Leaf Junky Celebrations

I wait impatiently for leaves to appear in the spring. Then I marvel at how prolifically they do that, while I fuss because the leaves are not yet large enough to impress me with their impressions on my clay! Soon they abound and, with abandon, I harvest leaves until fall. I prefer large ones with lots of pronounced veins. The real sign of my craving for natural foliage is that I dread the threat of running out of leaves. Every autumn I collect (some types before a frost, some after) all shapes and sizes of leaves and tuck them into old magazines, catalogs and newspapers, depending on the size of my quarry. I use an old drafting board I found in my father’s basement to weight the bursting tomes, making sure that the outside edges are open to the air. In no way does this compare with the hay mows we spent much of summer filling in my youth, but the outcome is the same. That corner of the studio’s drying room keeps me supplied with dry flat leaves for making pots all winter.

Now spring is well sprung and all manner of vegetation is back with gusto. Some folks are out looking for ramps or morel mushrooms, while I stalk especially large, fine-veined leaves. A primary source is the reviled burdock, for which I have absolutely no competition. Burdock leaves are big and leathery now, and the bugs have not got to them yet.  I use their bottom sides, where the veins are more strongly defined. I often have to cut out the center stem, because it is so thick that it will cut through the clay when I roll the leaf and clay together. Having become far more observant of leaf properties than I once was, I see that the size of a leaf and the intricacy of its veining often do not correlate, although some plants that grow very rapidly have surprisingly few veins, while other large leaves have incredible webs and tangles of veins that leave great trails in clay.

A pumpkin or a big metal bowl for form, a bunch of leaves, and a few pounds of clay—that’s what pots are made of! I love using light buff clay with my leaves. When the pots are dried, have been bisque fired, and are ready to glaze, I brush on a black undercoat and then wash most of it off. What’s left emphasizes those leafy tracks that I so admire. Then I put a clear glaze over the entire outside. Anything goes on the inside of pots: reds, greens, blues, yellow, or maybe mottled spice brown—or combinations. I owe those leaves, so I wait to see what they suggest.