Lee Horus Clark Artist Statement:
Woodfiring is an extension of my being. It is my life. My works are my most coherent communication to the world. Pottery is my centre.
Lee Horus Clark was born was born in Carleton County New Brunswick in the year of the Dragon, 1976. In 1981 he was the founding member of “the danger club” local daredevils risking life and limb to alleviate the “country boredoms” and found clay in a stream. He had no idea of his future relationship with clay. IHe graduated from the New Brunswick College of Craft and Design in 1998 with a Diploma of Fine Craft majoring in Ceramics and the Award for Excellence in Clay.
Lee has been the recipient of a number of important travel and creation grants by the New Brunswick Arts Board and the New Brunswick Crafts Council, including being invited to participate in the 2001 International Workshop of Ceramic Arts in Tokoname, Japan. Lee returned to Japan in 2003 where he assisted in a 10 day anagama firing for Shiho Kanzaki in Shigaraki, Japan. Kanzaki sensei is a world leading progressive traditional master in the art of the anagama. Wood-firing has also taken him to Europe and the United States.
Since the age of 20, when he built his first kiln, the 27 foot-long Little River Anagama, he has dedicated his life to wood-firing his kick-wheel thrown and hand-built clay vessels and sculptures. Lee Horus Clark Lee has designed and built several kilns for other artists and is sought out as kiln-building consultant.
Lee lives and works with his wife, fellow ceramic artist Yolande Clark, in Queenstown, NB, where they have recently built the Queenstown Anagama, a 25-foot Shigaraki/Kanzaki-style tunnel kiln. His work is collected internationally. In February 2015, Lee attended a reception with HRH Queen Elizabeth II and the Duke of Edinburgh during the grand reopening of Canada House in London England, where his work is on permanent display, as part of the collection of the Department of Foreign Affairs and International Trade Canada. His Iga piece “Cut-Collar Vase” resides in the permanent collection of the Beaverbrook Gallery, Fredericton.