Marsha Van Vlack’s work is a combination of many clay-forming techniques, most pieces are formed by using the potter’s wheel and hand building together. Once a piece is formed, Van Vlack burnishes the areas of clay that will remain unglazed, although this is time-consuming, the smooth sheen finish is worth it. All work is bisque-fired before glazing, Van Vlack uses raku and saggar firing techniques. Each technique uses organic materials for unexpected and unique effects: the black from the smoke reduction or the mark of a feather keeps each firing fresh and exciting. To complete the pieces, Marsha does some sort of post-firing work by using metallic leaf, Egyptian paste beads, wire, cording, or weathered wood for accent. Some pieces are assembled so that she can include different firing techniques into one piece. Van Vlack says, ‘with its never-ending possibilities, clay never seems to get old’.