Lee Love on sun 4 dec 05
On 2005/12/04 3:55:45, 2ley@mchsi.com wrote:
> I find your critique about the nature of shino being produced by many
> spot on, as it were. Yet it is people who give a darn, like you, that
> can eventually impact the art in a positive way.
Categorical dismissal of any kind of work is due to lazy or prejudiced
thinking. I take each work as it is and evaluate it. Heck, I'd like to
see Tony's shino with cobalt slip under it, that he has been making. Or
the whole kiln full of "Gold Shinos" he has been selling. I sent Tony
one of my metallic shino bowls after hearing about his success with
them. (Philip, either you are new here or you haven't been paying
attention.)
I see no reason to accept something simply because it is British and I
don't see why something should be dismissed because it is Japanese.
There is a wide range of work being done in American Shino, which
doesn't always have much to do with work done here in Japan. Primarily,
shino is put on tea ware here. They don't put it on mugs (I do.)
Check out Jean's birthday present to me (hasn't arrived yet) I have
heard good reviews from potters I respect:
The Potter's Eye : Art and Tradition in North Carolina Pottery
by Mark Hewitt, Nancy Sweezy
At Amazon: http://tinyurl.com/73blb
--
李 Lee Love 大
愛 鱗
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
http://ikiru.blogspot.com/ Zen and Craft
"The way we are, we are members of each other. All of us. Everything.
The difference ain't in who is a member and who is not, but in who knows
it and who don't."
--Burley Coulter (Wendell Berry)
Lee Love on mon 5 dec 05
On 2005/12/05 3:08:53, 2ley@mchsi.com wrote:
> pitched, done so consciously. Then I see others who imitate the form
> without understanding the underlying principles, and their work is sloppy.
Me too. There is a huge difference between the sloppiness of the
unskilled and the free expression of a master.
But, I do not see blanket criticism being constructive, especially when
it is attached to a specific culture like "the latest Japanese thing."
Actually, here in Japan, they don't recognize American shino or raku. It
is has been made so American, that the country of origin does not
recognize it. Like one person who told me what Furuki-san said when he
showed him an example of his Shino from home, "Ah, yes. American Neph
Sye glaze." Here in Japan, shino is not just a glaze. It is a glaze, a
clay, a process and a certain kind of firing.
The Japanese do the same here as far as absorbing other cultures. It is
really evident in their "ethnic" food. They Japonise pizza, Chinese
food, Indian food and even hamburgers and hotdogs. Man, I miss real
Chinese food!
Jean is taking me to Tokyo for my birthday to eat real Greek food! We
found a place called Spryos. It is run by a Japanese-Greek ex-stock
broker in Shibuya: http://www.spyros.jp/index_e.cgi
The way to keep from being prejudicial, is by viewing specific examples.
So where art is concerned, you really can't take any criticism seriously
when you don't have the object in front of you to test against.
> I don't know if you get the TV program, Trading Spaces,
I am happy to say, I don't get most American programing. I watch
little T.V. , mostly bilingual news. Friends send me some taped stuff
and I get some movies on Japanese t.v. that are bilingual. Jean and I
tape something played here at lunch time called Nash Bridges, that we
really enjoy. Before that, we taped Tru Stories. But that is just about
it. I don't understand the "real life" programs. They are an indication
that people need to get back to their own lives. IMHO
--
李 Lee Love 大
愛 鱗
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
http://ikiru.blogspot.com/ Zen and Craft
"We are such stuff / As dreams are made on, and our little life / Is
rounded with a sleep."
--PROSPERO Tempest Shakespeare
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