Cynthia Bringle
A Fiery Influence
by Phyllis Blair Clark
Wood-fired, salt-glazed candlesticks, to 10 inches in height,
wheel-thrown and faceted stoneware, 1999, by Cynthia Bringle.
“Its about time” were the first words that came to
mind upon hearing of “Cynthia Bringle: A Fiery
Influence,” the retrospective exhibition recogniz­
ing her 30+ years as a potter and mentor. Con­
ceived by North Carolina ceramists Gay Smith
and Michael Sherrill, and organized by the South­
ern Highland Crafts Guild, the show also fea­
tured works by 23 potters whose careers were
April 2000
influenced by Bringle. It opened at the Folk Art
Center on the Blue Ridge Parkway near Asheville,
North Carolina, then traveled to North Carolina
State University at Raleigh.
Mention the name Cynthia Bringle to any
group of potters, and other words will soon fill
ones ears. Stories about this unassuming, but
dynamic and influential woman, who many refer
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North Carolina potter Cynthia Bringle brushing oxide decoration
on bisqueware in her Penland studio.
to simply as C.B., are as varied as the speakers
themselves. Her guidance, quiet words of encour­
agement and insightful critiques have shown more
than one potter the path for which he or she had
searched, but had been unable to find. In fact,
Michael Sherrill calls Bringle the “patron saint of
clay, because her door has always been open to
those who sought help or understanding.”
A consistent theme in everyone’s story is her
devotion to clay and willingness to share. There
are memories of blueberries, pepper jelly and
homemade bread, lighthearted fun, and serious
conversations regarding clay and life.
Bringle began working with clay at the Mem­
phis College of Art, where she had enrolled as a
painting student. A required ceramics class
changed her interest in painting to an in-depth
study of and devotion to clay. With a B.F.A. in
hand, she went on to a summer program at Hay­
stack Mountain School of Crafts in Deer Isle,
Maine; while there, she met Daniel Rhodes, who
inspired her to further her education at the New
York State College of Ceramics at Alfred.
Upon completion of an M.F.A. from Alfred,
Bringle was determined to have a career as a
studio potter. It was the early 1960s, and very few
women were encouraged to make this choice, but
she was not one to be intimidated by the precon­
ceived ideas of others. She started a pottery from
scratch, gathering up bits and pieces of materials
to create a studio and a rustic living space. During
what she referred to as her “vacations,” she taught
workshops at Penland, Haystack and Arrowmont.
In 1970, encouraged by Bill Brown, director of
Penland School of Crafts for 20 years, she became
part of this community of talented craftspeople.
Near the school, Bringle constructed a new
home and studio—from the ground up. The
large studio with window walls looking out over
mountain meadows is truly extraordinary, one
that would incite envy in the hearts of many
craftspeople. Pieces in various stages of produc­
tion, from just thrown to fresh from the kiln, are
everywhere. The latter sit quietly on the shelves
and tables, waiting to be critiqued by their cre­
ator. Although produced from several different
clay bodies, using various methods of forming
and firing, all of her works display the elegance
and competence with which they are made—be
Wheel-thrown stoneware place setting, 1977, by Cynthia Bringle; used in
the White House by Rosalyn Carter when entertaining Senate spouses.
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CERAMICS MONTHLY
they wheel-thrown stoneware to be used daily in
the kitchen or slab-built raku murals.
Through sessions at Penland School of Crafts
and workshops around the country, she has shared
her knowledge with many students, guiding and
encouraging those who despaired, reveling in the
accomplishment of those who reached their goals.
As Gay Smith noted in the exhibition catalog,
“Cynthia has taught, propelled, nourished and
advised me in my work more than ten years. The
value of this is incalculable.”
Similarly, Lenore Vanderkooi of Nashville, Ten­
nessee, recalled studying pottery “in the mid ’70s
when Reitz, Voulkos and Soldner were kings. In
this beer-drinking, macho world of clay, Cynthia
became my much-needed model and mentor.
Her stories empowered me. She continues to be
an inspiration each time our paths cross.”
McKenzie Smith, Atlantic Beach, Florida, was
a work-study student at Penland in 1985-86.
One of his fondest memories is of watching Bringle
throw. “Cynthia is an amazing thrower—one of
the best in America. The way she moves clay is
magical. She has an assured touch that has in­
spired me every time I have watched her work.”
Maine potter Mark Bell concurred, recalling
that when he first saw her work, he “was instantly
Covered jar, 13 inches in height, wheel-thrown and carved
stoneware, wood fired, salt glazed, 1997, by Cynthia Bringle.
Carved vase, approximately 6 inches high, Fluted bowl, 12 inches in diameter, glazed stoneware,
porcelain, 1999, by Cynthia Bringle.
with iron brushwork, 1995, by Cynthia Bringle.
April 2000
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Vase, approximately 6 inches in height, wheel-thrown
and altered porcelain, by Mark Bell, Blue Hill, Maine.
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CERAMICSMONTHLY
Glazed stoneware covered jar, 6 inches
in height, wheel thrown and altered,
by Neil Patterson, Philadelphia.
Bottle, 11 inches high,
by McKenzie Smith,
Atlantic Beach, Florida.
mesmerized watching her throw with such ease
and confidence. Her pots were full of spirit.”
Neil Patterson, Philadelphia, wrote that while
attending the Cleveland Institute of Art, he heard
of this “great potter” named Cynthia Bringle.
Then he became a core student at Penland, and
was her neighbor for two years. “I always admired
her willingness to experiment, her incredible fa­
cility working with clay, and her integrity. Cynthia
was also very supportive of the young potters who
would come to Penland. I will never forget the
little jar that she bought of mine at my first show;
it meant more to me than if I had just received an
NEA [National Endowment for the Arts] grant!”
These are just a few of the people reflecting
Bringles “fiery influence” over the past 30 years.
There are innumerable others who have been
affected by her teaching, and benefited from her
advice. “I like to teach the way I wished someone
had taught me” is her simple response to com­
ments about the success of her teaching style.
Andrew Glasgow, director of programs and
collections at the Southern Highland Craft: Guild,
sums up the impact of Cynthia Bringle s accom­
plishments well: “One can only surmise that if a
person follows her dream and works hard, is kind,
good and talented, she will make a difference in a
few lives....The fact that you see strong individual
potters making their own statements is the great­
est testament to her abilities as a teacher. To em­
power without overwhelming, to teach and enable
a student to retain his or her individualism.. .this
is the legacy illustrated by these works.” ▲
“Tripod Basket Vase,” 24 inches in height, stoneware
and willow, by Lenore Vanderkooi, Nashville, Tennessee.
April 2000
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