Joan Berkwitz on sun 7 sep 03
The thread about slipcasting and rampressing continues to intrigue. An =
"art and craft show" or venue is mentioned, and it is said that =
slipcasting doesn't belong there because it isn't handmade (or =
handformed) So my question is....where is the rule that says it must be =
handmade? I don't sell at these venues, and indeed haven't been to one =
in a long time, and I am NOT asking in sarcasm or anything. I just don't =
remember that being entirely "handmade" was a requirement. Having sold =
at the Renaissance Faires, and at one local swap meet/artisans fest type =
place, there were many pieces that were either altered from manufactured =
pieces, or were cast and then hand painted differently. The glass in =
stained glass windows was almost always commercially manufactured. =
Leather work was cut out using big strong machines. Much of the pewter =
work was cast. Silver work is almost always cast first. =20
A pottery show that has a rule about handforming in its acceptance =
criteria is one thing, but is it really common that a craft festival =
accepts and condones only handformed ware? As long as the ware is =
properly represented??=20
And what about bronze casting? Or the beautiful tiles made for Arts and =
Crafts homes? How about engraved printing done by the artist? You know, =
where they engrave a metal plate and then ink it and press the paper =
onto it?=20
Since the bronze age, people have been using molds. They poured bronze =
daggers and spearheads, harness pieces, and jewelry. And the use of =
molds in pottery goes back farther than slipcasting. Older molds were =
bisqued clay, and the casting was made by pressing a slap of clay into =
each half, then trimming and pressing the two together. (Thousands of =
little Egyptian faience pieces were made this way, weren't they?) Very =
early people used woven baskets to form their coiled pieces over. All of =
these techniques used a form to create the original, which was then =
finished by hand. Where is the line between what is acceptable and what =
is not?=20
If a slipcast piece is then pierced by hand, taking hundreds of hours, =
is it still not handformed? If it is decorated with tiny sprigs cast in =
different colors, is it not handformed?=20
The question really is, to me....is it the FORM that must be =
handcrafted, the actual FORM? The shape, the walls? Can nothing be used =
to assist the artist? How about an extruder? How about one of those =
tables that makes the sheets of clay uniform? How about those shaped =
pieces that potters use to drag across the surface to make the shape of =
the turning ware? (You can tell that I am a slipcaster, because we have =
a different vocabulary)
And if the FORM is handmade, then is everything else moot? Is it okay to =
use commercial glazes, as long as you made the shape? Is it okay to use =
transfers? Can you use those little cookie cutters to cut out leaves and =
flowers and applique them? Is it cheating to use paperclay, a very =
nontraditional mix? How about those new clays with real silver? Is the =
potter who uses electronic controls for his kiln cheating?=20
To draw a circle around your own specialty and passion, and exclude =
everything else, is to erect a fence around yourself. To narrow your =
point of view and limit your options. You can choose to applaud good =
work, however it is made, however finished. You can choose to walk away =
from bad work, however it was formed. It just seems to this slipcaster =
that choosing just one aspect of "clay art", the forming of the shape, =
and deciding that the means of forming is the only criteria for =
"acceptance" is a little bit bigoted. By focusing on just one aspect, =
and disregarding all others, you narrow the vision and decrease the =
scope. It would be just as logical to say that "no matter where you got =
the ware, no matter how it was formed or by whom, as long as you make =
your own glazes from scratch you are legitimate. No one who buys =
commercial glazes should sell their wares and pretend that they are =
really artists." =20
It is a worthwhile and interesting discussion, because there are valid =
viewpoints on either side. Thank you for the opportunity to air my =
opinions. Whether my own specialty is "acceptable" or not, this forum =
has been a fun and valuable one, and I will continue to care about =
everyone's opinions, workshops, glaze recipes, and lives. We have more =
in common than we have differences. Respectfully, Joanie
Earl Brunner on mon 8 sep 03
I'm curious, has anyone mentioned on this thread Pete Scherzer's work as
shown in the September issue of Ceramic's Monthly? Pages 77-80. I don't
have problem with his use of slip-cast PARTS in his work.
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Joan
Berkwitz
Sent: Sunday, September 07, 2003 10:16 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: handbuilding criteria
The thread about slipcasting and rampressing continues to intrigue. An
"art and craft show" or venue is mentioned, and it is said that
slipcasting doesn't belong there because it isn't handmade (or
handformed) So my question is....where is the rule that says it must be
handmade? I don't sell at these venues, and indeed haven't been to one
in a long time, and I am NOT asking in sarcasm or anything. I just don't
remember that being entirely "handmade" was a requirement. Having sold
at the Renaissance Faires, and at one local swap meet/artisans fest type
place, there were many pieces that were either altered from manufactured
pieces, or were cast and then hand painted differently. The glass in
stained glass windows was almost always commercially manufactured.
Leather work was cut out using big strong machines. Much of the pewter
work was cast. Silver work is almost always cast first.
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