Last
week I received an email out of the blue letting me know that my pottery was
going to be part of the ten year anniversary exhibition at the AMOCA (American
Museum of Ceramic Art). The pieces in question are a set of pots that were
collected by the museum and to say that I am honored and flattered that they
chose my work out of thousands of pieces for an exhibition where the poster showcases
pots by both Bennett Bean and Betty Woodman would be an understatement. What
this email did spark though was to get me to reflect on the number of pots I have made and all the styles, firing types and clays and glazes that I have worked in over all of
these years. It is not bragging to say that I have gone through clays,
temperature ranges and glazes like a kid in a candy store; each one having some
ability to help give dimension to the crazy voices in my head. Fortunately,
there is no end in sight for what is possible and hopefully the voices won't go
away anytime soon.
Illustrated
is a kohiki style mizusashi form that I made for a friend. Thrown with stepped
terraces with a slight space age design the piece was dipped in slip and than
an ash based clear glaze. The rings had the slip scrapped off once dry to create
an additional decorative accent to the piece which helps highlight the form.
Though somewhat intended as a mizusashi water form, the new owner had decided
it was perfect for dog treats for his favorite canine. In the end, the function
is not that important, it is the fact that the pot is in use that trumps any
predetermined idea as to what the pot is. Everyone has their own perspective
and what is so great about making so many pots is that there are a lot of
possibilities.
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