May Luk on tue 21 oct 03
glazes)
Dear Janet:
I'm going to say something very bold here;
Art? Are you mad?!? There's no art if there's no craft!!
But you know that.
BTW: Ceramics is not the next video (Ref: Grayson Perry)
I would think glaze chemistry and the refining of the technique is the
backbone of ceramics. Like anatomy to figure drawing; perspective and
materials to the architects; typesetting and computer for the graphic
designers; boring stuff, but the price for admission.
Conceptual and artistic expression is a fine thing, but if one does not know
the material/grammar/technique to express it, the expression is limited.
There's a shelf life for hacking with your "art"
I second your thoughts about the diabolical state of ceramic education in
the UK. I have a chinese perspective about learning, especially craft;
discipline and hard-work. That's why I question it from day one. I'm the
dingbat who asked my tutor last week which school is good to go to for
learning how to throw like a production potter. I keep looking in all the
wrong places :-)
Warmest Regards
May
Rikki Gill on tue 21 oct 03
glazes)
Hi May,
A Question;
I saw Grayson Perry's work at the Saatchi in September when I was in London,
and was quite impressed with his work. Of course, his subject matter such
as, "We have found the body of your child" is amazingly different from usual
ceramic themes, and, " Golden Ghosts" with little girls and coffins sketched
in gold, graffito, glaze etc. on earthenware vase forms not your usual
items such as found at the Percival David [which I loved].
I couldn't tell what you were saying about his work, so I wonder what you
think of it. Surely as an artist he is the equal of any artist in that
gallery, and certainly takes ceramics down a road infrequently traveled.
I hope I don't sound confrontational, I just wonder what you, obviously much
more familiar with his work than I am, think about it. Do you think he
found and exploited a niche? I found his ceramic technique quite
acceptable, form pretty good. Decorative style totally original.
Thanks, Rikki
rikigil@cwnet.com
www.rikkigillceramics.com
----- Original Message -----
From: "May Luk"
To:
Sent: Tuesday, October 21, 2003 4:06 AM
Subject: Re: A little JFK rant from a UK perspective (was: Learning about
glazes)
> Dear Janet:
>
> I'm going to say something very bold here;
> Art? Are you mad?!? There's no art if there's no craft!!
> But you know that.
>
> BTW: Ceramics is not the next video (Ref: Grayson Perry)
>
> I would think glaze chemistry and the refining of the technique is the
> backbone of ceramics. Like anatomy to figure drawing; perspective and
> materials to the architects; typesetting and computer for the graphic
> designers; boring stuff, but the price for admission.
>
> Conceptual and artistic expression is a fine thing, but if one does not
know
> the material/grammar/technique to express it, the expression is limited.
> There's a shelf life for hacking with your "art"
>
> I second your thoughts about the diabolical state of ceramic education in
> the UK. I have a chinese perspective about learning, especially craft;
> discipline and hard-work. That's why I question it from day one. I'm the
> dingbat who asked my tutor last week which school is good to go to for
> learning how to throw like a production potter. I keep looking in all the
> wrong places :-)
>
> Warmest Regards
> May
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
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>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
>
Malcolm Schosha on wed 22 oct 03
glazes)
May,
Actually the two halves must fit together perfectly; that is
technical accomplishmant and artistic concept need to work together
to get the best results. So, while you are working on the problems of
technique, you should also be working on developing the ideas
(artistic vision) that you will eventually express with the
technique you are developing. The best way to develop visual ideas,
and visual concepts, is by drawing. If you draw a lot, the ideas will
be there when you need them. Just about any subject for drawing is
good; draw your ideas for pots, figure studies, copies of pottery you
like, etc.
It is (I think) impossible to learn production throwing in school.
When I was studying in Italy, I had two very good throwing teachers
(both actually worked as production throwers), and arranged extra
throwing time at the school. I also bought an old Italian kick wheel
and practiced at home, a lot. Dispite all the effort I put into it, I
was just barely good enough to find a studio in Sesto Fierentino
where the owner agreed to give me a try. I learned everything about
throwing starting at that point; that is I learned everything about
throwing at the studio, and everything I learned before was left
behind.
If you start looking for throwing work at pottery production studios,
you will see that not all production throwers have a very refined
technique. Most work being produced is rather crude. Try to find
someone with a sophisticated technique.
Good luck with your studies.
Malcolm Schosha
Brooklyn, NY
--- In clayart@yahoogroups.com, May Luk wrote:
> Dear Janet:
>
> I'm going to say something very bold here;
> Art? Are you mad?!? There's no art if there's no craft!!
> But you know that.
>
> BTW: Ceramics is not the next video (Ref: Grayson Perry)
>
> I would think glaze chemistry and the refining of the technique is
the
> backbone of ceramics. Like anatomy to figure drawing; perspective
and
> materials to the architects; typesetting and computer for the
graphic
> designers; boring stuff, but the price for admission.
>
> Conceptual and artistic expression is a fine thing, but if one does
not know
> the material/grammar/technique to express it, the expression is
limited.
> There's a shelf life for hacking with your "art"
>
> I second your thoughts about the diabolical state of ceramic
education in
> the UK. I have a chinese perspective about learning, especially
craft;
> discipline and hard-work. That's why I question it from day one.
I'm the
> dingbat who asked my tutor last week which school is good to go to
for
> learning how to throw like a production potter. I keep looking in
all the
> wrong places :-)
>
> Warmest Regards
> May
>
>
______________________________________________________________________
________
> Send postings to clayart@l...
>
> You may look at the archives for the list or change your
subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@p...
Ron Roy on fri 24 oct 03
glazes)
It is inevitable - when you learn how to compliment your creative side with
the necessary technical knowledge you need for your chosen means of
expression - the mundane means of expressing yourself becomes part of the
creative process - and equally exciting.
Think about it - it's the difference between using what colours and
surfaces you can find and the colours and surfaces you can make.
I wonder how many glazes have been abandoned because of a simple fault that
could have been rectified with a little technical knowledge.
RR
>I would think glaze chemistry and the refining of the technique is the
>backbone of ceramics. Like anatomy to figure drawing; perspective and
>materials to the architects; typesetting and computer for the graphic
>designers; boring stuff, but the price for admission.
>
>Conceptual and artistic expression is a fine thing, but if one does not know
>the material/grammar/technique to express it, the expression is limited.
>There's a shelf life for hacking with your "art"
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
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