Kathy Maves on tue 3 apr 01
Thanks Sotto Voce, for your astute comment. The double meaning of the
term form in this issue of on-line language makes me smile, just a little
bit. Surely, we have all been guilty of bad form in pottery, and in life.
The line between a comittment to excellence (in pottery & in life) and a
stifling correctness may be fine, and sensitive. However, I appreciate your
comments and Kelley's because they require far more courage and optimism
about this forum than an apathetic silence would require.
Electronic forums are inherently narrow-sighted. They deny us our usual
prejudices, as well as reveal them. Perhaps that is their greatest asset.
I have often enjoyed artimater's spirited discourse. I came to this
listserv and archives to learn. Today, I learn to not be made bitter.
Tomorrow, back to the old spirited discourse. I suppose that means I am also
ready to be denied my usual prejudices ; )
Because this is an e-forum, nothing goes without saying. Thanks again
for saying it. It's better to risk blowing things out of proportion, which
brings us back to the question of form (in pottery.)
Without a certain standard of "good form," aren't we soon reduced to the
aesthetic equivalent of bickering over semantics, pointing fingers and
redefining terms in an endless shuffle? I think sometimes we want to use
anatomical analogy when we find explanations daunting. That is how we end
up with the vague dissatisfactions of calling pots "obese, etc."
If you've ever made, or attempted to make, someone else's pots before,
you know how difficult it can be to "see" what someone else sees. Those
occasional flashes of insight into someone else's eyes are like the gift of
an original poem. They are always precious and intimate, even if you don't
like the verse.
Likewise, if you've ever had a gifted teacher, you know that moment of
suddenly "seeing" that fault in your work that you were blind to only a
moment ago. I believe this is the groundwork of understanding form, not
having common ground to stand on, but running side by side. I had the
blessing of a good teacher, and though I no longer need the authority of his
experience, I revel in seeing things much as he would. I suspect that some
of what we call "bad form" is caused by a sort of loneliness of the
mind/eye. Also, "good form" can often be found in people who are absorptive
of new ideas, almost like an avarice of the eye/mind. Some people's pots
seem such an extension of who they are, faults and all, that you love even
the faults. That such force of personality can come though belies the myth
that form is some ineffiable stuff. Still, I cannot say more than that I
know what I know. Opininions are cheap and I hope they stay that way.
I am glad I'm not the only one who struggles with the ideas of a
standard in form, or the language to describe it when I get there.
Kathy in Minnesota
--where my garden is sprouting in flats in the windows,
they want to go outside and play too.--
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