William & Susan Schran User on sat 11 feb 06
A rainy/snowy day.
Spent some time in the studio going through:
Old notes, drawings on scraps of paper and
handouts from many, many years ago.
A handout I came across, can't remember how it came into my files.
Anybody recognize the author?
APPROACHING CLAY
=20
"We befriend, the clay. The clay befriends us." Mary Caroline Richards
=20
Pottery is a challenging medium composed of many variables. A single pot is
the completion of many stages in a process. This process begins with an
understanding of the responsive nature of the clay Itself. After clay is
formed and dried: subjected to the first bisque fire, and a glaze and glaze
technique selected, it is finally given to the last firing and permanence.
=20
Something might be said regarding one approach to clay as clay, clay as
technique, and clay as an art form. Pottery is essentially based on the
relationship of nature to man=8A of water=8A earth and fire to the senses, body
and mind. "This fact" will be responsible for creating great technical and
artistic excitement on
the one hand, and some difficulty on the other. The following are
suggestions offered to help build awareness, confidence, skill and knowledg=
e
of the processes inherent in producing pottery.
=20
=80 Be aware of your body - Concentrate on the action of your body. Feel your
body=B9s reaction to the movements of the clay. Pay attention what is taking
place and why.
=20
=80 Quiet the mind - Working with clay is one way to develop concentration.
Concentration develops the ability to work with clay. Keep from thinking to=
o
much. That is, try not to calculate, judge, worry, fear, hope, try too hard
or feel regrets over results. Much of the process is in "the nature of
things."
=20
=80 Let go of the inclination to judge yourself - Goods, bads and shoulds do
not exist in nature, but are products of the mind. Therefore, be wary of
judging what is happening or has happened as good or bad. It can be
distracting and cause difficulties which are more mental than physical in
origin. An example of the judgmental mind might go as follows: "What a lous=
y
pot.... I'm doing badly today...I have a terrible sense of coordination=8A 1'=
m
a "lousy potter... I am a complete incompetent. . .1=B9m no good! Such
conclusions are surely to interfere with overcoming a momentary difficulty.
=20
=80Let it happen - Trust in the natural process of developing. Errors are par=
t
of the learning process and are steps forward. Rejoice! Each error is one
less toward ultimate accomplishment.
=20
=80Calm observation - Observe carefully how the process has revealed itself
from level to level. By observing what is taking place, ideas and forms wil=
l
be revealed that had been previously unthought of. Be detached,
clear-sighted and learn to accept only the best of a day's work.
=20
=80Practice - Free your body and yourself from concern over having products t=
o
show for time spent. Practice will reward you with clear perceptions. Every
hour spent, every pot created are steps toward technical competence and the
ability to express a personal statement in clay. With practice will come th=
e
knowledge and experience to do what is uniquely you and your pots will stan=
d
as tributes. -~SN
Who is SN?
-- William "Bill" Schran
Fredericksburg, Virginia
wschran@cox.net
wschran@nvcc.edu
=20
Mildred Herot on sun 12 feb 06
What a great "handout". I'm thinking of framing it! Mildred Herot
----- Original Message -----
From: "William & Susan Schran User"
To:
Sent: Saturday, February 11, 2006 2:49 PM
Subject: "approaching clay" - long!
A rainy/snowy day.
Spent some time in the studio going through:
Old notes, drawings on scraps of paper and
handouts from many, many years ago.
A handout I came across, can't remember how it came into my files.
Anybody recognize the author?
APPROACHING CLAY
"We befriend, the clay. The clay befriends us." Mary Caroline Richards
Pottery is a challenging medium composed of many variables. A single pot is
the completion of many stages in a process. This process begins with an
understanding of the responsive nature of the clay Itself. After clay is
formed and dried: subjected to the first bisque fire, and a glaze and glaze
technique selected, it is finally given to the last firing and permanence.
Something might be said regarding one approach to clay as clay, clay as
technique, and clay as an art form. Pottery is essentially based on the
relationship of nature to manS of waterS earth and fire to the senses, body
and mind. "This fact" will be responsible for creating great technical and
artistic excitement on
the one hand, and some difficulty on the other. The following are
suggestions offered to help build awareness, confidence, skill and knowledge
of the processes inherent in producing pottery.
? Be aware of your body - Concentrate on the action of your body. Feel your
bodyıs reaction to the movements of the clay. Pay attention what is taking
place and why.
? Quiet the mind - Working with clay is one way to develop concentration.
Concentration develops the ability to work with clay. Keep from thinking too
much. That is, try not to calculate, judge, worry, fear, hope, try too hard
or feel regrets over results. Much of the process is in "the nature of
things."
? Let go of the inclination to judge yourself - Goods, bads and shoulds do
not exist in nature, but are products of the mind. Therefore, be wary of
judging what is happening or has happened as good or bad. It can be
distracting and cause difficulties which are more mental than physical in
origin. An example of the judgmental mind might go as follows: "What a lousy
pot.... I'm doing badly today...I have a terrible sense of coordinationS 1'm
a "lousy potter... I am a complete incompetent. . .1ım no good! Such
conclusions are surely to interfere with overcoming a momentary difficulty.
?Let it happen - Trust in the natural process of developing. Errors are part
of the learning process and are steps forward. Rejoice! Each error is one
less toward ultimate accomplishment.
?Calm observation - Observe carefully how the process has revealed itself
from level to level. By observing what is taking place, ideas and forms will
be revealed that had been previously unthought of. Be detached,
clear-sighted and learn to accept only the best of a day's work.
?Practice - Free your body and yourself from concern over having products to
show for time spent. Practice will reward you with clear perceptions. Every
hour spent, every pot created are steps toward technical competence and the
ability to express a personal statement in clay. With practice will come the
knowledge and experience to do what is uniquely you and your pots will stand
as tributes. -~SN
Who is SN?
-- William "Bill" Schran
Fredericksburg, Virginia
wschran@cox.net
wschran@nvcc.edu
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Anne-Marie Gosser on tue 14 feb 06
I have no idea who the author is.
I am responding in order to thank you for posting this. I have lurked here
for over a year during which time my wheel has collected dust. I've been
sidelined by taking care of my mom (dementia), full-time office job and
completing my business degree (full-time). My mom is now in Georgia with
my sister for a while and I was laid off from my job the last week mom was
here with me.
I am very much a beginner and I am nervous as I dust off my wheel. I have
no idea if I can ever make anything of worth at all. This handout was just
what I needed to help me allow myself to enjoy the process rather than
worrying about the outcome and to remind me of why I ever wanted a wheel in
the first place.
Thank you again for posting this writing.
A grateful newbie,
Anne-Marie
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