About Handmade Ceramic Artist Gregg Willman

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I made my first pot as an art major in high school, where I was exposed to various media, including painting, metal casting, sculpture, and ceramics. During that time, I attended a 4-week class for high school students at the Art Institute of Chicago, where I learned about welded sculpture. While this solid background in the arts provided a strong foundation for my creativity, I discovered that working with clay truly spoke to me. Shortly after graduating high school, I started Up From the Earth Pottery. While working as a full-time potter, I attended a life-changing 1-week workshop outside of Denver in 1973, where the key instructor was Daniel Rhoades. There, I met other artists who were creating large pieces and I learned their techniques. This experience transformed my approach to making pots. I continued as a production potter for several more years in my studio, during which I first began exploring raku firing. Once again, I was captivated. After becoming proficient in this unique technique, I was thrilled to accept the opportunity to teach pottery classes in raku firing at Purdue University. However, as time passed, the pressures of supporting my family combined with the frustration of having to create pieces that would easily sell instead of pursuing my artistic vision began to weigh me down. Although being a potter was my dream job, it started to feel less enjoyable. I realized that my love for creating ceramic art was more important than making a living from it. Consequently, I decided to take a “regular job” while continuing to create the ceramic art I desired during my free time, which made me much happier.

In 1979, we relocated from the Chicago suburbs, where my wife and I grew up, to Corpus Christi, Texas. Once we were established, having purchased our first house and started a trim carpentry business, I resumed my passion for creating ceramic art and enrolled in pottery classes with Greg Reuter at what was then Corpus Christi State University. During this time, I began to explore what is currently known as 'alternative firing methods.' I delved into raku firing and saggar techniques, which I felt best expressed my artistic vision. Additionally, I hosted raku firing workshops at my studio, The Art Museum of South Texas, and conducted an annual demonstration at the high school my children attended. My work was also represented by galleries in Corpus Christi, Houston, and San Antonio. However, by 1994, the demands of owning a woodworking business significantly limited the time I could dedicate to making art. I eventually stopped, and my wheel and kiln collected dust for the next 31 years.