mel jacobson on tue 7 sep 99
one of the most interesting things about the uchida workshop in kyoto
was that we always knew ahead of time what the pots would look like.
when we did a series...(of course, that is how we made all pots)
uchida would set the piece on our workbench.
we would then take the tools, or make them, to create the pieces.
we would all throw the same pot. and it would be white.
pure white....as 80 %of his pots where.
when we did the 4,000, or so, tea bowls during the month of august 1971
we even had two throwers come on board, to help us.
that made 5 of us throwing all those bowls.
no one knew who's pots where who's.
but, we sure knew what they would look like coming from the kilns.
it helps.
that is sorta what professional means. it means that you can predict
with some accuracy, that what you do, will turn out.
it does not mean...never experiment, don't try new things, don't have
a pallet of glazes.
i have many....it is just that i have learned to use them....and do not
use every one, every time.
certain of my pots work better with certain glazes.
and, i do not read a recipe on clayart, run to the studio, make it..and
slather it on my pots.
dumb.
there are so many glaze books, recipes, ideas floating around, man it
is like a candy store..............or free booze.
so, the answer is:
so many glazes are the same.
look at the shinos....almost the same recipe.
malcom davis has given us a good one.
but, how you fire, what your kiln is like, how thickly you apply..how
long the pots sit on the shelf before firing...all have their affects.
your own style plays a very big role in what happens.
ron roy is totally correct in my opinion.
`see the pots, and think what color as you are working.`
kurt's deal is different.....he makes simple forms, keeps things well
designed...nothing is silly or `experimental`....
and, he is just like an old japanese sensai, he has people to make
the simple forms...he decorates. a perfect balance to craft.
they are his pots...they could be no one else's.
mel/mn
http://www.pclink.com/melpots
from minnetonka, minnesota, u.s.a.
Joyce Lee on fri 10 sep 99
Opinionated debate such as we find on Clayart makes my glazes melt!
Love it. Wish I knew more so I, too, could light your pilots now and
then. However, I keep remembering that escalation occurred when valued
claybuds responded to my mournful laments that I would never achieve
artist status, and still exert just a dram of control over my forms,
firing, glazes, and messy studio. I didn't hear anybody say that their's
was the only way. I just heard suggestions from buds who have come to
know ME somewhat, and who understand the way in which I work, and how I
feel about clay, and what I hope to achieve ... who understand and
accept my enthusiasm, passion, limitations, impatience and
self-involvement. The suggestions came from several different sets of
experiences. Hooray! What a grand group we are! Thank you for all the
help. I think I get it now.
Joyce
In the Mojave having spent the day with clayarter Sylvia Shirley here in
our desert... yes, our Sylvia who wasn't sure there'd be a place for
people like her at NCECA ... where the "ins" would shine and the rest
would be "wallflowers." She's just as nice, bright, articulate,
introspective, skilled, talented and in love with clay as any clayarter
I've met yet...and I've met some wonderful ones. I'm looking forward to
working with her over the next nine months...going to Art League with me
Monday. Nice? For me, yes.
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