Welcome the Wonk

With the turn of the equinox, which literally translates to “equal night,” meaning equal length of night and day hours, there is a sense of balance, and with it an inherent potential for a tilt. New potters are keen to pick up on the asymmetry of their beginning efforts, noting the wonk in their wares’ rims, shoulders, and bellies. They may hope to straighten their verticals, and shore up their horizon lines some day with practice, practice, practice. More experienced potters will side-glance those outcomes, and possibly think, “Oh, they’ll get there…I remember when my pots were asymmetrical, too…now everything is perpendicular and level due to practice, practice, practice.”Seasoned potters, however, may see the lilts and rises in forms as honesty in the materials, having worked hard to master symmetry AND move past it into more natural states of production with practice, practice, practice. Generalizations, of course, but there is truth to be found in the three levels of pottery making above.


Today’s sherd looks at a ceramist from northern Japan’s Hokkaido: Kazuhiko Kudo. In this dialog-free short film, you’ll see the potter harvesting his own wild clay from the field, processing it back at the studio, throwing on a kick-wheel, preparing homemade glazes from the ash of a birch, and wood-firing the yield for 3-4 days. There are culinary moments, too, where wares and good intersect with matter-of-factness beauty. And for those of you interested in production work, and have wondered how a potter makes their pieces all the same size/shape, there’s a brief glimpse at 1:15 minutes of a shelf full of “dragonflies” for measuring depth and height. One could improvise such a tool from two pencils or paintbrushes fastened together with your desired measurements marked in tape. 


I hope that the balance and tilt towards lengthening daylight hours finds everyone partaking in the adjustments with grace and anticipation. Welcome the wonk, as the earth, too, defies symmetry…there are seasons to be discovered in your bowls and vessels if you lean in to hear it. 

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Music In Pottery

Today, as I was hand-building a ceramic piece for a work in progress, the studio was unusually quiet: no frenzy of students, no classes rolling in. Only the timpani of rain on the window, and the repetitive tapping of my hake brush’s flat handle on the damp clay kept me company. The latter caught my attention, for it was the combination of wood percussing on leather-hard stoneware that resonated in a most somber and comforting manner. In this music, I could hear the dry wood impressing the grog deeper into the surface, the cavity of the form reverberating, the thick and thin walls of the cylinder vibrating at different frequencies as I sought to shape the form. I contemplated all the ways that the sound of clay and instrument inform me of my progress as well as my course of action, consciously or not. Conversely, the usual cacophony of my environment–whether it be music on the stereo or social activity–likely obscures a number of important signs and signifiers that could otherwise have lead to a deeper understanding of the nature of this medium. What if all this time I have been ignoring the quakes that might lead to a vessel collapsing unexpectedly, or have been unaware of the shift in my carving tool’s pitch as it abrades and punctures through the wall of an incised jar?

Juhani Pallasmaa’s book The Eyes of the Skin, an examination of the relationship between our senses and architectural spaces, makes frequent mention of how we use our hearing to acclimate to/calibrate our experience to space and place. This cultural shift from aural to optical understanding of the world has led to a spectatorial rather than participatory engagement with the environment. I venture to suggest that this shift can just as easily be applied to the plastic arts, in which over time the eye has dominated over the tactile, lingual, auditory, and olfactory sensations of pottery and ceramics. (Take time to smell your clay before you take it out of the bag!)

Sure, I’ve tapped my finger on the foot of a bowl or bottle to guess how thick or thin the piece is before trimming. And sure, I’ve recoiled as my trimming tool screeched like nails on a chalkboard as it chattered on a bone-dry ware. But how many among us have consciously listened for that subtle shift in music in our clay as we wedge, that “wet car tires on a rainy street sound” transitioning to “ wind hissing through dry oak leaves” as the plaster soaks up the excess moisture? Can you hear, just as much as you can feel, when you need more or less water during your pulling of cylinders? Have you noticed your vessel humming away as its hollow body amplifies the wheel’s electric vibration? It’s a pretty thrilling experience, and not unlike sensing the inaudible notes of the pipe organ that are felt in the cavities of the body rather than heard in the ears.

