piedpotterhamelin@COMCAST.NET on sun 10 aug 03
I am a redware potter. I adhere to the techniques found historically in New
England. Of course, the use of slip, glaze and the related patterns have their
European and perhaps, other influences. I am called a reproduction potter
because of the way my work is viewed and accepted by those who want Redware.
Now I am a redware potter because as I learned about the history of Redware in
New England I came to learn of several things. Most importantly the range and
size of the clay industries that were found and because of their closings, the
acceptance by people that neither clay or some sort of industry ever existed.
Currently, most clay used in Massachusetts is to cap landfills. Sheffield
POttery has several clay bodies based on their clay and one brickyard still
exists in Bridgewater. Massachusetts had an incredible range of pottery, tile,
brick and pipe making industries. Grinding wheels and kiln shelving were the
offshoot of one shop.
I am a redware potter who lectures on the subject and demands that our history
be recognized. My glaze and slips don't use colorants as some do in Redware
today, but to look like lead without using any. My materials are not litharge
and sand ground in mill but frits and other things. I demand much of my work
for what it represents and where I am in the continuation of the tradition.
I am a Redware potter. I feel my work is important. My research is valuable.
My dedication sound. If you chose to call my work reproduction it could be the
conclusion of your recognition and appreciation of my work.
I simply call myself, A Redware Potter.
If you find my work imitative, it is your choice. If you find it reproduction
and you admire it, it is your choice. My choice is to make what I know and
love.
Sincerely
Rick Hamelin
A Redware Potter
> Donn says:
>
> >>and make reproductions of some other cultures
> pots, and call them art. You might get a lot of money for the pots but they
> are still reproductions<<
> ____________________
>
> I think that one may throw around loose generalizations
> without really considering what they are talking about.
>
> Applying myself to the "art" of pottery making...
> I am finding it has alot more to do with craftmanship.
>
> One is attracted to a certain context of form
> of which is then explored and expressed in a personal way.
>
> For example a vase..this is a universal form.
> In essense, an upright cylinder...from which variations are generated.
>
> One naturally is attracted to the tradition of form
> in which through intuition and circumstance they come to "appreciate"
> Hence an affinity is established.
>
> The creative edge of the craftsman is very fine.
> It is not blatant.
>
> One may choose to copy...
> and there is a danger in that.
>
> I prefer to study what appeals to me as deeply as possible
> And then go about my work free from any preconcieved ideas.
>
> What I am after is Essence.
>
> I recognize it when I see it...
> both outside in the manifested world
> and inside where I am in tune with myself.
>
> It is a very specific feeling
> or vibration of energy...it tingles.
> and that is what I am after.
>
> One may too easily fall into the trap of labeling..."reproductions" etc.
> equally so the trap of "copying" and producing such.
>
> The "art" of the craftman is as much about
> avoiding the pitfalls as about reaching the pinnacles.
>
> It is a very fine line,
> one that very many people miss.. unfortunately.
>
> Bvcuma
>
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Bvcuma on mon 11 aug 03
Donn says:
>>and make reproductions of some other cultures
pots, and call them art. You might get a lot of money for the pots but =
they
are still reproductions<<
____________________
I think that one may throw around loose generalizations
without really considering what they are talking about.
Applying myself to the "art" of pottery making...
I am finding it has alot more to do with craftmanship.
One is attracted to a certain context of form
of which is then explored and expressed in a personal way.
For example a vase..this is a universal form.
In essense, an upright cylinder...from which variations are generated.
One naturally is attracted to the tradition of form
in which through intuition and circumstance they come to "appreciate"
Hence an affinity is established.
The creative edge of the craftsman is very fine.
It is not blatant.
One may choose to copy...
and there is a danger in that.
I prefer to study what appeals to me as deeply as possible
And then go about my work free from any preconcieved ideas.
What I am after is Essence.
I recognize it when I see it...
both outside in the manifested world
and inside where I am in tune with myself.
It is a very specific feeling
or vibration of energy...it tingles.
and that is what I am after.
One may too easily fall into the trap of labeling..."reproductions" etc.
equally so the trap of "copying" and producing such.
The "art" of the craftman is as much about=20
avoiding the pitfalls as about reaching the pinnacles.
It is a very fine line,
one that very many people miss.. unfortunately.
Bvcuma
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