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phill

functional vs. sculptural

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Marcia Selsor    1,301

to me a good pot is one that cries out to be picked up and handled. I have seen some work that iv'e thought "oh my god, that's fantastic" and has been priced, in my opinion, far too cheaply and because of that, some have dismissed it as not worthy of even looking at. On the other hand, I've seen some truly awful rubbish that has cost a fortune because the potter has a "name". I love eavesdropping at shows to artists spouting pretentious twaddle to gullible members of the public and never ceased to be amazed by what people actually buy because they've been taken in by the sales pitch. "I never use commercially available minerals, I always travel to the dead sea to collect my own sea minerals" being one example I overheard at Hatfield show in the u.k. The stuff should have been returned to the bottom of the dead sea! If a pot says,"pick me, pick me" to me then that's all it takes for me, I don't care WHY it's good, it just is.

 

 

This reminds me of a beautiful 3-4' contemporary japanese porcelain sculpture at NCECA in Portland in the 1980s. It had the most luscious celadon glaze

on it that every person (ceramics person) entering that room had to touch it. There was a guard standing next to it warning "do not touch". But it was irresistible to clay people. If anyone has been to the I.M.Pei wing of the national gallery in Washington DC.there is something similar. At hand height where the lines pass for admission, the sharp edge of the white marble facade has a brown spot from where people are drawn to touch. The light on the form of the building make it appear razor sharp. But it is the light causing this. People respond to similar things it seems by instinct.

Marcia

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