Yesterday, I spent the day with Japanese potter Hatori Yasumi. She demonstrated her processes at Piedmont College in Demorest, GA, north of Atlanta. It was a long drive on a rainy day, but well worth it as I had been in need of her exact type of inspiration. Sometimes, I struggle to maintain a connection with my own voice and sense of purpose with my passion for clay . . . my daily commitment of raising three children can sometimes drown it out.
Observing a potter from another country, especially Japan, is an incredible experience. Potters are revered in that culture and so there exists a feeling a dignity to their work and process that is palpable. Yusami comes from a village of 50 potters who work full time in their craft. The value of the work is such that 100,000 people come over the course of three days to purchase the pottery when her village (pop. 10,000) has their annual pottery sale. Watching her work, there was this peaceful, unhurried acceptance in her process . . . from the rhythmic strokes . . 50 one way . . . 50 another as she knelt on the floor to wedge her clay . . . to the time taken to center one large mound and throwing unmeasured cups off the hump . . . or the marks she left to tell the story of the pot . No smoothing, fixing, or endless adjusting.
In America, we are often consumed with the drive to be “perfect”, or to keep “improving” . . . an endless dissatisfaction and drive to make it “better.” This reflects in everything about our culture, down to and including our pottery tools. I found a beauty in the simplicity of Yasumi few, simple handmade tools, carefully cleaned after each use, and layed to dry on her cloth. I smiled to see her use the same wooden knife to trim the foot of a cup, and cut a rim of a slab built basket. (I have been caught in the trap of thinking I “need” yet another tool. . .)
In Japan, there exists a profound value for the intrinsic beauty of the material . . . and in allowing the process to inform. ”Wabi Sabi” is an important, even essential influence. . . it’s the finding of beauty in the imperfections . .. more even, that beauty cannot be found in the perfect, the blemish free. The appreciation of the pot is in the subtly of the scars or marks that show the journey, from the impuritiies found in the clay dug from the hillside in their local village . . . to marks left by the maker’s hands, a finger print, or a tool mark . . . to the glazing and firing process, perhaps the pattern left in one spot from where the pot rested on rice hulls in a post firing reduction, or the flame pattern from the wood used in the anagama firing). The beauty exists in what some might see as “wrong’ with the pot. It’s found in the intimacy of that information. . . . and the dialog this creates between the pot and the user.
Today I am feeling peaceful with the process. . . . whether it be my struggle to make beautiful pots. . . or my struggle to get to the studio when kids need everything kids need. Somehow, it makes whatever I produce (good kids or good pots) that much more precious and meaningful. Thank you Hatori Yasumi for reminding me. Peace be with you.
I cannot seem to get enough of bowls! I love this form because of it’s simplicity and versatility. It is beautiful serving food, or sitting on a shelf, or just holding a collection of stuff. I love throwing nesting bowls . . . the challenge of repeating the curve of the belly three different times in varying sizes is fun. But, lately, I have been into this slab built, darted bowl.
This particular square bowl takes a 5 lb chunk of clay that I wedge first, and then smack down onto the table, one side at a time until it takes on a block shape (no round balls of clay for making slabs). I strive to have one side of the block be approximately the height of the slab I need because when I start throwing it down, I will do so with the end I wish to get longer. Next, I throw/roll out my slab. I don’t have a slab roller. I feel this method works really well for me (and is fun).
I start by tossing (more flinging) it onto my work table at an angle so its own weight causes the block to elongate. I repeat this, in both directions of one opposite end (dont want it to get wider . . . just longer) until I have a long, thick slab that is starting to become difficult to pick up. The size and shape of my template guides the “throwing.” If I were making a form that had began with a square slab, I would be “tossing” my slab for both length and width. This one takes a really, really long rectangle.
Once I have the slab about as long as I can get it and still pick it up without stretching it out, I transfer it to a fresh board to continue elongating it with a rolling pin. I like to throw my slabs on finish grade sanded boards. The boards are absorbant smooth, keeping the clay from sticking or picking up undesired texture. For this bowl, I move to a 3′ ware shelf because my slab will become very long.
