Warren Heintz on sat 6 sep 08
I too saw an extensive show of Picasso's ceramics and I agree with what say=
about the "painting" as you put it. But what I also found interesting was =
his seeing more to the form than what was there.. Then by=A0cutting at the =
forms,rearranging it or adding to it from other pieces of pottery. Incorpor=
ating both the three deminsional and the two deminional in the final piece.=
It was a very enjoyable show.
Warren Heintz
--- On Sat, 9/6/08, Rikki Gill wrote:
From: Rikki Gill
Subject: Picasso's claywork
To: CLAYART@LSV.CERAMICS.ORG
Date: Saturday, September 6, 2008, 9:07 PM
I saw some wonderful examples of his clay pieces at the Picasso museum in
Barcelona last fall. I don't care in the least if someone else made the
form. =20
He is the one who did the painting. =20
It is also a good example to potters that paintings can be, for some people
like myself, the most important part of a pot. Talk about fish swimming
upstream. =20
Most potters feel that decoration is optional, form is everything. Well, f=
orm
is pretty major, to be sure. If the form doesn't work, nothing else will.=
=20
But I love to take a wide bowl and use my glazes and slips like paint. I l=
ove
to use my Deer tail brushes and my Sable brushes, even toilet brushes,[
specially purchased for the studio] batik, sumi, sponge brushes, slip trail=
ers,
anything I can think of to paint with. I am completely in love with the pro=
cess.
And maybe the best part is not knowing what it will actually look like w=
hen
it is finished.
Best,
Rikki Gill
rikigil@sbcglobal.net
www.rikkigillceramics.com
=0A=0A=0A
Lee Love on sat 6 sep 08
On Sat, Sep 6, 2008 at 9:07 PM, Rikki Gill wrote:
> I saw some wonderful examples of his clay pieces at the Picasso museum in Barcelona
>last fall. I don't care in the least if someone else made the form.
I agree. It is some kind of pottery snobbery that would exclude
painters from expressing them selves on clay surfaces. Especially
coming from anybody who is not actually working in clay themselves.
--
Lee Love in Minneapolis
http://heartclay.blogspot.com/
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Rikki Gill on sat 6 sep 08
I saw some wonderful examples of his clay pieces at the Picasso museum =
in Barcelona last fall. I don't care in the least if someone else made =
the form. =20
He is the one who did the painting. =20
It is also a good example to potters that paintings can be, for some =
people like myself, the most important part of a pot. Talk about fish =
swimming upstream. =20
Most potters feel that decoration is optional, form is everything. =
Well, form is pretty major, to be sure. If the form doesn't work, =
nothing else will. But I love to take a wide bowl and use my glazes =
and slips like paint. I love to use my Deer tail brushes and my Sable =
brushes, even toilet brushes,[ specially purchased for the studio] =
batik, sumi, sponge brushes, slip trailers, anything I can think of to =
paint with. I am completely in love with the process. And maybe the =
best part is not knowing what it will actually look like when it is =
finished.
Best,
Rikki Gill
rikigil@sbcglobal.net
www.rikkigillceramics.com
Steve Slatin on sun 7 sep 08
But Rikki ...
If we don't judge Picasso, the painter
and sculptor by the standards of his
pottery production, then how can we
look down on him?
Besides, I've heard a rumor that he
didn't even weave his own canvases.
Obviously, his failure to credit the
weaver as a co-producer of his work
shows that he was lower than snail
snot.
In view of Picasso's loathsome behavior,
I'd like to suggest that any and all
readers who have a Picasso (original,
not a copy) SEND IT TO ME. I give you
my work that I will dispose of this vile
fraud's products in an appropriate
fashion.
yours in high dudgeon --
Steve S
--- On Sat, 9/6/08, Rikki Gill wrote:
> From: Rikki Gill
> Subject: Picasso's claywork
> To: CLAYART@LSV.CERAMICS.ORG
> Date: Saturday, September 6, 2008, 7:07 PM
> I saw some wonderful examples of his clay pieces at the
> Picasso museum in Barcelona last fall. I don't care in
> the least if someone else made the form.
> He is the one who did the painting.
>
> It is also a good example to potters that paintings can be,
> for some people like myself, the most important part of a
> pot. Talk about fish swimming upstream.
> Most potters feel that decoration is optional, form is
> everything. Well, form is pretty major, to be sure. If the
> form doesn't work, nothing else will. But I love to
> take a wide bowl and use my glazes and slips like paint. I
> love to use my Deer tail brushes and my Sable brushes, even
> toilet brushes,[ specially purchased for the studio] batik,
> sumi, sponge brushes, slip trailers, anything I can think of
> to paint with. I am completely in love with the process.
> And maybe the best part is not knowing what it will
> actually look like when it is finished.
>
> Best,
>
> Rikki Gill
> rikigil@sbcglobal.net
> www.rikkigillceramics.com
Vince Pitelka on sun 7 sep 08
Rikki Gill wrote
"I saw some wonderful examples of his clay pieces at the Picasso museum in
Barcelona last fall. I don't care in the least if someone else made the
form."
Lee Love responded:
"I agree. It is some kind of pottery snobbery that would exclude painters
from expressing themselves on clay surfaces. Especially coming from anybody
who is not actually working in clay themselves."
I have always loved what Picasso did on the surface of those pots, and I
knew from the beginning that someone else made the forms. The same was true
of the great ancient Greek red-figure and black-figure pots. The
vase-painter was rarely the potter. The painters had greater or lesser
degrees of success in making the best use of the surface of the vase in
designing their decoration, and there are plenty of them that are awkward
despite the painter's technical skill. If you Google "Exekias" you can see
the work of a Greek vase painter who had an extraordinary ability to use the
surface of the pot to maximum advantage.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
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