clennell on fri 12 sep 03
Taylor wrote:
> If people would not assume that to withhold the term
> "handmade" from someone's work is some veiled insult some
> some cracks would disappear. Not Vince's cracks mind
> you but perhaps some of ourun. I know that when my elbows
> and wrists begin to go (maybe sooner than you think) I
> am going to look at whatever method keeps me in clay.
> It's just too fun to stop.
Dear Taylor: Being in college taking ceramics is fun! Working in your
studio on one off pots is fun! Working in a full
blown high volume industrial pottery standing behind a press is not fun!
My friend has a pottery complete with press. He hires people from Community
Living to stand behind the press. Sorry, I don't know how to be PC in what a
person from Commuity Living is- special needs? mentally challenged? Most
people wouldn't want to stand there hour after hour watching this press go
up and down. You don't buy a press cause your wrists hurt. It is a big
investment and lots of skill and work to make the hydrastone molds. You'll
need a mini forklift to lift the damn molds and a warehouse to store them
in. You buy a press to increase volume, not so that you can continue on the
fun pile.
Why don't you learn to make good pots, so that in your sunset years you can
make fewer more expensive pots. I think it would be sad that your final
years would be spent in an industrial setting.
Put my crack to the wall along with Vince and David.
cheers,
Tony
Tony and Sheila Clennell
Sour Cherry Pottery
4545 King Street
Beamsville, Ontario
CANADA L0R 1B1
http://www.sourcherrypottery.com
clennell@vaxxine.com
Lee Love on sat 13 sep 03
----- Original Message -----
From: "clennell"
> Why don't you learn to make good pots, so that in your sunset years you
can
> make fewer more expensive pots. I think it would be sad that your final
> years would be spent in an industrial setting.
If you are careful, and your genes co-operate, you can keep potting
until a ripe old age. My teacher, in his middle 80's, did the work of 4
20 year olds while I was there. Not only making pots, but always having
time for visitors, judging shows, serving on foundation boards, traveling
around the world, and spending whole weeks in Tokyo and elsewhere, greeting
the people who come to his shows.
Clay can help keep you young. Think for the long run.
Lee In Mashiko
Wood Fire list
Send email to;
WoodKiln-subscribe@yahoogroups.com
Malcolm Schosha on sat 13 sep 03
> Dear Taylor: Being in college taking ceramics is fun! Working in
your
> studio on one off pots is fun! Working in a full
> blown high volume industrial pottery standing behind a press is
not fun!
> My friend has a pottery complete with press. He hires people from
Community
> Living to stand behind the press. Sorry, I don't know how to be PC
in what a
> person from Commuity Living is- special needs? mentally challenged?
Most
> people wouldn't want to stand there hour after hour watching this
press go
> up and down. You don't buy a press cause your wrists hurt. It is a
big
> investment and lots of skill and work to make the hydrastone molds.
You'll
> need a mini forklift to lift the damn molds and a warehouse to
store them
> in. You buy a press to increase volume, not so that you can
continue on the
> fun pile.
> Why don't you learn to make good pots, so that in your sunset years
you can
> make fewer more expensive pots. I think it would be sad that your
final
> years would be spent in an industrial setting.
> Put my crack to the wall along with Vince and David.
> cheers,
> Tony
:::::::::::::::::::::::::::::::::::::::::::::::
Tony,
This is a VERY simplified version of the situation. It is possible to
produce cast pottery in small volume in small studios that produce
very high quality pottery. I have seen such studios.
I have also seen pottery workshops that throw five tons of clay a
week. This is mass production, even if everything is made on the
wheel.
Malcolm
clennell on sat 13 sep 03
Sour Cherry Pottery
> Tony,
>
> This is a VERY simplified version of the situation. It is possible to
> produce cast pottery in small volume in small studios that produce
> very high quality pottery. I have seen such studios.
>
> I have also seen pottery workshops that throw five tons of clay a
> week. This is mass production, even if everything is made on the
> wheel.
>
> Malcolm
Malcolm: Where in my VERY simplifed post did I state that all handmade work
was high quality? Some of the ugliest pots I've seen are thrown. Making
small runs of slip cast work can very exciting. Making a mold for slip
casting and making one for a press are two entirely different things. You
don't make a steel clad hydrastone mold for a press to make a few dozen
plates.
I did however infer that one buys a press to increase volume and making
volumes of any one thing is not fun.
Mass production is not the salvation of the ageing potter. I see it as a
step backwards and not forwards for a studio potter.
Cheers,
Tony
Tony and Sheila Clennell
Sour Cherry Pottery
4545 King Street
Beamsville, Ontario
CANADA L0R 1B1
http://www.sourcherrypottery.com
clennell@vaxxine.com
Des & Jan Howard on sat 13 sep 03
Well there you go!
