Through his artistic pottery, Clement Hoeck brings a touch of Asian style to the Pontiac. His work is a fusion of traditional South Korean aesthetics and practical Quebecois functionality. From his studio in Campbell’s Bay, the seasoned ceramicist sat down to discuss his art, aspirations and inspirations with THE EQUITY on Sunday.
“I became passionate and committed to pottery as an art student during my . . .
post-secondary college education,” he said, standing amongst shelves filled with clay shapes in various stages of completion. “There is something about it; I have been pulled toward this medium from the moment I first experienced working with clay.”
Though he was aware of his fondness for the medium, the decision to pursue ceramics as a lifelong devotion came about during his time living in South Korea. Over the course of three years living overseas, Hoeck studied the rich history, traditions and culture of South Korean ceramics. He became captivated by the nuances of technique, and chemistry of glazing.
Hoeck works on a potter’s wheel. For those who have not tried this activity, there is more to it than meets the eye. In order to shape a piece of art this way, the mass of soft clay must remain perfectly balanced throughout the entire process. As it is being shaped, it can easily become uneven, and it is quite difficult for a non-professional to correct a mistake like this once it happens. Lopsided creations can fall over, become misshapen, or collapse altogether. Many hours of practice are required in order to develop sufficient muscle memory to allow a potter to become consistent.
Hoeck reflected on his early days as a professional ceramicist: “I think it’s easy for artists to look back and see our early mistakes, or criticize ourselves for subtle details that we missed when we were starting out,” he said. “The hammer is our method of quality assurance,” he laughed, calling the tool a “reputation preservation device.” He continued, “I don’t have to do that much anymore, but there is a lot of practice involved.” His evidence was displayed on a table next to him — rows of perfectly formed, uniform cups waiting for handles.
The walls in Hoeck’s studio are filled with books, finished pieces of pottery, tools, and other necessities. There is no free space available on his shelves, but he maintains an organized, methodical workspace. As he moved throughout the room explaining his process, he arrived at an enormous metal contraption. “This is my kiln,” he said, standing next to an industrial breaker panel he had installed for the sole purpose of accommodating the massive electrical loads the device requires. “Most people don’t have one of these in their houses, let alone two,” he said, acknowledging the second breaker next to a smaller kiln.
“These kilns are electric, and they reach really high temperatures,” he said. The work Hoeck creates is referred to as ‘cone 10’ owing to the extreme heat under which the clay is baked. His work is cooked at a temperature of 1285 Celsius — for hours. “The element in my kiln works really hard because I push the heat so high,” he explained. High fire stoneware and porcelain is dishwasher and microwave safe, as the glaze becomes non-porous and safe to use as tableware at high temperatures. Hoeck’s pieces are artful and functional.
The process is time-consuming and labour intensive. After a piece is thrown (shaped on the potter’s wheel) it is allowed to dry, slowly. “If it dries too fast, the clay will crack, and that’s something I’d like to avoid,” Hoeck explained, covering some drying cups. The air-dried ‘greenware’ pieces are then loaded into the kiln, and fired, which takes up to 10 hours. This is known as ‘bisque firing,’ which hardens the clay so it is rigid. In this state, bisque fired clay is porous and can be glazed.
Hoeck creates his own glazes, using natural elements. This is what determins the colour and effect of his finished work. Though he uses traditional techniques and materials, he recognizes there is some chemistry involved. He has collected a voluminous assortment of raw ingredients, such as the cobalt used to make his deep blue pieces. He adorns the bottoms of his work with a small stamp bearing his signature, and he uses flower stamps as embellishments. His colours are vivid, vibrant and natural, and the techniques he uses to add effects, such as layering glazes, add texture and character. Glazing is a process that can, and often does, produce disastrous results for inexperienced and experienced potters alike. Using too much, or too little is easy to do, and Hoeck’s uniform work is a testament to the skill and consistency of his practiced hand.
His pottery is being shown in several art galleries in the area, and he is working toward expanding his online presence. Hoeck has a website where his work can be viewed and purchased: https://www.hoeckpottery.com/.
