Susan Setley on mon 29 sep 03
In a message dated 9/29/03 10:29:57 PM, clennell@VAXXINE.COM writes:
<< It is also true that many potters
work well into their sunset years. Many of them work with a crook back and
buggered wrists. they do so because making pots is in their blood, their
minds, their hearts, their souls and a day without making pots is like a day
without air. >>
Of course.
I have a bad back, so I spread out when I wedge clay. I do a little at at
time and then wrap it up wedged.
Another woman has a bad wrist. She has a special tool she uses to open her
clay with. They make a special gadget that can fit on to your wheel to center
the clay. Usually it's for beginners, but I would think someone with hand
problems could use it also. Then it would just be a matter of finding the tools
(ribs, etc.) that suited your hand. Maybe what you made would be "limited" by
those instruments. But maybe it would open up whole new opportunities. Maybe for
someone who could press down better than shaping pieces up would end up making
wonderful plates and platters.
It's what you do with what you have, not how you moan and groan over what
you've grown past or whatever...
Robert Huskey on tue 30 sep 03
Guys , I think that it's really like this. After getting to where
you can throw a
12 in. tall pot an 1/8 in. thick in two pulls, throwing pots just gets too
boring. Then,
it's time to change media. Knock off a few paintings ( probably better than
Vermier's).
Bob Huskey --
Tallahassee , Fl.
> > This gentleman is a cripple, or so I understand from reading his post on
the
> > Digest today, Crook Back and Buggered Wrists. The fruits of a lifetime
working
> > clay to the limits. So he will never be able to oblige.
> >
> > Best regards,
> >
> > Ivor, Redhill, South Australia
>
. Many of them work with a crook back and
> buggered wrists. they do so because making pots is in their blood, their
> minds, their hearts, their souls and a day without making pots is like a
day
> without air.
> You got to be cruel to be kind- Nick Lowe
> cheers,
> Tony
>
clennell on tue 30 sep 03
Sour Cherry Pottery
> Dear Tony,
>
> You are being cruel.
>
> This gentleman is a cripple, or so I understand from reading his post on the
> Digest today, Crook Back and Buggered Wrists. The fruits of a lifetime working
> clay to the limits. So he will never be able to oblige.
>
> Best regards,
>
> Ivor, Redhill, South Australia
My dear Ivor: What a kind hearted soul you are. My aunt and uncle aged 84
and 94 respectively made pots until the very day they died. Casson the 2nd
rate potter stares 80 square in the eye, Cardew, Leach and Hamada also
poorly rated worked well into their eighties. your heart weakens for a 59
year old that worked with his back instead of his head and his heart. may be
here lies the difference between the studio potter and the thrower.
I think that studio potters start to hit their stride when in their 50's and
on into their sunset years. Some of our Clayart friends have had health
problems and my heart goes out to them. It is also true that many potters
work well into their sunset years. Many of them work with a crook back and
buggered wrists. they do so because making pots is in their blood, their
minds, their hearts, their souls and a day without making pots is like a day
without air.
You got to be cruel to be kind- Nick Lowe
cheers,
Tony
iandol on thu 2 oct 03
Dear Robert Huskey,
You suggest <1/8 in. thick in two pulls, throwing pots just gets too boring. Then, =
it's time to change media.>>
At this point abandon consciousness of your abilities as a machine and =
devote your imagination to the clay. Given a bit of shape, these forms =
become a prime canvas for water etching or other bas relief processes, =
selectively reducing the thickness of the clay till it is razor blade =
thick, or even thinner. Fired to maturity, with or without a glaze, =
porcelain reveals the Soul of Light. Think of the meaning of the =
quotation in a previous post about the Universe in a Tea Bowl.
Best regards,
Ivor Lewis. Redhill. South Australia
| |
|
