John Baymore on mon 11 sep 00
So until we reach this mastery stage we need to do it the it way suits us=
best. Some need to plan some,
need spontaneity, I don't really care how it happens!
Ah... so very well said.
But there-in ALSO sometime lies the problem.
Very often, we OURSELVES don't know which way suits us best. We often
have a strong opinion about how our current COMFORTABLE way is the best. =
But many times we don't explore OTHER ways enough to find out that there
might be another way that is actually more effective. Also... at differe=
nt
periods in our artistic development, different ways of approach often wor=
k
better..... so our optimal ways of working really do change with time. I=
f
we resist this change, or we don't know HOW to change, then we can progre=
ss
more slowly, stagnate, or hit the 3d equivalent of "writer's block".
This is where the role of a mentor or teacher often comes in. Or sometim=
es
a workshop leader.
The old Rolling Stones line comes to mind here........ "If you try
sometimes, you just might find, you get what you need."
(mel....if I am off base here putting some words in your mouth....... tel=
l
me to shut up .) =
This is a bit of where mel is going with his thought he has expressed, I
think. Remember....mel is a teacher. The connotations of the Japanese
word "sensei" probably is closer to it to describe him........ not only
teacher, but master artist, holder of great knowledge, treasured resource=
,
mature person with the perspective of much time in doing something, and s=
o
on. As a long term teacher, he has "been around the block" enough times =
to
have seen some apparent recurrent patterns in "seekers of understanding o=
f
things ceramic".
Generalizations are frequently bad things to make...... but they sometime=
s
hold a grain of truth in them...... and that being said........
Those of us who are long term teachers typically see general patterns fro=
m
the large number of students of clay over the years. Perspective on this=
overview comes with time and numbers. These patterns are affected and
developed by many diverse influences.... including cultural, educational,=
personality type (back to that Myer's Briggs thing) and other such
influences. It IS important to note here that SOME of these patterns we
individually see actually are developed by OURSELVES, from how it is that=
we teach . One aspect of a typical pattern that most any long term
teacher of clay here in the US usually finds in a certain block of studen=
ts
is the one that I think mel is addressing in his comments. If I and
others have seen it.... I am pretty sure mel has seen it too.
Here in the USA, we all want to be spontaneous and free. Don't box me in=
.. =
Formalizing a "plan" by giving concrete form to it on a piece of paper
seems too constraining, too limiting, too dry, too "designer" to many. T=
oo
tight a box. The heck with that skills and technique stuff first... I wa=
nt
to make art NOW. I don't want to draw... I want to make stuff out of cla=
y.
This approach to learnig to work with clay, I think, is very common in t=
he
USA.
But sometimes, approaches like doing large numbers of drawings of pots IS=
the right thing to do at a certain point in your development. In my
experience, and that of many other ceramics educators here in the US I ha=
ve
spoken to about this subject, this approach seems to fit a large percenta=
ge
of the US student population at some time in their development. For a
minority of others however, they really need to get away from that kind o=
f
pre-planning and heavy though process approach...... and loosen up and fe=
el
more....... and the exact opposite perscription is often in order .
As a teacher, I know that I don't really care how it happens either. My
job is to try to figure out, at the particular moment, "....the way it
suits us best" (as you say) for each individual I am dealing with and the=
n
lead, push, prod, drag, suggest, cajole, or whatever to get the person to=
head in that direction. Sometimes it is not easy to go there for either
teacher or student. The path is a long and winding one. Sometimes
student, the teacher, or both head down less productive paths and have to=
backtrack or detour.
Those who reach "mastery" level usually have explored much, listened
openly, have sometimes been brought up short by mentors and friends, ofte=
n
been dragged "kicking and screaming" into a new direction by some act of
some other person, have tried many things, repeatedly have risked and
failed, have invested much time, have searched their souls, and have
pondered the craft endlessly. In the end, true mastery implies a
functional blending of ALL the aspects of clayworking, I think.
I think true mastery level potters also tend to KNOW that they never
"ARRIVE" anywhere..... that it is an ongoing, continual explorative
journey.
Best,
.......................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752 (s)
800-900-1110 (s)
JBaymore@compuserve.com
John.Baymore@GSD-CO.com
"Earth, Water, and Fire Noborigama Woodfiring Workshop August 18-27,
2000"
Gayle Bair on mon 11 sep 00
Yes John I agree entirely.
I have even experienced what you described as
"often been dragged "kicking and screaming"
into a new direction by some act of
some other person"!
Now to digress slightly.
I cannot express in words the
appreciation and love
I have for all the potters
I have met in person and
via Clayart.
I have never had contact with
a more honest, down to earth,
giving, selfless, sharing,
unpretentious and truly talented
group of people.
I am honored to amongst you.
Gayle Bair-humbled
gaylebair@bainbridge.net
So until we reach this mastery stage we need to do it the it way suits us
best. Some need to plan some,
need spontaneity, I don't really care how it happens!
Ah... so very well said.
But there-in ALSO sometime lies the problem.
Very often, we OURSELVES don't know which way suits us best. We often
have a strong opinion about how our current COMFORTABLE way is the best.
But many times we don't explore OTHER ways enough to find out that there
might be another way that is actually more effective. Also... at different
periods in our artistic development, different ways of approach often work
better..... so our optimal ways of working really do change with time. If
we resist this change, or we don't know HOW to change, then we can progress
more slowly, stagnate, or hit the 3d equivalent of "writer's block".
This is where the role of a mentor or teacher often comes in. Or sometimes
a workshop leader.
Snip>.
Those who reach "mastery" level usually have explored much, listened
openly, have sometimes been brought up short by mentors and friends, often
been dragged "kicking and screaming" into a new direction by some act of
some other person, have tried many things, repeatedly have risked and
failed, have invested much time, have searched their souls, and have
pondered the craft endlessly. In the end, true mastery implies a
functional blending of ALL the aspects of clayworking, I think.
I think true mastery level potters also tend to KNOW that they never
"ARRIVE" anywhere..... that it is an ongoing, continual explorative
journey.
Best,
.......................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
Elca Branman on mon 11 sep 00
John Baymore is a very sane person; I thought his post on teachers,
teaching, students , styles and individuals well stated ,as well as being
well thought out.
We are always students in the sense of learning all our lives, but some
of us are advanced, in knowledge as well (as years hopefully )and we are
in a different place from people who are younger in clay.
Most of us are really quite clear as to the faults and virtues within our
working or living style , and sometimes change takes place, but it is
very slow and damned hard work...and yes, we never arrive ,but oh what a
delicious trip.
...
Elca.. at home in Sarasota,Florida,USA
elcab1@juno.com
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