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Pike Studios
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  My clay journey started in 1971, and since 1978 I have been making my living as a professional potter and ceramic artist in Alberta, Canada.   My approach to working with clay evolves as I investigate function and aesthetics (an appreciation of beauty). Shapes and designs build upon themselves, and new versions of form and decoration filter through the body of work to refresh the process.  

Through exploring various methods to decorate my functional and artistic pieces, my work has a strong contemporary feel. This contemporary direction comes from extensive glaze development and commitment to clay while exploring the many aspects of its technical challenges. I love the rich colors cone 10 glazes (high fire 2380˚F) give to my white porcelain clay body and the discovery of opening every kiln load.   Will the glaze reveal texture on a piece? Will it run on a vertical piece if combined with another glaze? What kind of a piece can I use this new glaze on? The answers to these questions come from continuing exploration and testing.


A love of detail and drawing are the major influences on my new work, which focuses on using texture and line. For texture impressions on clay, stamps and rollers can be made from bisqued clay or by carving a lino block tile.  I create my designs on paper, transfer it and carve the tile.  The stamp can be used many times and in different ways. Drawings can also be developed further on the computer, such as reversing and duplicating the image. The tile is laid on the soft clay and rolled with a rolling pin, with firm pressure, to make the impression. I first used this process on small bowls and continued developing it for use on larger vases and art pieces.


I have also used the lino blocks to make framed art prints and, so far, have expanded this process to decorate tiles, trays, book covers, boxes, vases, mugs, glasses, jugs, and vessels. One of the printed vases in the Clay 2010 show, was purchased for the collection of the Alberta Foundation for the Arts. Using and developing this process has inspired me and opened new directions and ideas for exploration.


It is my desire to create forms with rich surfaces. I believe ceramic pieces become more valuable with use.

Connie Pike

Humans have been making pots for over 10,000 years; I have been making pots for only forty. I make useful forms: to drink from and eat from, to make tea in, to display flowers. Although they are simple utilitarian forms—cup, plate, teapot, vase—their variations are limitless. Creating within the boundaries of these formal themes is the endless delight of making pots.

Making and firing clay objects requires various kinds of knowledge: of materials and processes, of clay and glazes, of kilns and firing, as well as the hard won skill of creating clay forms. I love the multiplicity of learning necessary to the craft—the technical, physical, intellectual, aesthetic, and historical challenges.

I am awed by the beauty and variety of the objects that comprise the long ceramic continuum. I am constantly amazed at the variety of what other clay artists are creating. Ceramics is such a rich field of exploration.

Connie Pike

Connie was recognized by the Alberta Foundation for the Arts and was awarded a Projects Visual Arts grant to attend NCECA, the National Clay Conference in Tampa, Florida.

Words from the minister.

The arts are essential to Alberta's cultural life - both who we are as individuals and what we are as a province. The Government of Alberta is proud to support our professional and emerging artists and arts organizations and is committed to developing and promoting the arts. The artistic activity funded by the AFA supports the goals outlined in Alberta's cultural policy - The Spirit of Alberta. This policy ensures that all Albertans have access to culture in their communities, and that our artists and cultural industries can thrive. Its vision is an Alberta where all citizens participate in cultural and recreational activities that reflect their diverse heritage and enrich their lives. On behalf of the Government of Alberta, I am pleased to approve this funding and extend best wishes for your artistic endeavors. Sincerely Lindsay Blackett, Minister of Culture and Community Spirit.

It Couldn't Be Done But He Did It

   by   Edgar Albert Guest

Somebody said that it couldn't be done,

    But, he with a chuckle replied

That "maybe it couldn't," but he would be one

    Who wouldn't say so till he'd tried.

So he buckled right in with the trace of a grin

    On his face. If he worried he hid it.

He started to sing as he tackled the thing

    That couldn't be done, and he did it.

Somebody scoffed: "Oh, you'll never do that;

    At least no one has done it";

But he took off his coat and he took off his hat,

    And the first thing we knew he'd begun it.

With a lift of his chin and a bit of a grin,

    Without any doubting or quiddit,

He started to sing as he tackled the thing

    That couldn't be done, and he did it.

There are thousands to tell you it cannot be done,

    There are thousands to prophesy failure;

There are thousands to point out to you one by one,

    The dangers that wait to assail you.

But just buckle it in with a bit of a grin,

    Just take off your coat and go to it;

Just start to sing as you tackle the thing

    That "couldn't be done," and you'll do it.

Connie and Bob are mentioned in an article in the Calgary Herald. It is on our publications page. Just click here for the link.Publications.html
Interview Studio Ceramics Canada Link
Interview with Barry Morrison

Video Interview of Bob and Connie for theBluerock 2012Gallery Show

Interview-Build That Mail List | Connie Pike | Episode 270 | The Potters Cast
Pike Studios flood News on our BlogBlog/Entries/2013/7/19_The_Flood_News.htmlBlog/Blog.htmlshapeimage_10_link_0
Connie PikeConnie_Pike.htmlConnie_Pike.htmlshapeimage_12_link_0
Bob Pike