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Mary Bowron (1933-2017) grew up in Alabama, Mississippi and Louisiana and began potting in the early 1960's in southern California before moving to Maryland.

Mask, h 12.5" w 7" d 4"

What set Mary Bowron apart was her love of expression and her avoidance of the easy, appealing solution. Never quite satisfied with the forming method, the clay, the glaze, or the kiln, she would investigate the next question in terms of materials or firing or making raw prints with clay on paper. When she was wedging an iron bearing clay and saw intriguing marks left behind on the table, she asked, "what paper could I use to capture and amplify that?" When marks looked like birds or fish or horses she transformed these inklings into prints and paintings. Mary paid exquisite attention to how clay moved, what it left behind, and where it was going.

Initial formwork for cast arch, 11/1997

When Mary was in her sixties and she decided to build a wood kiln her relentless curiosity became especially apparent. She visited many wood kilns in her area. She called well-known wood firing potters to pick their brains. She read articles, looked at pictures, and found plans. Friends who had lived in Thailand gave her books to investigate the history of Thai-style kilns. Compulsive in her varied ways of collecting information, the results, often conflicting, forced her to forge her own answers.

Mary and Warren talking after completion of the castable arch, September 12, 1998. (Photo by Scott Meredith)

Warren (my potter-husband) and I talked to her many times during the planning process. We were floored by her ultimate plan to build a 40-foot long anagama-style kiln. But Mary had always been one to indulge her need for space and equipment. With a bad back she knew she wanted to be able to stand up in the kiln. That forced her to design large. Mary was also particular about process. At the front of the kiln she incorporated a gracious closed shed with a kitchen. The striking, multi-stepped roof had a gable door that could be opened so she could see the nature of the chimney smoke or flame while standing at the kiln mouth. There were multiple thermocouples to which she could attach pyrometers. When she dug the foundation, despite the fact that she hit rock, her chosen location was sacrosanct so she kept going.

Kiln shed, view before cast arch and chimney
November 1997

When we cast the arch for our kiln she was present not to help but to experience all the steps. She wanted to see how we measured and mixed our materials, to feel how we applied our castable balls over the arch form, to get a sense of pace. Mary had to get up close as if the smell of castable would transmit knowledge through osmosis. She digested the consistency and heft to gain an intuitive understanding of what the coordination of our team felt like so she could translate it into her own efforts.

Mary Bowron kiln shed [April 2011]

Mary's anagama was sited in the middle of a gentle field about a five-minute walk from either the house or the studio. Robert Kelly, her long-time multi-talented assistant laid the brick for the kiln walls and chimney and built the elegant formwork for a castable arch. When we cast the arch in September 1998 we did it in one day with a crew of approximately forty volunteers, in one way or another all enamored with clay. Once in use, the long sides of the shed surrounding the kiln were permanently composed of stacked wood, neat piles of fireplace-sized logs and tall arrangements of narrow tobacco sticks. There were shelves holding molds, boxes filled with shells for stacking, and bone dry plates awaiting the next firing.

Mary Bowron firing April 2011

When I contemplated writing something about Mary Bowron I called one of her long time friends. She said, "You know, Mary would hate for anything to be written about her." That's true, but I think we need to verbalize how extraordinary Mary's commitment was to making and woodfiring in particular. When Mary was working in clay, making prints, or pots, or drawing it was as though through her hands she got closer to an understanding of the predicaments of life. She became intimate with how birds navigate or of a horse's instinctual fear or how fish remember where to spawn. My guess is that Mary wanted her work to speak outside the vocabulary of the written word. She aimed to capture the forces of life, nature and its inequities.

Mary Bowron Studio Wall Snippet

From the moment I moved to the Washington, DC area in 1979 Mary Bowron was someone who was part of my ceramic landscape. At first she was a mythical creature, the source of a friend's platter formed of dark clay with an ethereal bird painted in white slip. Later, I would visit her in Boyds, Maryland and everything about Mary’s compound had its own kind of geometry or algorithm of reason. The studio and showroom were in a weathered stone barn. A magical log cabin housed a library of children's books. There was an old gas station hose across the long entrance road that rang a bell in the studio and house when a vehicle arrived. Later she replaced that with a large hand-bell and a sign that read "ring bell and someone will appear or if not com