I'd look at the weight of the moulds, the height of the press,
the distance to the store, think...mmm...how about
an hydraulic trolley, double scissors lift, 2 ton bottle jack,
4 semi pneumatic wheels, lawnmower handle,
check out my junkyard, crank up the welder.
Final years in an industrial setting is a
bloody sight better than some final years settings I've nursed in.
Still luvya Tony
Des
clennell wrote:
> Most
> people wouldn't want to stand there hour after hour watching this press go
> up and down. You don't buy a press cause your wrists hurt. It is a big
> investment and lots of skill and work to make the hydrastone molds. You'll
> need a mini forklift to lift the damn molds and a warehouse to store them
> in. You buy a press to increase volume, not so that you can continue on the
> fun pile.
> Why don't you learn to make good pots, so that in your sunset years you can
> make fewer more expensive pots. I think it would be sad that your final
> years would be spent in an industrial setting.
--
Des & Jan Howard
Lue Pottery
LUE NSW 2850
Australia
Ph/Fax 02 6373 6419
http://www.luepottery.hwy.com.au
Janet Kaiser on sun 14 sep 03
>Mass production is not the salvation of the ageing potter. I see
it as a
>step backwards and not forwards for a studio potter.
Ray Finch of Winchcombe Pottery is the oldest working potter I
know personally and although he is officially "retired" you only
have to look at the photos Jacqui K. took of the firing and
unloading of Joe Finch's kiln at Aberystwyth 2003 to see that a
true Master Potter never retires or gives up until he goes to
meet the Great Master Potter in the Sky. He may look like he is
just pottering around, but all that wisdom he has in his head and
hands is far too precious to be wasted on "mere production". And
what an awesome tradition he is upholding and been passing on to
generations of young potters as the inheritor of Michael Cardew`s
workshop, methods and aesthetic...
What a Pot Idol! I bet he never even contemplated making slip
cast work "to keep his hand in". Heaven forbid!
Sincerely
Janet Kaiser - see Aberystwyth 2003 at
http://www.clayart.fsnet.co.uk/archives.html
also on Russel Fouts' site http://www.mypots.com
and May Luk's
http://yamerica.users.btopenworld.com/Aberystwyth.html
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clennell on thu 13 jul 06
Sour Cherry Pottery
> _________________________________________
>
> About a dozen clayarters have already gotten with me
> on it, so your estimation of their willingness to help
> is mistaken.
>
> The thing I mentioned was not a list of presenters,
> but a list of crit people. And you were not on it
> because you never seem to need an invitation to speak
> your mind. And add to it that I have indeed sent you
> a pot to look at (when you were chastising Lili about
> showing you her work) and you had basicly nothing to
> say. Which is cool. Nothing is better than trashing
> it, I suppose. I imagine it is in your shard pile and
> that is fine. It was a small pot, only to show you
> the surfaces I got out of my chimney kiln.
>
> If in your fit of pique, you have decided that I don't
> care what you think, you are right only to the extent
> that I do not care any more than about anyone else's
> opinion, especially since my field of clay is largely
> decorative and you don't really do that. So it's all
> good, Tony.
E: Firstly you sent me a small pinch pot long after my spat with Lili. I
thanked you for your generousity and kindness. I apologize for not knowing
you wanted more than that. Your pot is nestled among some of the best pots
made in Europe, Canada and the US. The Clennell Collection is not too shabby
a place to reside- John and David Leach, Ray Finch, Casson, Chalke,
Cochrane, Selfridge, Roy, Willoughby, Tipton, etc, etc..
To crit someones work based on a tiny pinch pot or looking at the computer
is asking the impossible. I can't feel, see attention to detail, weight,
nuttin!!! One side, maybe it's cracks to the wall. And look at how quickly
you misbehave. Frankly, I don't need it and that's why I took a pass. If I
say luving things I'm a good guy, if I say nothing or give you a crit I'll
be a shit, so I'm quite happy to be in the outhouse with my mouth shut.
I don't think your ego is in danger of me since you think getting published
in CM is next door to having your work reviewed by Garth Clark the owner of
probably the most expensive and exclusive ceramic gallery in the world.
Many of us on Clayart have been published many times and there are hundreds
upon hundreds of galleries we need to contact before we think of 57th Str in
NY>- Garth Clark and quite frankly better ones for functional potters.
You 're stepping up to submit to CM is great. I'm proud of you and any
Clayarter that does.
Off to fire a woodkiln with Bruce and the Sheridan gang. Nice company to
hang with.
Best,
Tony
Tony and Sheila Clennell
Sour Cherry Pottery
4545 King Street
Beamsville, Ontario
CANADA L0R 1B1
http://www.sourcherrypottery.com
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