Tom Wirt/Betsy Price on fri 9 nov 01
I hear the same critic, too. I think we all do as Chris so neatly
noted. It's the little voice that screams at us. But I've also
compared the production of straightforward functional ware, to the
production of the same by the "Unknown Craftsmen" of Korea whom Yanagi
wrote about as producing the most beautiful work in history. I don't
recall Yanagi ever saying that these pieces had to be of Korean or
Japanese origin or traditional design.
I do read his work as saying that Mingei says it is the pure
functional that is most beautiful. That there is tremendous beauty in
our everyday lives and in the quiet beauty of the purely functional.
No self consciousness...no ego statements....no artists statement.
The pot speaks for itself.
It's been discussed ad nauseam here but there is so much focus today
on the skin of the pot...the decoration....little on the insides.. its
form, functionality, quality of the making. I see it at shows
constantly...lousy forms, lousy throwing, corners cut in
finishing....but huge emphasis on the decoration and the glaze.
I've often repeated that we should look to Parieto's principal
here...the 80/20 rule. Spend 80% of your time making pots that you
"have" to make for a living...and try to save 20% for yourself. (Of
course, I've never been able to do this).
I've also noticed that the functional pot customer has a hard time
with decoration. A whimsical push of a rim to add some visual
interest elicits a "what's this for" comment. "Just decoration" does
usually satisfy them. But the point is, if you follow your muse, you
will develop a different customer base and you have to be prepared to
lose some good old time customers.
I'm reminded of Bob Briscoe (MN) who after 10 years of doing purely
functional said "if I ever have to do another set of dishes, I'll
scream." So he summarily changed to what he "wanted to do" and has
been extremely successful at the new work. You may need to change the
shows you do, or the shops you sell to, be prepared to weather some
slow periods as the new clientele develops....but maybe most of all,
decide what you really want from the clay. What's wrong with the
purely functional. For me, as a vote of one, I much prefer the
understated dignity of the well made and finished functional pot that
the "SEE ME" pots screaming from the pages of Ceramics Monthly.
End of Rant.
Tom Wirt
----- Original Message -----
From: "Imzadi D."
|
| As my artistic insides are screaming to develop my own unique style,
be more
| daring and alter and push the thrown forms to the limit, I actually
get great
| inspirations and ideas when working the clay.
|
|
| GRRRR! How do I shut up or befriend this functional critic? If I
made totally
| sculptural art, I think the inner critic would shut up. Plus it
would be so
| obvious to a customer how delicate the piece is. I walk into gift
shops and
| see fragile hand blown glass bowls and bottles and it is so obvious
to me
| that they should be handled with extreme care.
|
| But I keep thinking I'm going to get the customers from Idiot City.
For some
| reason I think items made from stoneware or porcelain should be
sturdy and
| strong. Having $60 to spend doesn't make them smarter. If anything,
it puts
| the pressure on me to make a piece that will last.
|
| |
|