Next, I use a specific thickness of wooden sticks to ensure an even thickness. How thick depends on the size of your finished piece (the larger the thicker) and what type of clay you use. When I was working in porcelain, I could go really thin because of its fired strength. In earthenware, I like it thicker. I prefer the visual weight a thicker wall gives an earthenware piece. I roll the slab both directions, and if it starts to stick to the board, then I flip it over . . . very gingerly. . . trying not to stretch the spots on the slab where my fingers are. If making many of these on one day, I will use a piece of an old soft bedsheet (like a sling) to support the clay.
Eventually, the slab becomes long enough for my template. Im not sure if the photo shows it well, but I write little notes to myself on it in regular pencil (or if Im really lucky, a WHITE one . . . my eyes these days prefer the white lead). I name the form, include the finished dimensions, the weight of the “block” to start with, and the size and type of any darts I will put in. This way, when I dig through my stack of templates, I am the least confused I can possibly be. (when I am into “versions” of the same piece . . . leading to “versions” of similar templates, things get really sketchy. . . )
Finally, when I’ve rolled the clay out as far as it will go, preserving the slab thickness I want, I cut the shape with an exacto knife or some other crazy knife (I have a knife collection . . . another topic). Really, use anything with a straight blade that is sharper than a fettling knife. The blade on that one is too thick, in my opinion, for this job. I also roll out a slab of the same thickness to be used later for the bottom of the bowl. Wrap this one in plastic until it’s time to use.
The next step is to add any surface texture I may want with stamps or other mark making tools. Then, I bevel the short ends, score and slip and butt them together. I like the seam to show as much as possible, so I use a technique where I gently slip/slide the two ends in a very tiny movement until I feel the clay particles lock. It is very subtle. The ends do not need to be “smooshed” together. I want to preserve the integrity of the seam line. I am looking for the ends to “join” . . . and I achieve this from that “lock” that is felt when I slip it together just right.
After I fixed the sink I got the rest of the cleaning done . . . it felt more like an excavation . . . wiping down and scrubbing off in layers. I suspect I haven’t cleaned this thoroughly since . . . well, ever! I almost let the splash pan of my throwing wheel go . . . just brushing out the crumbs . . . (kinda “what was the point?” deal) but then committed a full clean . . . I even windexed (is that a word?) the stainless steel sink. Throughout it all, I kept thinking about potters who have studio sales in their work space. . . . (like Ron Philbeck). . . who else does this? How do you get ready for it?
My three kids started back to school this week and so it is time to begin a new cycle of work. I cannot wait . . . many ideas have been swirling in my head these last many weeks. Our summer has been crazy busy with my last show coinciding with the last day of school. . . so when it was over, I hit the ground running full on with kids each day and did nothing but dump all my “show” boxes into my studio. Then . . . when Star House camp hit, I shoved things around a bit to gather tools, and roll out slabs . . .dumped all my clay stuff back in when it was time for tie dye. . . and when it was all over I was actually delivering fired and glazed student work just before leaving for Savannah. It wasnt pretty.
After having some fun with Teflon tape . . . and Duct tape (I dont know why. . I just like that tape . . . and just that just maybe the adhesive was so strong it could withstand water????) . . . (it didn’t) . .. so then, 2 trips to Home Depot and a final encounter with the pipe wrench and I believe I have tamed my drain connection. Today. I will spend the rest of the time I have mopping up dried, spilled glaze . . .wiping down all the surfaces . . . washing off bats and tools that were used at clay camp . . .tomorrow is time to make pots!
