iandol on tue 11 apr 00
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Though I agree with much of Paul Taylor=92s posting to this thread, there is
another side to consider.
I recall an eminent Anglo Australian potter telling of his philosophy as it
related to sharing recipes
He had previously been approached at another workshop for the recipe of his =
very
special invention. He was asked for it=21 The student had anticipated it =
would be
given =22because that was what was always done by other potters=22. The =
potter
explained the glaze was not available. Irate workshop participant suggested
potter may wish to sell the recipe. The potter said he would think about =
that
and see the student at the end of the session. At the appointed time the =
student
approached the potter and asked for the price of the recipe. The answer was,
About twenty two thousand dollars. The student queried the enormous price. =
He
was told that was the value of the labour, fuel, materials, repairs to =
kilns,
etc. etc. that it had cost to develop and test that particular glaze over a
considerable period of time. Needless to say, no sale. But the potter =
pointed
out that if the student had paid attention throughout the demonstration, the
slide presentations and the lectures he would have all the skills to =
undertake
the task and the knowledge to understand the how, why and wherefore of glaze
formulation and development and would be able to synthesise his own glaze =
which
might mimic the original, or may even surpass it in beauty.
I can relate to this philosophy and to the effort which is needed to develop=
a
glaze. I recently posted a glaze which I developed ten years ago. That work
involved making several line blend tiles and six quad blend tiles each with
thirty six mixtures. Each tile required a hundred and forty four weighings =
to a
tenth of a gram, thirty six acts of mixing to uniformity, and thirty six
individual applications. Then there was the firing and assessment of each,
followed by new tests to confirm my initial judgements. And so far, nothing
about colour, texture, optical and other properties. All I had was a clear =
glass
glaze which fitted itself to the clay. Glaze development takes time, =
patience
and conscientious effort
Paul gives us prudent caveats to remember when we take concepts from another
clay artist. I add that it pays to return to basics, to absorb, then test =
the
fundamental principles of clay work by submitting ideas to the fire. If,
collectively or as individuals, we are unwilling to appraise and select
materials, weigh, mix, apply, fire, then observe and evaluate results, our =
art
and craft will stagnate. That stagnation is apparent each time we read =
review
articles which give recipes where titles suggest they have been borrowed. It=
is
not integrity or accolade of those most influential people who gave us our
foundations which I question. It is the stagnation and bankruptcy of
intellectual development which is inferred.
Regards to All.
Ivor Lewis. Not intending to rant or offend. Just needed space and time to
express my thoughts.
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