
Genie Bottle in Natural Ash Glaze
20” x 20” x 41” H
Wood-fired stoneware.

7
 Tang Vase in Chinese Blue Glaze
20” x 20” x 32” H
Wood-fired stoneware with
Copper Glaze. Multiple firings.

8
 Tang Vase in Chinese Blue Glaze
Heron’s Restaurant at Umstead Hotel
Cary, North Carolina
9
 Fountain at the Capel Residence
Patina Green Glaze
42” x 42” x 60” H
10
 Sung Jar in Patina Green Glaze
19” x 19” x 32” H
Wood-fired stoneware with Copper Glaze.
Crystal development from slow
cooling technique.

11
 Waterfall Bottle in Ash Glaze
15” x 15” x 24” H
Wood-fired stoneware with
layered Iron and Cobalt Glazes.
Natural Ash accumulation.

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Waterfall Bottles in Heron’s Restaurant
Umstead Hotel
Cary, North Carolina
15” x 15” x 24” H & 18” x 18” x 34” H 13
 Photo by Pam Nicholson
MiSé Vases in Natural Ash Glaze
Lounge Area, Ritz Carlton
Charlotte, North Carolina
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MiSé Vase in Natural Ash Glaze
15” x 15” x 27” H
Wood-fired stoneware with
Natural Ash Glaze.

15
 Tang Vase in Chinese Red Glaze
14” x 14” x 26” H
Chinese Red over earthenware clay.

16
Tang Vase, Bowl, and Dogwood Vase in Chinese Red Glaze
Entrance of Smith Anderson Law Firm
Raleigh, North Carolina
17
 Dogwood Vases in Chinese Red Glaze
Hernandez Home Entrance
Pinehurst, North Carolina

18
Dogwood Vase in Chinese Red Glaze
19” x 19” x 36” H
Chinese Red over earthenware clay.

19
 Genie Bottle in Chinese Red Glaze
20” x 20” x 41” H
Chinese Red over earthenware clay.

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 Ben Owen III, Solo Exhibit 2004
Cameron Art Museum
Wilmington, North Carolina
Show in conjuction with being named
“NC Living Treasure” 21
 2
Copper Penny Glaze
Copper Penny Glaze is influenced by the amount
1 3
of iron in the clay as well as the formula of the glaze.
The range of color is dependent on the atmosphere
of the firing in the kiln. During the early stages of a
firing, at 1600 ° F, we purposely control the furnace
to burn inefficiently creating carbon inside the kiln.
The reaction of carbon, over a period of several hours,
with the iron in the clay will create warm tones in the
glaze and iridescent or opalescent qualities to
the surface.

1) MiSé Vase 2) Sun Ray Bowl 3) Equator Bottle

20” x 20” x 38” H 18” x 18” x 5” H 16” x 16” x 24” H
4) Covered Jar 5) Melon Vase
8” x 8” x 15” H 15” x 15” x 18” H

22 4 5
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Copper Penny Glaze 8

6 The presence of wood ash coming in contact
with the glaze accentuates the glaze with flashes
of apple green and yellow tones to deeper
brown shades on areas of the pot. The name
copper penny was chosen after many customers,
over the years, commented that it looked like
the surface of a penny.

6) Edo Jar 7) Thumbprint Bowl 8) Equator Bottle

10” x 10” x 18” H 9” x 9” x 6” H 16” x 16” x 24” H
9) Hour Glass 10) Sung Jar
7” x 7” x 16” H 7” x 7” x 14” H
10
9 23
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Patina Green Glaze
The Patina Green Glaze was first developed by
1 Ben III, in the early 1990’s while in college at East
Carolina, as a glossy forrest green made from a 3
copper pigment.. When testing the glaze in the
wood kilns back home at the family pottery, the
results were strikingly different with many
variations of color and surface.

1) Sung Jar (light) 2) Carved Bowl 3) Edo Style Jar

15” x 15” x 28” H 12” x 12” x 8” H 9” x 9” x 18” H

4) Equator Gourd Vase 5) Bottle

15” x 15” x 32” H 16” x 16” x 24” H

4 5
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Patina Green Glaze

If fired in the wood kiln with no salt added to the
firing, the color will be a darker green with small
crystals on the surface. If finished in a wood and 8
6 salt firing, the salt will brighten the color and
create more blue-green hues with random small
crystals on the surface. Each firing can be
different, based on the wood used as the fuel or
the weather during the firing stage.

