Articles

"I remember my introduction to white clay. I was standing by my favorite wheel one day, near the end of my art schooling at Montana State, when I was given a ball of white stoneware to try. I threw a tumbler, decorated it with black slip, and later covered it with clear glaze. When I saw the black-and-white contrast on the fired piece, I was hooked. Ever since then, I have been working with porcelain fired to Cones 10 and 11 in reduction..."

David Beumée, (excerpt) "Porcelain Bodies for Potters, Recipes, Testing, and Mixing”,  Ceramics Monthly, January 1994, pp. 38-42
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"I think it's time that potters were given more tools and information to find out about the stoneware and porcelain clay bodies that they use. My own bias is toward making one's own clay, because in the process the artist becomes close to the source of their materials when changes need to be made...  I want to present a process by which potters are able to generate their own clay bodies, because clay is the most important material we use. I understand all too well the time constrains placed on all of us who wish to make a living from sales of our work..."

David Beumée, (excerpt) "High-fire Stoneware 
and Porcelain," The Studio Potter December 2003, Volume 32 #1, pp. 41-50 .
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"(David Beumée) One of the youngest artists represented at the Kirkland museum, this widely respected clay artist builds on many of the technical and stylistic traditions represented in the collection."  

(Excerpt) The Denver Post "A Home for Colorado Art," December 21, 2003
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