Why should a potter make a foot that can be grabbed? Why should a potter think about the bottom of a pot? Why does a customer lean toward one pot and not another? Why do you gravitate towards that certain bowl or mug in your cupboard? A good artist, a good potter, knows the answer to all of these questions. The success of a pot relies on the consciousness of the artist even if the reasons for success are inexplicable to the user/admirer. Seth mentions the"washer and dryer" a lot as we are making pots. He says that a good potter must think of a person holding the pot, using the pot, and washing the pot. Is it easy to hold? Is it comfortable? Is it convenient to wash? These are wonderful things to imagine as thought goes into every aspect of every pot, from the smallest bowl to the largest vase.
Friday, September 11, 2009
A thoughtful potter
A large mound of clay in the shape of a large box sits on one side of our wedging surface. This is the reclaim clay, shoveled out of the bucket and slopped onto the table top to set up. The air in Spain is very arid, a perfect bonus for a potter. The breezes and the sun streaming into the studio give the reclaim and thrown pots a quick turn over time. Seth's usual practice is to throw in the morning, leave the pots out, eat la comidar (lunch), and come back to pots ready to trim. Remember from previous posts that a pot has to be at the "leather hard" stage to trim the bottoms. Trimming gives the pot a "foot" on the bottom, a nice finished, grip-able foot.