Pamela Nagley-Stevenson moved to Canada to study ceramics at the University of Victoria after living in Hawaii. While she was a high school student at the Punahou Academy in Honolulu, she had the opportunity to study painting, art history and fine crafts. When she was a grade 11 student, the Honolulu Academy of Arts hosted an exhibition of vessels by renowned Japanese artist, Toshiko Takaezu [She was born to Japanese parents living in Hawaii]. Nagley-Stevenson went to her artist talks and repeatedly visited the exhibition. It seemed to draw the young student in like a magnet. She said, “Her work opened my heart in ways that defy words, and set me on the life path to become a studio potter.” Nagley-Stevenson thrived in Honolulu where students could take intensive summer courses in clay and in 1970, she enrolled full time as a ceramics student at the University of Hawaii. There she studied with Claude Horan and Patrick Myers-while also taking a minor in Asian art history.
As a student in Hawaii, Nagley-Steven was active in protests against the Vietnam War. She was part of the Hawaii High Schools Students for Peace and participated in the Peace March Campaigns and demonstrated to support Hawaiian Sovereignty, Native Land Rights, and the beginnings of the local environmental movement. “Classmates were fleeing the States for Canada to avoid the draft, the Trudeau Government was seen as being enlightened for that time, and coming to Canada suited my values and life goal to live close to the land as an artist working with clay.” In 1971, Nagley-Stevenson began her studies at the University of Victoria. “I was eager for the opportunity to go to Canada in those end times of the Vietnam War.” Unfortunately, on her arrival, the young student realized that the ceramic studios at the University of Victoria had closed. She worked instead in the printmaking studios and spent two years in painting and sculpture while immersing herself in Islamic art.
She says, “I left school abruptly for love in 1974, to join my future husband at an artist’s coop in Vernon and begin life as a working potter.” She put 500 lbs of clay, some glaze materials and a cone 8 electric kiln in the van and headed East. The couple first lived in the rural Coldstream Valley. Nagley-Stevenson says her early work was influenced by her knowledge of Asian art. She “married” it with a crunchy granola aesthetic resulting in some functional ware with “whimsical details.” The couple bought land in the Slocan Valley in 1976. “Land in the Kootenays was pristine and affordable, with a lovely counter-culture community of mountain-loving back-to-the-land self-employed artists. She was also able to teach at the Kootenay School of the Arts bringing in much-needed cash when sales were slow. The couple planted gardens and orchards moving as quickly as they could to a more self-sustaining life, one in harmony with nature. After the move, the young potter studied at the Banff Centre for the Arts taking workshops with Les Manning, Pete Voulkos, Mick Casson and Wayne Ngan amongst others. For fifteen years she produced highly decorated landscape pots that helped pay the couple’s mortgage and feed their two children. Nagley-Stevenson, like so many others, felt limited by what an electric kiln with its oxidation atmosphere could do and over the course of time, she moved to cone 10 porcelain fired in a wood kiln. Her first kiln was 16 cubic feet (2000) and today she fires a two-chamber 73 cubic foot wood-soda kiln which was built in 2008. Firing with wood was able to give Nagley-Stevenson a more natural look to the surface of the clay. Today she sells her work at her own studio in Winlaw, BC (by appointment), and at the gift shops and public galleries in Nelson and Castlegar as well as at special summer and holiday markets and tours.
Her work has been exhibited in Canada and the United States.