Edith Heath, the rebel ceramist and ‘alchemist’ who redefined the modern home

For 75 years, no agency has embodied the ethos of casually upscale California design fairly like Heath Ceramics. Based instantly after the second world warfare by Edith Heath, a largely self-taught ceramicist and potter, the corporate revolutionized home ceramics, remodeling the artwork type from stuffy tea units to versatile, fashionable dinnerware.

Now, a brand new exhibition co-curated by Heath skilled Jennifer Volland and the Oakland Museum of California (OMCA) celebrates Heath as a ceramicist, a chemist and an entrepreneur, one whose half-century profession helped set up California as a web site of mid-century modernism whereas elevating ceramics as a style.

“I consider her as an alchemist,” mentioned Drew Johnson, the curator of pictures and visible tradition at OMCA, the place the exhibition – the primary main, posthumous retrospective of her work – is going down.

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Johnson says that Heath’s playful type was the important thing to her experimental and finally revolutionary strategy. “I believe it comes from the concept that she was largely self-taught,” he says. “Most of her investigations into ceramic chemistry and glaze and the entire technique of growing a clay physique from uncooked clay into one thing she wished — it was from her non-public experimentation, which was actually rigorous.”

Edith Heath in her living room, 1950.
Edith Heath in her lounge, 1950. Photograph: Environmental Design Archives/Courtesy Environmental Design Archives, UC Berkeley

OMCA has been constantly displaying items of her work since its founding within the Nineteen Sixties however the exhibition is its first to sort out a retrospective of Heath’s work. Juxtaposing classic ashtray adverts and vitrines stuffed with low-rimmed Heath bowls, with illustrations of Heath’s fascination with the properties of clays discovered within the Sierra Nevada foothills, the present builds a portrait of a postwar Renaissance lady unafraid to upend notions of what ceramics may very well be.

Born right into a Danish American household in Ida Grove, Iowa, in 1911, Heath moved to California when her husband Brian took a job with the Crimson Cross. Barely two years after she took her first ceramics class, she had already received her first solo present at San Francisco’s Legion of Honor, a hit that she rapidly parlayed into her personal manufacturing facility.

Based mostly in Sausalito, an prosperous and traditionally artsy enclave simply throughout the Golden Gate Bridge from San Francisco, Heath Ceramics has lengthy functioned on the identical anti-aristocratic ideas because the Twenties Bauhaus, utilizing scientific ideas to make design accessible to California’s burgeoning center class. Some 75 years later, its high quality and sweetness could also be all however universally beloved, however Heath has at all times needed to reckon with a pressure between idealism and worth.

“Her stuff is dear,” Johnson concedes. “It’s not low-cost. And but she was very public in saying she was an egalitarian designer, making works for acasual life-style that was casual and never for the elite. She would admit, ‘Sure, my stuff prices a little bit greater than different folks’s, however it would final a lifetime.”

The Heath Ceramics factory floor, c. 1965.
The Heath Ceramics manufacturing facility flooring, c 1965. Photograph: Environmental Design Archives/Courtesy Environmental Design Archives, UC Berkeley

She by no means ceased tinkering. Fascinated by eutectics, the science of blending numerous metals into clay to change its properties, the Heaths would drive across the west coast, gathering buckets of native clays to take house and experiment with. This stood in stark distinction to the craft’s centuries-long use of white clay, most of it imported.

“We do attempt to make the purpose of Edith as a insurgent with the rejection of what had been historically used to make superb dinnerware,” Johnson says. “She mentioned, ‘No, I’m going to make use of these native clays that evoke the panorama.’”

A product of the decomposed granite that makes up the Sierra, these hardy native clays had largely been used for industrial functions, like pipes. Their capability to resist excessive warmth appealed to Heath, as did manganese, the metallic that provides Heath items their signature speckles.

Heath Ceramics, Creamer and Open Sugar, 1948. Stoneware, glaze.
Heath Ceramics, Creamer and Open Sugar, 1948. Stoneware, glaze. Photograph: Courtesy of the Brian and Edith Heath Basis.

Initially, her work earned little love from the institution. Its industrial attract – the upmarket San Francisco division retailer Gump’s was an early champion – offended what Johnson calls “arts potters”. Heath was additionally basically agnostic on the benefit of mechanical versus hand manufacturing, and her insistence that manufactured items developed from a home made prototype may very well be simply as aesthetically glorious as handmade items generated a lot mutual antipathy that she was requested to depart the San Francisco Potters’ Affiliation.

However because the years handed, her concepts and aesthetics proved forward of their time. Right this moment Heath plates and cups are staples at many Bay Space eating places, as a lot part of California’s vaunted meals tradition as seasonal produce.

The exhibition’s clearest demonstration of ceramics earlier than and after Edith Heath is available in a side-by-side comparability of her household’s china with a few of her personal work. The previous are bone-white and strikingly quaint, together with a fragile, poppy-patterned teacup and saucer that look as if they belong in a well-to-do midwestern farmer’s parlor. Heath’s early Coupe Line, against this, has a heat hue and an oven-friendly sturdiness that evokes the evolution of public style from Surprise Bread to artisanal, sourdough loaves.

Heath Dinnerware/Finest California Stoneware (brochure), 1948.
Heath Dinnerware/Best California Stoneware (brochure), 1948. Photograph: Photographer: CED Visible Sources Middle/Courtesy Environmental Design Archives, UC Berkeley

As her profession progressed, Heath moved into tile and constructing supplies, profitable industrial-design awards for her experiments. After a 1991 firestorm in Oakland killed 25 folks and destroyed 1000's of properties, she developed new concepts for fire-resistant building. By the point she died, in 2005, tastemakers had as soon as once more embraced the easy class of Heath’s aesthetic. As A Life in Clay proves, it stays an integral part of the Golden state’s relationship with postwar modernism – a key component of California residing, baked in a kiln.


This text was amended on 1 February 2022. An earlier model described the OMCA present because the “first-ever solo exhibition of Heath’s profession”. To make clear: it's the first main, posthumous retrospective of her work.

  • Edith Heath: A Life in Clay, is on show on the Oakland Museum of California from 29 January to 30 October 2022

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