This week’s video segment is a meditation on the musicality and choreography of pottery. Filmed in 2016 in Tao Yao, eastern China, this brief documentary beautifully examines the ephemeral experience of sound in our dance with clay. I encourage you to keep tabs on just how many kinds of sounds you can gather from the film, all the while asking yourself, “What did I learn about the nature of the material that I didn’t know before?”

The next time you’re in the studio making a brand new piece, listen. In fact, close your eyes and just listen as you wedge or pull. Chances are you’ll hear your form awakening into being before your very ears.

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Utilitarian

A small sherd to share with you: potter Warren Mackenzie has passed away at the age of 94. He was something of a potter’s potter, who focused on the utilitarian, deriving great pleasure from the fact that his works were meant to be used rather than collected. He studied under Bernard Leach, and was very influenced by Korean and Japanese pottery and potters, eschewing the flashy for the naturalistic and practical. I’ll let this 10-minute PBS documentary on Mackenzie speak for himself…. 

https://www.pbs.org/video/Warren-Mackenzie-577512H-2/

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Shiny Traditions

This is a return to the San Ildefonso potter Maria Martinez. I was just talking with a ClayHouse ceramist last Thursday about the merits of burnishing one’s wares: Maria Martinez came to mind.

The art of compressing and smoothing the surface of pottery with a smooth stone, back of a spoon, or even with the palm of one’s hand, has aesthetic and practical implications. When low firing burnished wares, they often retain their smooth polished surface; when mid/high firing wares as we do at ClayHouse, the effect can be more subtle, like a satin finish.

Aesthetically, burnishing speaks to the eyes and hands of the beholder: shiny surfaces optically reveal their undulations and planes somewhat dramatically; they also have a satisfying tactile quality that encourages interaction with a piece. On a practical level, burnishing used to help low-fired wares retain their liquids more effectively by “sealing in” the surface of the vessel more tightly. These days, it’s usually for aesthetic reasons we might take a stone to the skin of the vessel. 

The documentary on Maria Martinez is on the longer side, and is an historic recording, prone to all the cultural distortions of its time period. What I hope emerges, though, is a sense of the value in methodical practice as it applies to supporting tradition and developing innovation. Her life’s story is one of persistence, acclaim, tragedy, and transcendence; look her up, seek her work out, enter into a dialog with this incredible artist. 

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Shifts and Breakthroughs

The temperature is incrementally rising and dropping. Spring is figuring itself out. I observe this seasonal shift in my own practice as a potter, too; a change in seasons is typically a time of stripping processes down and meeting forms where they are, and meeting limits and breakthroughs where they are.  

In this spirit, I present to you the work of ceramist MacDonald Potter: 


“Utility was the thing that excited me the most about working in pottery, the fact that I could make things that people could use,” he says. Potter goes on to say, “….to share with [people] the idea this object has never existed in the history of mankind…” charges his thinking and doing. 

The fact that there are relatively few African-American potters in contemporary American life is a source of contemplation for Potter. For him, the opportunity to delve deeply into his cultural inheritances for inspiration has both rooted his work and given it traction in the private and public spheres of his artistic career.Embellishing familiar forms, especially plates, with African patterns and geometries urges his work in bilateral directions: back through the past, and into the present/future. Utility, familiarity, historicity: reference points that constellate Potter’s praxis, and offer us a glimpse of the sublime in the repetition of practiced forms and narratives. 

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Subtraction and Absence

In searching for informative and inspirational sherds to share with you, I’m always astounded by just how much information there is at our fingertips. More so, I am always reminded just how generous potters/ceramists can be in sharing their hard-earned knowledge with the rest of us. Jennifer McCurdy is exemplary of this spirit: not only does she lend insight into her process and product, but she shapes our thinking around what is possible on the potter’s wheel:


In examining McCurdy’s work, I am reminded that the wheel is something of a bridge rather than a dead end. How often have I wired a piece off the bat and thought, “I’m done,” and gone on to make another, and another piece. The wheel, especially when read metaphorically, gets us from one place to another with great efficiency.