6) Sung Jar 7) Equator Bowl 8) Equator Bottle

16” x 16” x 24” H 12” x 12” x 9” H 16” x 16” x 28” H
9) Platter 10) Covered Jar
22” x 22” x 3” H 16” x 16” x 22” H

9
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Natural Ash Glaze
The Natural Ash Glaze is produced by relying on the
wood-firing process as the glazing agent. Most pieces
1 dedicated to this glaze are placed in the kiln with little 3
or no glaze applied to the exterior. During the firing
process, the wood is stirred occasionally in the firebox
to give flight to the flakes of ash that are produced
during the firing. When these small flakes become
airborne, they cling to the exposed areas of the pots
and accumulate over a period of time. As the kiln
reaches about 2300 ° F, the accumulated ashes will
begin to melt and form a natural glaze that bonds to
the surface of the pot.

1) Egg Vase 2) Flair Bowl 3) Sung Jar

14” x 14” x 25” H 16” x 16” x 5” H 20” x 20” x 36” H
5
4) Bottles 5) Edo Jars
4 16”, 12” & 9” H 10” x 10” x 16” H

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Natural Ash Glaze

6 As the wood-burning kiln is heated to 2400 ° F, the 8
wood ash will liquify and begin to run down the side
of the pots, as if one had poured honey on the vase.
By glazing the pots in this way, no two pieces have the
same appearance due to the placement in the kiln. The
type of wood, weather conditions, and the length of the
firing will dictate the amount and color of the Natural
Ash Glaze. The firing process can range from 20 hours to
4 days. Different types of clay used will also create unique
colors in the finish. A white clay will flash orange to buff
color with the ash overlapping and a stoneware
(gray clay) will be a darker toasty orange
to brown finish.

6) Edo Style Jar 7) Edo Jars 8) MiSé Vase

16” x 16” x 27” H 16”, 12”, & 9” H 15” x 15” x 27” H

9) Genie Bottle 10) Sung Jar

22” x 22” x 41” H 15” x 15” x 28” H
9 10
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Chinese Blue Glaze

The Chinese Blue Glaze is one of our most
collectable colors because of the variety of hues
and variations of finish from each firing.
No two pieces come out exactly alike. It is our 3
1 most difficult color to produce. Although many
of the forms are similar to our Chinese Red
pieces, there are some shapes we make specifically
for this glaze. The color is achieved from several
mixtures of copper in a glaze and fired to 2250 ° F.

1) Dogwood Vase 2) Flair Bowl 3) Persian Jar

19” x 19” x 36” H 18” x 18” x 5” H 10” x 10” x 16” H

4) Han Vases 5) Candlesticks

12” & 9” H 5” x 5” x 14” H

4
28 5
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Chinese Blue Glaze

This glaze was first developed at Jugtown Pottery
in the 1930’s. After Jacques Busbee’s death, his wife
6 Juliana requested that the glaze not be produced.
From different accounts and research, the recipe 8
for the glaze was lost. When Ben Owen Sr. began
working on his own, he worked with his son Ben
Wade Owen Jr. recreating this glaze in his own
experimentation. The results were similar but with
its own style. This glaze has been continued by
Ben Owen III at Ben Owen Pottery.

6) Tang Vase 7) Ming Bowl 8) Persian Jar

20” x 20” x 36” H 12” x 12” x 6” H 15” x 15” x 25” H

9) MiSé Vases 10) Han Style Vase

9”, 12” & 16” H 8” x 8” x 16” H
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10
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Multi-Layered Glaze
While Ben III was in college in the 1990’s, he
1 was introduced to a spraying technique with an
air-driven spray gun that some potters use to build
up layers of glazes on the clay surface. With some 3
experimenting, he was able to create a variety of
finishes using accents of three or four different
colors and using an ash glaze as a top coat to blend
or bleach the underlying colors.

