by Joseph Panacci
Was it born, was it made, or was it more likely bits and pieces coming together slowly.
Yanagi talks very eloquently about the old Korean potters making everyday rice bowls without any thought to them. They were simply made to be used everyday, and sold very cheaply. They were not trying to be artists, but just trying to make a living.
I wish I could go back to a simpler time, when you produced work that was natural to your surroundings, only using materials available locally. Today it is not possible to be a “Unknown Craftsman” for our minds are contaminated with too much information, and our world is now wide open. We have access to everything, skills and knowledge to learn any technique, raw materials from all over the world, etc.
I believe we as artists/potters are more like bits and pieces of the past, trying to find our unique style in a wilderness without any direction. My mind is contaminated with images and information, too many historical references, examples of pottery from the Greeks, Romans, Chinese. Koreans, Japanese, English, African, etc. All very distinct and beautiful. So how can one potter today be original from the past? Not easy to be sure.
Within the last year I have developed a new mug form, handle, and texture. very different from my regular mugs of the past. The bits and pieces came together slowly, at first I liked the foot ring that my friend Robin puts on her mugs, and I did try something similar on my sanity mugs at first. Later my son Peter was working on faceted mugs, and needed some ideas on how to make a handle for them. I showed him one technique of using a coil of clay, squaring it, and then twisting it to reflect the faceted sides of his mugs. At the same time I was developing a new robust form for my mugs and wanted to use coil/slab build handles, and not pulled handles otherwise I would just repeat my regular handles.
I slowly started by flattening a coil of clay and then twisting it and flattening it again. Then I tried to stretch it longer and get it thinner, my form for the new mug slowly became more robust, and I started adding deep chattering for texture on them. I have also taken into account how they are to be glazed and fired in the wood kiln. Now I'm using stoneware and porcelain clay, and leaving the outside of the stoneware mugs unglazed to let the flashing and heavy reduction do their magic during the firing, and the porcelain mugs glazed with the farm shino glaze.
Were these mugs “born or made.” I like to think they were more likely an evolution of bits and pieces from my experience and influences around me. All coming together slowly, as the distinct styles from region to region and country to country of the past.