Meet Jordan Cleo Argrett | Ecologist & Folk Potter

We had the good fortune of connecting with Jordan Cleo Argrett and we’ve shared our conversation below.

Hi Jordan Cleo, let’s start by talking about what inspires you?
While I draw inspiration from a variety of sources, I’m most deeply inspired by nature. I was drawn to pottery because our materials come directly from the earth. There’s something grounding about working with clay; it carries the memory of the land, and I try to preserve that in my work.

In my practice, I strive to create pieces that are both functional and honest by intentionally preserving the natural qualities of the clay and the marks made during the process. My philosophy is to touch the work no more than necessary. I want each pot to carry visible traces of its transformation, from earth, to wheel, to fire. Ideally, when someone picks up one of my pieces, they can sense that journey and reflect on their own relationship with the land and the resources it provides.

I’m also greatly inspired by the legacy of Black potters, both historic and contemporary. Artists like David Drake, Jim McDowell, Ladi Kwali, and Paul Briggs have shaped my craft. Ceramics is not just a craft, but a vessel for cultural memory, resistance, and storytelling. Drawing from their work feels essential. I hope that what I make can be part of a broader conversation with them, and with the shared histories and experiences we carry.

Alright, so let’s move onto what keeps you busy professionally?
My journey as a ceramic artist has been shaped by solitude and community. In Athens, I’ve been fortunate to be welcomed into a vibrant network of potters, especially those dedicated to the atmospheric firing tradition. While much of my ceramic process, wedging, throwing, glazing, and cleaning, happens in quiet isolation, and that solitude can be meditative for me. The true magic happens in community, when we gather twice a year to fire our collective pots in an atmospheric kiln.

Wood-fired pottery is not for the faint of heart. It’s physically demanding and emotionally humbling. Before my first salt firing, I calculated that I had spent over 30 hours simply chopping and stacking wood. Firing a wood kiln, such as an anagama, is a collaborative effort. We work in shifts, stoking the fire, listening to the subtle crackles of ash and air dancing through the kiln. In those hours, between tending the flames, we share meals, stories, and pass wisdom from previous firings. It’s an intimate, ancient process that transforms earth into something unpredictable but beautiful. The process is quite intense on the clay, and losing 10, 20, even 50 percent of your work is not uncommon. However, the pieces that survive are some of the most beautiful and expressive pots I have ever laid eyes on.

I’m proud to be part of the Southeastern tradition of wood-fired pottery, using local clay, wood, and stone to create work that honors the past while reflecting my own philosophy and style. I’m especially grateful to live in a place where handmade work is valued, and where artists are respected for the labor and intention behind their craft. Regardless of where my professional path as an academic and ecologist leads, I am confident that wood-fired pottery and the community it builds will always remain central to my artistic practice.

Any places to eat or things to do that you can share with our readers? If they have a friend visiting town, what are some spots they could take them to?
I’m not the best host, but I’ll try, haha! I tend to stick to one activity per day and would take a friend to see all of my favorite museums and gardens! I am a big fan of the Atlanta Botanic Garden, especially the conservatory so we would go there first. Over the next few days, I would show them the Fernbank Museum and the High Museum. I spent most of my formative years within Emory’s Lullwater Preserve, so I would have to take them there. Lastly, we would go to a concert at The Eastern to see some of my favorite artists if they are in town. For food, we will have to hit up Zyka and Briryani Point in Decatur. We would have to make a trip to La Mixteca Tamale House on the way home to Athens, my current home. In Athens, we would visit the Georgia Museum, take a trip out to Comer, grab a coffee, and visit my pottery friends Tom Homann and Matthew Meunier. For brunch, we would stop by Little City Diner or Farmcart, and then show them the State Botanical Gardens here as well! Lastly

Who else deserves some credit and recognition?
I want to shout out my partner, Summer Blanco, with whom I collaborate in all my endeavors (@abc_clay). Summer makes me feel unstoppable and holds me accountable to my purpose. We started our PhD and pottery journey together, frequently collaborate on ceramic works, and have recently decided to undertake our first scientific project!

I also want to shout out my ceramics teacher, Kyle Jones (@sp3c__), who recognized my hunger and interest in pottery and brought me into the wood-fire community. Kyle provides the benchmark of quality in my eyes, and I want to understand clay as well as he does. I am proud to call Kyle a friend.

Lastly, I would like to acknowledge my grandmother for her dedication to improving the lives of our family and our community. She is an example of what our blood can do! Nani, if you are reading this, I love you, and I look forward to the next time we can sit down and share stories.

Website: https://jordanargrett.com

Instagram: @jordancleo.clay

Other: Email: jordancleoclay@gmail.com

Music: jordncleo.bandcamp.com

Image Credits
Jordan Argrett