Critiques are difficult. Difficult to do objectively, and difficult to receive objectively. What I mean here is if you are critiquing someones work, you have to step outside of your own biases and preferences, look beyond what you know and look to the qualities of the object/s in front of you. . . difficult. At the same time if you are being critiqued, you have to step outside of your ownership of the work, become impersonal about your work, and listen to what is being said. Often critiques are taken most easily when working in a shared studio environment where peers respect each other, working towards their own expressions. Often comments about form, texture or other attributes are taken in the give and take of the day. Growth happens. The problem with most of us, as Chris has stated, we work alone remotely removed from others on a day to day basis. Often the only critique we will get is at a show from a cranky person that is dragging themselves through 200 booths on a hot muggy day, when they would rather be at home relaxing, shopping in an air-conditioned mall, out playing golf, or in the pool. Their spouse brought them along.
Posting pieces in your gallery, should get some response, especially if you ask, but all too often people don't respond because they really can't see the work in the picture, or get a feeling for size, detail or other attributes; are afraid of offending you; are rushing through hundreds of pots for inspiration and don't want to take the time to post. Too bad that we don't respond, and I am one that usually does not. My reasoning comes from years of grading. I the last 20 there were set criteria for work, I knew what the intent was, what the design parameters were, and the materials. I usually upset students with my thorough bluntness, but I tried to be objective, unbiased, and open minded. However, junk is junk, and if it is so, I say so!
- Evelyne Schoenmann likes this