This place is seriously fun. There are about 85 art educators here for the week having what amounts to . . grown up summer camp. We live in a dorm (with all the typical challenges of dorm life). We eat in the cafeteria (except when we cannot stand it). And we take amazing workshops offered by the 
Because I work in clay. . . I’ve been dying to draw or paint or do something 2-D. I have been in heaven! The 
On the 4th of July, I ran the Peachtree Road Race. It’s largest 10k in the country (55,000 runners). Okay . . . . the truth is, I didnt run it. I haven’t run in two years. I cycle . . well, not outside, exactly. I ride my bike outside but I am really, seriously addicted to spin class inside. I love endurance rides. . . and threshold rides. . . aerobic endurance rides. I wear my heart rate monitor and pay attention to which Zone I am in. I love Mary Brown who does Tue/Thurs cause she picks her music perfectly. . . and has a crazy personality. So, no . . . I dont run . . . I have not run since plantar fasciitis high-jacked my feet. But I had a really good time. I yelled and waved my arms at the Moe’s party bus until I was thrown a t-shirt. I waited and yelled at the Chik-fil-A party bus to grab for another t shirt . . . I walked 6.2 miles on concrete . . . another 3 back to the Marta train station and at some point, I looked up (my feet were really hurting) . . . I saw this guy in front of me with a sign taped to the chair he was carrying. I knew the message was for me. 
I also have been voluteering my time and materials in support of the STAR House summer camp. I taught one week of clay and organized a week of tie dye. In addition, I coordinated our local chapter of 
I finally logged onto my blog today and was shocked to see it has been 7 weeks since my last post. I knew it had been a while . . . I have a lot to get caught up on. In the weeks Ive been away, I planted flowers in many pots and baskets on our deck . . . strawberries. . . and a vegetable garden below. And, soccer is finally over. We hosted the Never Ending Soccer Season Year End Party at our house last night. We estimate half our games this Spring were rained out and rescheduled extending the season beyond our imaginations. Tryouts for “next season” begin in a week. Lacrosse also ended in a glorious tournament Mothers Day Weekend. . . football is beginning. All Star Cheerleading just goes on forever. My children are now out of school for the summer. My husband has been traveling weekly. . . leaves for China tomorrow. And, I had a birthday. . . . a birthday party . . . . and started shopping for shorts examining the the length wondering if they were appropriate for “my age.” Hmmmmm. . . . . 
Anyway. . . on a brighter note, I participated in the Clay West Show last weekend. Traffic was steady and sales were pretty good. I entered a large faceted soup tureen with ladle and set of bowls for the juried portion of the show and was very honored to have my work selected by 
I was the only potter to have received a nod with the other awards going to a two sculptors and a hand builder. My favorite part of the juried show is the comments left to each artist who submits work. I really appreciate the feedback and the time taken to offer it.
Last month, I had the chance to watch 
Jennifer explained the success of this process comes from the lack of water (which could weaken the clay wall) combined with the compression achieved from working the ribs together. She prefers using metal ribs for their flexibility as she manuevers to pull up the belly, and pull “down the shoulder. They also offer the most surface tension for the least amount of surface “drag.” I was amazed as she proved this point by shaping one porcelain demo pot for 45 minutes! I had always thought that I had to to achieve a porcelain form very quickly or lose the shape to some variety of slumping! 
Another benefit of working so dry is that Jennifer was able to begin altering her form nearly right off the wheel. Within 30-45 minutes, the bottle had lost its “tacky” surface and she was able to begin lobing it. Some discussion ensued regarding the popular use of heat guns or blow torches to “speed up” the readiness for alteration. Jennifer explained that she does not use that technique because it creates a dynamic where the outer “skin” of the pot is dryer than the inside . . and sooner or later the two moisture levels fight against each other and the stress causes cracking. She likes for the moisture level to be as even as possible which is critically important for how extensively she alters and cuts away her forms.
I learned so much by watching Jennifer’s process and gained a real appreciation for the success of her methods. I hope this summary has helped you as well.
. . . and so is little Georgie (short for Georgia).
Later, when my biological help had faded off to ride the surf . . . and check out boys at the Pier . . . Georgie wandered over and offered her talent. She found seashells and put them on the turtle’s legs. But the most exciting moment was witnessing the miracle of compression when Georgie sat her little 30 lb body on his head . . (to ride the turtle) . . .and it actually held! 
Why you no update your blog???