Paul Lewing on mon 27 may 02
on 5/26/02 10:23 PM, BVCuma at bvcuma@PACIFIC.NET.IN wrote:
>>> ties in beautifully with another thread that's going on now,
> namely the one about who gets profiled in magazines<<
> =20
>>> It's why Craig's
> a Cover Boy and others are not.<<=20
> ________________________
>
> I guess you missed the latest in "Intergalactic Ceramica"
> The prefered periodical for clayart probabilities...
> I was featured as "Artist of the Eon"
> titled "Monumental Moment in the Millenium"..
> featuring my vessel "Transforming Swine into Divine"....
> =20
> Since when has the cover CM become the benchmark
> of validation for that which we do?
I guess I did miss that, since I don't have a clue what you're talking
about. But I also don't remember saying that being on the cover of CM was
some kind of ultimate in validation. On the other hand, is there anybody
out there who WOULDN'T view having a picture of one of their works on the
cover of CM as some kind of major validation? I know I sure would.
But that was hardly the point of my whole post. The point was that those who
do get the validation- the magazine covers, the grants, the show prizes, and
whatever else anybody would view as peer recognition- more often than not
goes to those who have done the work, made the tests, paid attention and
taken more care than others. That's called craftsmanship and
professionalism. Of course, we've all seen pictures on the cover of CM of
substandard work by lousy craftsmen, but not very often. And of course,
there are those who think all that stuff just goes to members of "The
Clique", but that's usually just paranoid rationalization.
My point was that for anyone who's really committed to doing the highest
quality work they can imagine, much less pull off, nothing is "too much
work", which is what the original post was about.
For that matter, if you were to ask the general population their opinion
about making pottery by hand, one at a time, and doing all the operations of
it yourself, "too much work" would be a pretty good consensus. So what does
that say about any of us?
Ababi on tue 28 may 02
Hello Paul
I see your first letter and this one too in the same way.
You are judging me for saying that Ian Currie's grid is too much work,
and if I understood correctly, that making "random tests" in my words
will not bring me to the cover of the CM.
In a way, me Ababi, the completely anonymous potter in Israel that
hardly sell his works is already a cover boy.
A member of my kibbutz who is in charge of a shop here, ( they are not
keeping my wares) told me they kept works of a potter from near by that
was known from here to Tel Aviv and offered me to see and imitate her
works. I thought to tell her I was known from Australia to Canada. So
I am a cover boy after all!
So, this is not the problem. The problem is : I can say, Ian curie's
way for me, Ababi, perhaps more for people is not the right, the
proper, or the convenient way to test. I think Curries way is a
beautiful way to "attack" a glaze. But again does not suits me!
A few words of my recent tests:
CaO
Replacing of whiting with Fluor with bone ash or both.
I have seen in David Hewitt's web site how you David test for colors
I admit, I do not have the patience for it. So what do I do?
I test let's say glaze Honey moon
add 3 copper oxide
I like it fine too strong or too weak I make another test.
So Paul
You see!
A0 Iam a cover boy
B) There is life beyond the CM
Ababi Sharon
Kibbutz Shoval- Israel
Glaze addict
ababisha@shoval.org.il
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm
---------- Original Message ----------
>on 5/26/02 10:23 PM, BVCuma at bvcuma@PACIFIC.NET.IN wrote:
>>>> ties in beautifully with another thread that's going on now,
>> namely the one about who gets profiled in magazines<<
>> =20
>>>> It's why Craig's
>> a Cover Boy and others are not.<<=20
>> ________________________
>>
>> I guess you missed the latest in "Intergalactic Ceramica"
>> The prefered periodical for clayart probabilities...
>> I was featured as "Artist of the Eon"
>> titled "Monumental Moment in the Millenium"..
>> featuring my vessel "Transforming Swine into Divine"....
>> =20
>> Since when has the cover CM become the benchmark
>> of validation for that which we do?
>I guess I did miss that, since I don't have a clue what you're talking
>about. But I also don't remember saying that being on the cover of CM
>was
>some kind of ultimate in validation. On the other hand, is there
>anybody
>out there who WOULDN'T view having a picture of one of their works on
>the
>cover of CM as some kind of major validation? I know I sure would.
>But that was hardly the point of my whole post. The point was that
>those who
>do get the validation- the magazine covers, the grants, the show
>prizes, and
>whatever else anybody would view as peer recognition- more often than
>not
>goes to those who have done the work, made the tests, paid attention and
>taken more care than others. That's called craftsmanship and
>professionalism. Of course, we've all seen pictures on the cover of CM
>of
>substandard work by lousy craftsmen, but not very often. And of course,
>there are those who think all that stuff just goes to members of "The
>Clique", but that's usually just paranoid rationalization.
>My point was that for anyone who's really committed to doing the highest
>quality work they can imagine, much less pull off, nothing is "too much
>work", which is what the original post was about.
>For that matter, if you were to ask the general population their opinion
>about making pottery by hand, one at a time, and doing all the
>operations of
>it yourself, "too much work" would be a pretty good consensus. So what
>does
>that say about any of us?
>________________________________________________________________________
>______
>Send postings to clayart@lsv.ceramics.org
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>settings from http://www.ceramics.org/clayart/
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
Timothy Sullivan on tue 28 may 02
I would agree that sometimes it feels like it's all "too much work", but
when
you get something out of the kiln that make your heart sing, all the work is
forgotten and you're off again. Failure is a great teacher, but even the
smallest success can be a terrific motivator.
Timothy Sullivan
Creekside Pottery
Marietta, GA
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