1) Combed Planter 2) English Melon Teapot 3) Combed Sung Jar

19” x 19” x 20” H 7” x 9” x 8” H 16” x 16” x 24” H
4) Carved Han Vase 5) Covered Jar
9” x 9” x 16” H 8” x 8” x 15” H

4
30 5
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Multi-Layered Glaze
Some finishes are a base of iron yellow with
cobalt blue or copper green covering with orange to
silver developing from the overlapping colors. Each
6 pot is unique. As a similar process to Natural Ash 8
Glazes, Ben III frequently places these finishes in
the wood kiln to accentuate the colors as well.

6) Covered Jar 7) Flair Bowl 8) Sung Jar

10” x 10” x 16” H 16” x 16” x 4” H 10” x 10” x 16” H
9) MiSé Vase 10) Melon Egg Vase
7” x 7” x 14” H 16” x 16” x 20” H

9 10 31
 2
Yellow Matte Glaze
The inspiration behind the Yellow Matte Glaze was
to create a smooth, “soft” surface on the pots that
1 would be a change from the glossy finishes typical in 3
the Owen family of glazes. From looking at surfaces
created during the wood firing process, Ben wanted
to recreate a similar surface but with the option to
make it uniform or add an accent by spraying on the
clay surface. The yellow pigment is made from iron
oxide and the matte finish is created from the use of
magnesium and strontium in the glaze.

1) Hour Glass 2) Carved Bowl 3) Carved Egg Vase

7” x 7” x 16” H 16” Dia. 10” x 10” x 14” H
4) Covered Jar 5) Spiral Platter
12” x 12” x 22” H 16” Dia.
5
4
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Mulberry Glaze
Mulberry is made from a copper pigment. In a 3
clean-burning atmosphere a copper glaze will finish
light to dark green, depending on the amount of
1 copper. When the kiln is adjusted to burn with
more fuel than oxygen, carbon will build up in the
kiln chamber and will be absorbed into the clay and
glaze. At a temperature of 1600° F and higher, the
carbon will begin to affect the copper in the glaze
and produce a red finish. This glaze matures at
2250 ° F. The timing and duration of the firing are
critical in a successful burgundy to wine-red finish.
If there is not enough carbon present, a light green
to white finish will result.

1) Tang Vase 2) Flair Bowl 3) Cylindrical Vases

20” x 20” x 36” H 16” x 16” x 5” H 12” x 12” x 32” H
4
4) Bowl 5) Bottle
14” x 14” x 9” H 8” x 8” x 16” H

5
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Chinese Red Glaze
Chinese Red has become one of Ben III’s 3
1 signature glazes over the past 25 years. Ben’s
father, Ben Wade Owen Jr., developed the glaze
after many customers requested a red finish.
Chinese Red was not produced by Ben’s
grandfather, Ben Owen Sr., although many of
the forms that he studied early-on in his career
were shapes from China that included a red finish.
The red glaze is reminiscent of the old Chinese Red
overglazes used in the 16th century and has worked
well with Ben III’s simple Asian translations.

1) Tang Vases 2) Flair Bowls 3) Carved Hour Glasses

12” & 9” H 9” & 12” Dia. 12” & 16” H

4 4) Egg Vases 5) Carved Globe Vase

16”, 12”, & 9” H 12” x 12” x 24” H

5
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 7
6 Chinese Red Glaze
In 2007, Ben III was commissioned by the
Governor of North Carolina to create a series
of Chinese Red pots to honor Chinese officials
on a special ambassadorial tour. Ben III was able 8
to accompany the delegation and take part in the
presentation of his artwork. He was also afforded
the opportunity to visit the pottery villages where
the Chinese Red, that has influenced his family’s
work, may have originated.

6) Bell Vases 7) Candlesticks 8) Dogwood Vases

6” & 8” H 10” & 14” H 12” & 16” H
9) Egg Vase 10) Lily Jars
15” x 15” x 30” H 12” & 16” H

9
10

35
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11
Chinese Red Glaze
There are different hues of red depending on the
firing and glaze application. Although our effort 13
is to keep it a rich true red, beautiful variations
occur from firing to firing.

