One of the things we love about being artists as well as artisans and also potters (and yes, the distinction is deliberate) is the fact that we are able to continue to experiment with a vision to always improving all our work. Our studio is not limited to work that creates art for art’s sake. We also create functional stoneware, and by its nature, this means a certain amount of production, in other words, repetition. Without the added joy of striving to make this work fresh by developing new glazes and styles, we’d soon reach a level of boredom and mediocrity that would make our work become a form of drudgery.
Years of experience and practice naturally also changes the work. Our own growth, starting in 1979, stems from the knowledge gleaned from many years of such practice and experience. However, our work is also a reflection of our interests, and is additionally influenced by the nature around us here on beautiful Vancouver Island. Testing glazes, developing new approaches, searching for ways to bring our vision to life helps us to bring a reality to our vision.
Vic has become more and more keenly interested in pushing limits when it comes to glazing, and these days he loves spraying layer after layer of glaze on some of his pots. Unlike other potters who traditionally limit techniques that might use ash or crawl glazes to decorative pottery, Vic enjoys seeking ways to incorporate these techniques into production and functional ware. His goal is to make each piece, whether it be a mug, a goblet, a bowl, an urn, a teapot, or those incredibly unique one-of-a-kind decorative items into art. Functional stoneware pottery is the bread and butter income for our studio, while the decorative work is the dessert. But since every single piece created is made by hand, it needs to fulfill us at a creative level too.
I found myself thinking about the development of our glaze technology over the years. Initially my own experiments involved learning about each of the ingredients by firing them separately onto small bowls. This let me see what worked as a flux and what worked to stiffen and so on. The next step involved combining these elements to understand what happened in synergy. My original glaze tests were all done by trial and error. I learned heaps, but the results weren’t often exciting or of use. Even the glaze chemistry courses didn’t add much to my working results. In time we learned about glaze unity and began to understand much more about the interaction between elements at different temperatures and using varying approaches to bringing our kilns to our desired temperature, or holding the work to soak at a specific temperature, or cooling the work in specific cycles. Of course many of those things weren’t really possible either before the onset of computer controlled kilns which we can set up to suit ourselves.
Picasso, one of the most prolific artists of all time, started out by following the rules before intentionally breaking them and developing his unique style. Likewise, authors like James Joyce, intentionally breaking all the norms of English, stands out for us as a literary giant. Sometimes people who read such works are confused, as are those people who just don’t get cubism, or abstract art. I would say that the artist who not only understands and can follow the rules of art is also the artist who can choose to break those rules. Isn’t that actually the mark of true art–a way to move forward and find a new expression for your work?
The joy of creating is fraught with failure–at least in terms of work that we can sell and earn from. But there is no failure at all when the work teaches us so much, and when it both teaches and delights us, it keeps us interested. We continue to strive for ways to break the rules and find new expression.