Ceramic Practice and Perception
Mind and Medium
Heuristic Material : Collage
1. encouraging a person to learn, discover, understand, or solve problems on his or her own, as by experimenting, evaluating possible answers or solutions, or by trial and error: a heuristic teaching method.
2. serving to indicate or point out; stimulating interest as a means of furthering investigation.
abstracts : The Ruins of Cinema/Waverley Abbey Construction.
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Flux/Fusion with nothingness and absorption
Symbiotic relationship, feeding life, breath, energy, immanence
The visceral dark pots, meditations on existential feelings, volumes for thoughts, voids for imagination and fear, ecologies for living.
The “New Ceramic Presence” a metamorphosis of meanings rather than in the eternity of symbols.
As always, the artist is led, not by patron, not by populace, certainly not by the critic, artist is led by artist. The artist is his/her own culture.
Rose Slivka. The New Ceramic Presence. 1961
The Garden Of Forking Paths
Chieko Mori, Spiral Wave
James Blackshaw, The Broken Hourglass
Helena Espuall, Home of Shadows and Whirlwinds
Jozef Van Wissem, The Mirror of Eternal Light
Chieko Mori, Tokyo Light
The very materiality forces its very form.
Pots invite us to consider the world that is gathered around them and through them.
Loss of Relativity and the Forgetting of Air
Ceramics of immediacy/sensate in its own implicit space
And into the Fire
Post Studio Ceramics in Britain
Glenn Anderson. 2010
The politics of place rather than the nature of objects.
Clare Twomey most defines the post studio moment in British Ceramics.
Potters are making pots to be 'expressively photographed'.
Paintings have lost their 'relativity' becoming images rather can things.
Rawson's ideal pot would die quietly in a glossy photograph, but comes to life in the hands.
Clay and mind works with the tactility formed and found from the voids of inside/outside divisions.
For Heidegger, the potter's medium is not clay, but space itself.
The thing of his essay is not a particular jug, but the essence of one.
The thrown walls of a jug may address that space. But the content or purpose of the object remains the voids within it and around it, which it brings into a sort of communion with one another.
Raku as an ideology
A philosophy must be arrived at through a direct involvement with the materials and the process.
Clay,The Body, Breath.
Ceramics, Fire,Energy.
The vessel's thingness does not lie at all in the material of which it consists, but in the void that holds it
The potter who forms sides and bottom on his wheel does not strictly speaking make the jug, he only shapes the clay, no, he shapes the void. For it, in it, and out of it, he forms the clay into the form. From start to finish the potter takes hold of the impalpable void and brings it forth as a container in the shape of a containing vessel.
Heidegger. Poetry Language Thought 1971. The Thing 1950.
Pots always inhabit espace-milieu for the pots own space is continuous with the space around it, into which it extends and which makes it perceptable.
Anecdote of The Jar.
Wallace Stevens. 1919.
The pot/jar/jug does very little to dictate what happens around it. But it nonetheless conditions that reality, takes dominion.
The Vessel
Death and The Human Body
Each object has palpable weight, stands its ground, each has a definite thickness. A thick wall that reciprocally shields the darkness within, from the light without.
Glenn Adamson. Matters of Fact.
The containment of the body in death.
Existential
Clay Jug as an emblematic object full of billions of stars
Jackie Leven
There is something about clay that is elemental, prebiotic. Many creation myths refer to the forming of man from clay, its the stuff of the world we live in, its what we walk on. Taking that material which symbolises our origins and then making vessels to house the body, creates a wonderful kind of circularity.
Julian Stair. Quietus 2012.
Paul Soldner on Raku as a state of mind, a way of thinking, a way to continue to create with the pot after firing. Raku for me creates a way of living, not a technique but an attitude for life.
The intrinsic nature of the intimate contact with the pot continues to stimulate the potters response, the pot in its becoming is both a beginning and an end.
A distinguished Japanese potter, Mr Kawai of Kyoto, when asked how people are to recognize good work, answered simply, “with their bodies”.
Bernard Leach
A Potter's Book
Symbiotic Relationships
Atmospheres and Surrounding Objects
Peter Zumthor
Unknown Craftsman
Soetsu Yanagi
Put aside the desire to judge immediately, acquire the habit of just looking.
Do not treat the object as an object for the intellect.
Just be ready to receive passively without interposing yourself.
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