Wei Cheng and John Neely at Peters Valley Craft School
In June, the North-West Ceramics Foundation was pleased to support Vancouver potter Wei Cheng through the Maureen Wright Bursary to attend the workshop Teapots and More: Vessels that Pour. The workshop was held at the Peters Valley School of Craft in Layton, New Jersey, from June 7 to June 11, 2024. It was led by John Neely, Professor of Ceramics at Utah State University in Logan, Utah, where he has taught since 1984.
We congratulate Wei on her exciting work and thank her for her fascinating report. We wish her all the best on her next adventure. What follows is an edited version of Wei’s account, in which she discusses not only her experiences at the workshop, but, also, what initiated her interest in tea and tea pots to begin with.
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In 2014, shortly after graduating from Emily Carr, I pursued a residency in Jingdezhen, the ceramic capital of China, to further my practice. During a craft market visit with a tea master, I helped him find a suitable teapot for an upcoming tea ceremony. I suggested a teapot I thought was perfect, but he replied, “The person who made this teapot probably does not drink tea.” His comment puzzled me, so I asked for an explanation. He said, “You have to drink tea to understand what a teapot is.” Little did I know, this marked the beginning of my journey to merge my ceramic practice with tea culture.
John Neely discussing kilns and firing
Four years later, in 2018, I started my apprenticeship in Yixing, famous for its Zisha teapot. In Yixing, drinking tea is not just a cultural practice but an everyday routine. We drank tea while waiting for the clay to dry, during with visits and friends, and even while receiving critiques on our teapot homework. During this time, I slowly began to understand what my tea master friend had meant. There is a ratio of loose tea leaves to water that a maker must consider for the teapot’s volume. Different forms of tea leaves—some rolled small, some tiny, and long—dictate the size of the rim. For Chinese Kungfu tea, which uses boiling water, the placement of the hole on the lid and the thickness of the wall must ensure safe and comfortable use. The length and curve of the spouts influence the flow rate and volume of the pour. These thoughtful design considerations are hidden behind a teapot, a philosophy that guides me even before the creation process begins.
Upon returning to Vancouver, I noticed that this philosophy had deeply influenced my practice. Whether making tea wares or anything else, I now consider the end-use and user experience. For example, when making vases, I think about the style of flower arrangements, how to ensure stability, and how to treat the bottom to prevent table scratches. These seemingly small but significant details have become integral to my creative process.
John Neely demonstrating on the wheel
In recent years, I have developed a keen interest in atmospheric firing, especially wood firing. Beyond functionality, I started to focus on the natural characteristics of different clay bodies and the firing process itself. The unpredictable results create unique aesthetic qualities and highlight the subtle elements around us daily. Such as the type of wood in different firing stage, air pressure and different weather, and the arrangement of pots in the kiln. I’m fascinated by those factors that shape both the outcome of the work and the artists’ creativity process.
I recently discovered the opportunity to attend a teapot workshop with John Neely at Peters Valley School of Craft. I have admired his work since my art school days. Specializing in tableware, particularly drinking and pouring vessels, and known for his development of the wood-firing train kiln, John’s expertise aligns perfectly with my interests.
[The workshop] was an incredible experience that significantly expanded my skills and knowledge. John’s detailed and hands-on demonstrations provided firsthand insight into his innovative techniques. The skills and philosophy I gained regarding functional wares and wood firing will undoubtedly enhance my practice and help me grow as a ceramic artist. I am excited to apply the new skills and insights I gained to my work. Beyond the workshop, the dedication and passion of fellow artists were truly inspiring. The environment fostered collaboration and creativity, allowing me to exchange ideas and techniques with other participants. Engaging with like-minded individuals who share the same passion for ceramics was a highlight of the experience. I made several new friends, each bringing unique perspectives and skills, which enriched my own understanding and approach to ceramics. These connections are invaluable, providing a network of support and inspiration that I will carry forward in my artistic journey.
