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We've survived!! Two days at least . . .

And so, after the weeks of working, trimming, bisquing, waxing, glazing, firing, cleaning, pricing, packing, driving and setting up, we've survived 2 days of the Toronto Outdoor Art Exhibition, and are in the home stretch. We've had a wonderful time meeting new customers and seeing some familiar faces, some customers who have been buying my fathers work since he first did the show, back in the 80's!!! Knowing that there are people who still cherish and love my fathers work really makes him proud and this whole ordeal worthwhile.

Here are some pictures of my work being set up and displayed, you'll notice the scapes, berries and strawberries from the garden in case I get hungry :)

 

If you have time, come on by tomorrow on our final day, we're at booths H13 and H15. A lot of our prized work has sold, my fathers large teapots are almost gone, and I even found a wonderful home for my beach elephant bowl (the one with the blue water), but we do have a lot of other work we are proud of, and would just love to catch up :) The end is in sight, I can't wait to sleep in and catch up on all the rest I've been missing :) Hoping everyone who saw the show had a wonderful time, thank you

 

~Peter

Bits and Pieces

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.

My newest mug with our local farm glaze, chattering and new handle.

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 My mind is contaminated with images and information, too many historical references, examples of pottery from the Greeks, Romans, Chinese.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.

New mug with a darker clay body, with the same clear glaze inside and overlapping.

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.

Robin's Mug 

Peter's faceted mug

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. 

Freshly made handles, ready to be applied onto the cups.

Close up of the new handle, it's form and line, each one unique, is what makes them exciting for me.

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.

"Naked" porcelain showing the flashing from our wood firing. 

"Naked" porcelain showing the flashing from our wood firing. 

I've also applied this new handle design, with some beautiful results, to my large pitchers. The copper red glazes flow beautifully along it's line, creating truly unique and stunning effects.

I've also applied this new handle design, with some beautiful results, to my large pitchers. The copper red glazes flow beautifully along it's line, creating truly unique and stunning effects.