11) Carved Globe Vases 12) Hour Glass & Globe Vase 13) Covered Jar
16” & 12” H 6” x 6” x 12” H 8” x 8” x 16” H
14) Bottle 15) Square Shoulder Vases
8” x 8” x 12” H 8” & 11” H

15

14

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Turquoise Matte Glaze
The Turquoise Matte Glaze was created to produce
a smooth, “soft” surface on the pots that would be a
1 change from the glossy finishes typical in the Owen 3
family of glazes. From looking at surfaces created by
Chinese Blue and Patina Green, Ben III wanted to
add to the green glazes he makes but with the option
of a weathered copper surface. The ivy green to sage
pigment is made from copper oxide and titanium
oxide and the matte finish is created from the use
of magnesium and calcium in the glaze. Carbon
present during the firing process will also affect the
range of color in the green.

1) Water Pitcher 2) Bowl 3) Japanese Style Teapot

4 12” x 14” x 22” H 12” x 12” x 8” H 7” x 10” x 11” H
4) Teapot 5) Pitcher
6” x 9.5” x 8” H 9” x 9” x 13” H

5 37
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Teadust Glaze
1 Teadust is a glaze that the Chinese potters created
while accidentally overfiring earthenware red pots
and melting the clay to a puddle. With experimentation, 3
these potters eventually developed a black glaze.
Today, Ben has developed his own versions of a black glaze
with the addition of iron, calcium, and magnesium oxide.

1) Carved Bottle 2) Carved Bowl 3) Pear Vase

9” x 9” x 12” H 18” x 18” x 6” H 7” x 7” x 11” H
4) Sung Jar 5) Melon Egg Vase
20” x 20” x 38” H 16” x 16” x 20” H

4 5
38
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Teadust Glaze
While researching slow-cooling processes after
firing in the wood kiln, Ben III found small proxyene
crystals forming on pots in a mustard yellow to green color. 8
6 A satin to matte finish is created from the crystals on the
surface. If it is allowed to cool quickly the finish will be a
solid glossy black. If placed in a salt firing
atmosphere the glaze is olive green (Frogskin).

6) Edo Jar 7) Melon Egg Vases 8) MiSé Vase

8” x 8” x 16” H 12” & 16” H 8” x 8” x 16” H

9) Urn 10) Sung Jar

14” x 14” x 15” H 20” x 20” x 38” H

9
10 39
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Green Celadon Glaze
The Green Celadon Glaze features a transparent
finish originating in China and Korea. It is made
from a mixture of feldspathic rock, clay, and flint
rock with the addition of small amounts of iron 3
1 oxide as a pigment. Ben III’s experimentation with
celadons began with research in college and further
study in China and Japan. This finish is excellent
for revealing carved designs on the surface while
showing the underlying clay. The Green Celadon
Glaze relates to the color of jade and is reliant on
the type of clay, the iron oxide, and the atmosphere
in the kiln to create the exact environment for the
color to develop.

1) Landscape Bottle 2) Sea Biscuits 3) Sung Jar

4 8” x 8” x 16” H 10” & 12” Dia. 16” x 16” x 22” H

4) Carved Bowls 5) Water Pitcher

8” & 12” Dia. 9” x 11” x 13” H

40 5
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Blue Celadon Glaze

The Blue Celadon or Goryeo Celadon Glaze
originated in Korea during the 10th and 11th
century. The finish is made from a feldspathic
rock with additions of clay and flint rock and
1 small amounts of yellow iron oxide as a pigment. 3
This finish is excellent for revealing carved
designs on the glaze surface or the underlying
clay surface. The finish relies on the type of clay,
the amount of iron oxide and the firing
atmosphere that is used to create the
right environment for the color to develop.

1) Bottles with 2) Bowls 3) Han Vase

Carved Leaf Design 3” & 3.5” H 9” x 9” x 14” H
18.5” & 14” H 5” Diameter

4) Sung Jars 5) MiSé Vases

9” & 12” H 13” & 10” H
5
4
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Turquoise Blue Matte Glaze

The Turquoise Blue Matte Glaze was created to
produce a smooth, “soft” surface on the pots that
would be a change from the glossy finishes typical 3
1 in the Owen family of glazes. This brilliant blue
color is made from copper oxide in an alkaline glaze.
Examples of blues like this have inspired Ben from
middle-eastern pottery and the semi-precious stone,
Lapis lazuli. There is a wide range of color from this
glaze due to the application and the firing. A more
mottled effect is achieved from layering the glaze on
the surface.

