Elizabeth Priddy on mon 22 nov 04
I don't know Hopper, or what he charges or how much he thinks about it. It was a
hypothetical statement. Just that people who are outside the career building stream
are less concerned about money as the market bears whatever they charge.
Doesn't mean anything about Hopper in particular.
I charge whatever I feel like equates the piece with how much money it would take
for me to be fine with it gone. or a comparable price if it is a common item. I try
really hard in the past few years to make not common items. lucky for me, not
many folks have spent years working on chinese brush representational work on clay.
Or maybe I planned it that way. Either way, I can charge according to how i feel about
it because there is little to compare it too. I price my little tile pieces as small
paintings, when I priced them as small sushi plates they did not sell. I realized no one
ate off of them, I put a hanger on the back, and all of a sudden twice the price
and triple the sales. I am not going to argue with it, just deal with the reality.
Originality is a conundrum. mel's tenmoku and oraange is something I have
been familiar with for about 15 years but I never once associated it with mel.
I associated it with the gas glazes available at the college I attended. One
called tenmoku and another called pumkin spice. They mixed it there. Who
knows where it came from. Once an idea is out there, you can't expect to
control it and to expect credit is unrealistic as most people hear about it 3
and 4 an 10 generations away from the source. And tenmoku is tenmoku,
if you have 1000 potters all trying to make it in a gas reduction environment
because of a japanese aesthetic, the formulas will converge and be so similar
as to just be variations on the same thing. no offense or slight to the thousand
potters trying to build the same mousetrap, but if your goal is that similar, the
result will be similar, regardless of how hard you had to personally slave to get
there. To say that the reslting glaze can be ascribed to any one individual is not realistic. Yes, his are special and the holistic value of one of his pots is the sum
of his experience, but chemistry is chemistry. Reminds me very much of the
generic drug issue.
and juggling wholesale galleries and studio sales is still how i will do it when
the baby settles down. It isn't hard, just a different set of customers, each one with
a different circumstance and price point
claybair wrote:
Elizabeth,
I think you/we are being hypocritical here.
In recent posting Lee quoted one of the master potters
(Sorry don't recall who) in response to "How long did it
take to make that?" and the answer was "30 minutes plus 30 years!"
I was in Mechosin this past Sept.and met Robin Hopper at his studio.
He was warm, gracious and spent a good deal of time talking with Ann Semple
and I
in spite of just having gotten back from a delayed flight from the states.
He is a wealth of information......
...I am in awe of your ability to juggle galleries, wholesale, agents and your
own shop!
Elizabeth Priddy
252-504-2622
1273 Hwy 101
Beaufort, NC 28516
http://www.elizabethpriddy.com
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