Corinne Null on tue 2 jul 96
One of my teachers made an observation that just keeps haunting me. It was
about how pottery is such a fragmented art form. We make the form initially
when it is wet, fiddle with it when it is leather, dry it, fire once, glaze,
and fire again. Six steps, and none of them contiguous - they are all
disjointed with other unrelated tasks interspersed. There is no continuity
of sitting down and creating a picture, start to finish. I find it
difficult, when a pot is still wet, to see how I want it to look when it is
finished. Often I get to the glazing and say, what do I want to do with
this one?
I don't know what it is that haunts me about this, but it just does. Are
there other art forms as process oriented? How aware are you of this
disjointedness, and does it ever bother you, or do you relish it and find it
a blessing?
Just pondering, in the heat . . .
Corinne Null
Bedford, NH
cnull@mv.mv.com
Bill Aycock on wed 3 jul 96
At 11:34 PM 7/2/96 EDT, Corinne Null wrote: **** in part ****
>----------------------------Original message----------------------------
.. There is no continuity
>of sitting down and creating a picture, start to finish.
>
>. Are
>there other art forms as process oriented?
For two- try lithography or Photography
more-- bronze sculpture---(any casting process)---- serigraphy --
monoprints -- blown Glass -- Enamelled jewelry --
>
>Just pondering, in the heat . . .
>
Heat--- in New Hampshire ??
>
Really- there are probably more that have built-in delays than not-
(unless, of course, you confine ART to purely pictorial, flat objects
with the shaping of the visual contrast done purely manually)
Bill- heat index = 104 on Persimmon Hill
Valice Raffi on wed 3 jul 96
>----------------------------Original message----------------------------
>about how pottery is such a fragmented art form. *snip* How aware are you
>of this
>disjointedness, and does it ever bother you, or do you relish it and find it
>a blessing?
This fragmentation really used to bother me & I was very impatient with the
process. Somehow, over time, it has ceased to be a problem. It might have
something to do with the week I knocked something off the rafters onto
several drying pieces, & blew up a kiln load 'cause it wasn't really dry. (
I did, however, become somewhat "expert" at repairing things - now all my
friends call me when they have a broken piece)!
Valice
Toni Martens on wed 3 jul 96
> Often when I come to glaze it I wonder what shall i do with this
one................
While I'm wedging the clay,I'm dreaming about the finished
article.....I'm going to throw it just sooo and then this or that
glaze and it will do this....and.....Of course I don't always Do what
I dreamed(but I could change my mind in the middle of a painting too
couln't I.Of course if I did start painting everybody would have to
run for cover)
Then there are the times when the PROCESS doesn't do what I dreamed
and then it's a good idea for eveyone to run for cover anyway..
The only thing I personally find fragmented is my head,waiting for
the cooking and cooling
This list is the greatest I'm LEARNING and finding that potters out
there are super people
Cheers
Toni Martens...
Bob Kavanagh on wed 3 jul 96
Good morning Corrine
I walk with my feet, feel anxious with my chest/belly, hug my children with
my arms and eat with my mouth. Disjointed, fragmented? hmmmmm! Human,
yes.
bob kavanagh
>----------------------------Original message----------------------------
>One of my teachers made an observation that just keeps haunting me. It was
>about how pottery is such a fragmented art form. We make the form initially
>when it is wet, fiddle with it when it is leather, dry it, fire once, glaze,
>and fire again. Six steps, and none of them contiguous - they are all
>disjointed with other unrelated tasks interspersed. There is no continuity
>of sitting down and creating a picture, start to finish. I find it
>difficult, when a pot is still wet, to see how I want it to look when it is
>finished. Often I get to the glazing and say, what do I want to do with
>this one?
>
>I don't know what it is that haunts me about this, but it just does. Are
>there other art forms as process oriented? How aware are you of this
>disjointedness, and does it ever bother you, or do you relish it and find it
>a blessing?
>
>Just pondering, in the heat . . .
>
>
>Corinne Null
>Bedford, NH
>
>cnull@mv.mv.com
Claudia O Driscoll on wed 3 jul 96
Connie,
It struck me as I read your posting, that this is just why I love sawdust
firing. There is always the thought that the fires will have the last say on
the work...even though you might add slips, oxides, stains..etc. There is
a real joy about letting go of the pots...letting the fires do their work. I
suppose this is also true for those of you who glaze, but my choices are
somewhat simplified by the process.
claudia (claudiao@clackamas.cc.or.us)
ELCAB@delphi.com on thu 4 jul 96
I love the process because Im impatient and impulsive, and all
these breaks force me to look again, to rethink, to check my
too rapid pace...Elca Branman elcab@delphi.com
Barbara Webb on thu 4 jul 96
Corrinne,
I have two small children, a husband who travels, and a "gang" of
millitant PTA mothers chasing me around because I "don't have a job".
Fragmented is the only way I can work. If I had to find a block of time
large enough to actually start and finish in one stretch of time, I be
extremely frustrated as an artist. I love working in clay because it
helps ease my frustrations. Hey, the temp. in GA dropped 10 degrees! It
may shape up to be an okay summer after all.
Barbara Webb
barbara@fujikura.com
Marietta,GA
Kathryn Whipple on sat 6 jul 96
I have trouble seeing pots through to their final form, too. So often I just
fall in love with the roundnesses and spirals, and just don't see a glaze
for the thing at all.
Before circumstances prevented me from working in clay a couple of years
ago, i had just begun to understand my pots as metaphors in themselves...
so that the shape, energy, and character of the pot could be a three
dimensional stage for drawing and carving. I think it was the first time i
ever reached any sort of synthesis of form and decoration.
I've also decided it's okay to have some plain old one-glaze or no glaze
vessels. Sometimes the form's simplicity requires it. The trick for me is to
decide when the form requires it and when i'm just being lazy.
I was lucky to study with Linda Arbuckle at UF (Hi Linda), who not only
drilled us in
glaze chemistry, but introduced us to the decorative traditions of
practically every culture that ever made pots. Seeing all those infinite
ways of approaching surface/form relationships has been a rich education
to draw on.
Kathy Whipple
Brooker Fl, where it is really really really raining, but good.
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