1) Edo Jar 2) Teapot 3) Dimpled Hour Glass

10” x 10” x 16” H 6” x 9.5” x 8”H 9” x 9” x 16” H
4 5) Sung Jar
4) Teapot
6” x 9.5” x 8” H 10” x 10” x14” H

42 5
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Frogskin Glaze
Frogskin is the same glaze as the Teadust, but fired in
the third or forth chamber of the wood kiln where
salt is added to the firing at the very end. The sodium
1 in the salt reacts similar to the way bleach works on 3
clothing by bleaching the iron-rich glaze creating an
olive green to mustard colored finish with a glossy
surface. Historically, Ben III’s family and many
other potters in the Seagrove area became aware of
a natural clay from Albany, NY (known as Albany
Slip) that could be used as a glaze by itself to
produce this type of finish with the addition of
salt thrown in the kiln at the end of the firing.

4 1) Covered Jar 2) Carved Bowls 3) Sung Jar

8” x 8” x 12” H 14” & 10” Dia. 16” x 16” x 22” H
5
4) Thumbprint Bowl 5) Equator Bowl
14” x 14” x 7” H 14” x 14” x 8” H

43
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Salt Glaze
Salt Glaze was first discovered by German potters in the 3
late 14th and early 15th century. Due to the high firing
temperatures, stoneware clays are required. The pieces
1 can be handled and decorated with clay slips of many
different colors, or glazed partially with Cobalt Blue Glaze.
The surface may resemble the texture of an orange peel.
This was an early glaze used by settlers during the 19th
century in the Seagrove area. Many of the pieces we make
in Salt Glaze are functional, even the more decorative
large-scale pots.
The pots are loaded in the back chamber of the wood kiln
or in a separate salt kiln, fired with gas. They are heated like
other firings up to the peak temperature and then “soaked”
for an hour. At that time ordinary kitchen salt is introduced
through special ports in the kiln. We add approximately
25-50 pounds of salt in the kiln. The salt will liquify and
eventually turn into a sodium vapor. The vapor will unite
with the silica in the clay pots and accumulate on
the surface.

1) Waterfall Bottle 2) Etruscan Jars 3) Neolithic Vases

18” x 18” x 36” H 8” x 8” x 11” H 22” & 32” H 5
4
4) Candlesticks 5) Sung Jar
44 14”, 18” & 22” H 15” x 15” x 24” H
 Ben Owen III in his Seagrove Showroom, 2008
Ben Owen Pottery is open Tuesday through Saturday, 10:00 am to 5:00 pm. (Closed in January.) Ben and his
assistants welcome retail customers and designers who can browse the showroom, choose from available pots, or
discuss special needs which may lead to commissions. Phone conversations and emails are often utilized to confirm
details and make proposals. Ben III’s creations are each hand-made with skillful attention to every detail.
Therefore, please allow 3 - 6 months for delivery. See contact infomation on following page.
45
 Ben Owen Pottery
For more information about custom designs, contact Ben at the following:

Ben Owen III

Ben Owen Pottery
2199 S. Pottery Hwy 705
Seagrove, NC 27341
336-879-2262
ben@benowenpottery.com

More information is available on Ben’s website at:

www.benowenpottery.com

I sincerely hope you have enjoyed this portfolio and I look forward to hearing
from you in the future!

Publication Credits
Ben Owen Pottery Installations in Clay, First Edition
Contributing Editors: Ben Owen III, LoriAnn Owen, Shannon Criscoe, Susan Chriscoe
46 Designed by: Graphic Artist Shannon Criscoe of SC designs
Photos by: Ben Owen III (unless otherwise noted)
 Photo by Warner Williams, 2008
Ben Owen III (b. 1968) lives with his wife LoriAnn (b. 1968) and their three children beside the pottery shop and studio.
Children: Avery Claire (b. 2000), Juliana Dare (b. 2002), and Ben Owen IV “Ivey” (b. 2005).

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Notes

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 Ben Owen
Pottery
www.benowenpottery.com