Alleghany Meadows is a studio potter in Carbondale, Colorado. He received his BA from Pitzer College, Claremont, CA, and his MFA from the New York State College of Ceramics at Alfred University. Alleghany studied with Takashi Nakazato, Karatsu, Japan, received a Watson Foundation Fellowship for field study of potters in Nepal, and was an artist-in-residence at Anderson Ranch Arts Center. He has presented lectures, workshops and been a visiting artist at art centers and universities nationally and internationally, including Penland, Alfred, Kansas City Art Institute, RISD, Chicago Art Institute, Anderson Ranch, Archie Bray Foundation, Haystack and Good Hope, Jamaica. He exhibits nationally and is the founder of Artstream Nomadic Gallery, co-founder of Harvey/Meadows Gallery, Aspen, Colorado, and co-founder of Studio for Arts and Works (SAW), Carbondale, Colorado. He serves on the board of Haystack Mountain School of Crafts. His work is in numerous public and private collections, including the Museum of Fine Arts, Houston, Long Beach Museum of Art, and the Huntington Museum of Art, WV, where he was honored with the Walter Gropius Master Award.
My investigation is a search for beauty. It is an active search for emotion, feeling, content and form in objects for the home. My work is intimately connected through size, form and surface to the human body, to culinary rituals, to history and to our culture. I wish to make work which inspires creative decisions in actions such as preparing a soup or arranging a moment for tea.
I am fascinated by ways which my work can effect time and experience. Perception of the world is an evolving process directly linked to experience. We experience the world through our senses. Memory and my understanding of memory are connected to the sensuous experiences I have with material objects. A new teapot becomes familiar as I learn its subtleties, the pace and rhythm with which it pours, its weight and balance when full. Each experience of having tea engages my senses. Through time and use, the teapot acquires a patina of memory which reflects back these experiences.
Repetition and rhythm in my studio process are similar to autumn leaves on the forest floor, tracks of a bird in wet sand, ice crystals on a frozen stream — such patterns, although composed of repetitive elements, continually change without exactly repeating themselves.