It is amazing to me that the concept of perfection could be such a broad and nefarious concept that for modern pottery, it could encompass the beautiful porcelain works of a Brother Thomas and the intentionally distorted and even misshapen works of Arakawa Toyozo. How is this possible? Over time, I have come to terms with finding perfection in objects that seem diametrically opposed, but at a conceptual sub-atomic level, in fact have much more in common that it would seem. Both ends of this perfection have spent their lives pursuing the pinnacle of their vision, the one making objects based on recognized archetypes of the classical realm, the other to create objects of organic, contemplative beauty born of the Momoyama era. One may find perfection in the intellect, while the other defines its perfection through emotion. Has either of these failed to reach the lofty perfection of their craft (art)? At either end, it is the refinement of the spirit of these pots that ultimately defines their perfection.
“If a man should happen to reach perfection in this world, he would have to die immediately to enjoy himself.” Josh Billings (Henry Wheeler Shaw 1818-1885)