In the case of McCurdy, when the wheel stops spinning, her hands continue to search out and influence the form. Hers is largely a subtractive process: one of removing planes and mass to reveal the wild within: capillaries, thorns, roots, spikes, ribs, atoms, circulation, convection, force, and repose. 
You’ll hear McCurdy mention “plasticity” a number of times when referring to the clay’s ability to respond to touch and pressure. At multiple stages of the clay’s evaporation process exist opportunities that she seizes upon to influence and follow the shape in different ways. She even capitalizes on the clay’s tendency to shift and slump during the firing as her final chance to exploit the medium’s malleability. 

If you don’t have time to watch the video, do give her website a visit.

One more thought. Some of you may be familiar with the terms “positive space” and “negative space.” In short, positive space refers to the space that objects occupy; negative space refers to the inverse, namely the holes, indentions, hollows, and pass-throughs of an object.

McCurdy’s work is a celebration of those diametrically interdependent forces.

Where there is absence of form, form is defined.

Auguste Elder

Think about that the next time you work on a vessel or plate/platter, and remember that your work is as much about what you have removed as it is about what remains. Music, text, theater, health, relationships…all follow this principle of presence through absence, absence through presence. 

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Let’s Play!

My students and I went to The Met Museum on a “field trip,” wandering their galleries in search of exquisitely baked vessels and sherds. Profoundly so, different pieces exercised different gravitational forces on each of us: some were drawn to the humblest of teapots from centuries ago, while others were grabbed by torqued abstractions made in more contemporary times. But as one pottery student said last night in the Korean gallery of The Met, “I need to play more [with clay], I just need to play more!”


Today’s sherd is inspired by the celadon ceramic flute from that Korean gallery. While its function was primarily decorative, clay has been put into the service of vibrating air to musical or ritualistic means: as drums, whistles, or otherwise. Here, from Peru, a few whistling water vessels: h

As you can imagine, the engineering and physics involved in these instruments, not to mention aesthetic and craftsmanship values, are outstanding.

If you’ve ever attempted to make a wind-instrument, you know that they can be particularly complex, even the simplest of designs.
I hope you enjoy this video.

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Impermanence

Today’s sherd travels to Kutch, India, to catch a glimpse traditional methods of pottery making, as it was in 1997. Interestingly enough, the author notes that upon her return to Kutch in 2010, many of these century-old traditions had been abandoned in favor of using plastic wares.


A number of times while watching this video, I found myself replaying various segments. You’ll see how the use of the pottery wheel is but only the beginning in the making of a vessel. One thrown, pots are pounded to further thin and expand the walls. Particularly interesting: trapping air inside the vessels to further pop out the belly or shoulder of the form.


“All potters in India make use of their sherds or broken pots…” For those of you who noticed that the brown clay we use is more granular than the buff clay, what you’re experiencing is the addition of grog. In a nutshell, grog is bisque-fired clay that has been ground down to a coarse “sand.” It lends strength to pottery and sculptural forms, making it easier to throw, while reducing shrinkage and “opening” the clay for more even evaporation. I sometimes add extra grog to my clay for those reasons, but also to amplify textural possibilities to the skin of the work. But here, I was excited to see another use for broken bisque/fired works: as insulation and structural support during the firing process.

Tibetan traditions in pottery sometimes make use of sherds as decorative elements in their newly thrown pieces–a physical expression of Buddhist philosophy exemplifying the notion of birth and rebirth, impermanence, and beauty in the imperfect. Here though, in Kutch, the practical and metaphorical dimensions of using that which is broken to create something new, is both lyrical and a model for sustainable living.

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