Copyright 2015 Worley Faver Pottery  |  |  Follow us on FaceBook

They are the primary resources Worley uses to create the design of his pottery.Always drawing, since childhood, Worley Faver hoped one day to express himself successfully through watercolor or oil paint. Yet something was lacking. A musican friend pointed him in the direction of three dimensions. He suggested clay. And with his first pot, Worley's ideas and dreams took their true form.

The pieces are hand-built earthenware reflecting his original design. They are burnished and textured, rarely glazed. As closely as possible the clay is formed using methods that could have been possible in ancient times. Inspired by the ancients, he travels regularly to Santa Fe; exploring Pueblo history & encouraging his deep desire. . . his call to create.He studies ancient pottery, trekking to the Metropolitan Museum of Art in New York to sketch designs he considers sacred; he won't copy them for the same reason. All of Worley's designs are his own creations. Music in the background, a calming view of his gentle garden with it's flitterfull birdfeeders and a few basic tools get the potter started. In a days work, few coils can be rolled and smoothed into place; too many and the pot wouldn't hold it's shape. Drying to become solid enough to take more weight takes several days. One pot may be completely built in three weeks, then take another four to dry for firing. Worley's unique designs are mainly derived from his dreams and early morning meditation sessions. His hand-building and polishing techniques, akin to those of the Anasazi Indians (pre 14th century) assure that each one will be different. Ancestry, 5000 years old, is present in this earthenware . . . generations before wheels and glaze. His tools. . . a smooth stone for polishing, a Virginia walnut for texture and his hands. Worley may use 25 pounds of clean Georgia Red clay to make one large pot. He fires it in a kiln only because hunting and gathering material for the right kind of fire is no longer as easy as it was before current civilization. Still glowing from the kiln, the piece may be covered with various organic materials to achieve the desired color.

Worley Faver Ponte Vedra