Throwing session has brought some clarification for me in the last few weeks. Level ground. Made a photo shoot outside. This meant that my wheel needed to be made level for me to address it successfully. This simple act of preparation demonstrated itself to be key to the successful making of the pot. This is important because my new pieces have unconventional feet and, as always, I am looking for reasons for every aspect of what I do.
Industrialised urban environments take level ground as a given (throwing is the said to be the first industrial process although weaving is a strong contender). This has all sorts of metaphorical connotations, given my focus on human form and healing. We are no longer solely concerned with our immediate survival needs. This is very different when you are in a wheelchair of course!
It is also relevant because the making environment I made for myself was revealed when the gallery of the pot was reached. I had made a decision for a flatter, uniform gallery based on the felt disharmony from the previous pieces I had made, but this making has revealed an explanation for this disharmony that had not been at my finger tips. It’s lack of even ground is somehow amplified at the gallery, as if the point at which it meets the air is the point of most clarity.
Extemporisation: we are able only to speak evenly when our ground is evenly planted? When this is so we speak easily in the world. Our voice is free of struggle. So when the rim ‘meets the world’ it is even and calm and this is the sign of success. Perhaps.
I will write about the thrown pots in a different place.