Take a peek into Martha’s world and her new Production Kiln.
• KMT 1227 PK SSR with APM elements and Type-S thermocouple
• KM 1227 with touchscreen controller upgrade
• KM 1027
• KMT 818 with Type S thermocouple
• KilnLink Premium on touchscreen models
Martha H. Grover is a functional potter, living in Bethel, Maine, creating thrown and altered porcelain pieces. She owns and runs a community clay studio with her husband and teaches workshops nationally and internationally. She attended Bennington College in Vermont, where she received her undergraduate degree in Architecture. After going to Syracuse University in New York as a fifth-year student in Ceramics, she decided to pursue a graduate degree in clay. In 2007, Martha received her MFA in ceramics from the University of Massachusetts Dartmouth. Since then, she was awarded the Fogelberg Fellowship for a residency at the Northern Clay Center in Minneapolis, Minnesota, and the Sage Scholarship for a summer residency at the Archie Bray Foundation in Helena, Montana. Martha completed a yearlong residency at Red Lodge Clay Center in Red Lodge, Montana in August 2009. She received the Taunt Fellowship at the Archie Bray Foundation in 2010. Her work can be found at the Red Lodge Clay Center, the Archie Bray Foundation, the Clay Studio of Missoula, Schaller Gallery, 18 Hands Gallery, Crimson Laurel Gallery, Charlie Cummings Gallery, and Cedar Creek Gallery. Her work has been published in Ceramics Monthly, Pottery Making Illustrated, Clay Times, 500 Pitchers, 500 Platters and Chargers, and 500 Vases. Martha’s work was featured on the cover of Ceramic Monthly’s May 2010 issue.
I seek to enhance the experience of interacting with functional objects. I work toward creating a sense of elegance for the user while in contact with each porcelain piece. Reminiscent of orchids, flowing dresses, and the body, the work has a sense of familiarity and preciousness.
Direct curves are taken from the female figure, as well as the fluidity of a dancer moving weightlessly across the floor. The space between elements is electrified with anticipation and tension. I think of the fluid visual movement around a piece, as a choreographer would move dancers across a stage. Transmitting desire – there is a sense of revealing and concealing, a layering of details that serves to catch our attention immediately and then the details draw us in, to make a closer inspection.
In our lives, we often move past the objects surrounding us at a very quick pace. My work generates a moment to pause. My goal is to create an undeniable presence, one that acts as an invitation to explore the work thoroughly, taking time to know all of its many facets. Only through sustained interaction we can truly know and appreciate someone or something.
Favorite Kiln Features
As well as firing my Cone 10 porcelain work to a perfect finish, the new touchscreen controller has become an indispensable tool for me in the studio. I love being able to monitor the kiln temp remotely through the KilnLink app. It gives me peace of mind knowing what the kiln is doing when I’m not right in front of it. My husband and I have a community pottery studio, and I bounce back and forth between firing my own work and our students’ work. It’s really nice to be able to see the full program on the screen and make changes to custom programs during a firing. I also appreciate getting the text alerts through KilnLink Premium when the kiln is done firing or if it gives an error. I can even set it to send a text when the kiln is getting close to Cone 10 so that I can make sure to monitor my cones during the firing to get perfect results.