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Otherness

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Created: 01/31/09
Last Edited: 11/27/12
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My basic and consistent position in making pottery is "facing tradition". Tradition, although it presents itself as rejecting people's interference and intrusions, is in fact the accumulated "convention" of all the people living in a specific period, so it is possible, in any period, for us to destroy or reconstruct it. Tradition is not fixed or immutable, and the people who "create" it live in the passing waves of generations and in the recurring certainty of fatality. I consider the most important aspect of this fatality to be "otherness" (not necessarily only of human beings), and have observed this aspect in the traditional spirit of Japanese pottery. The relation with the kiln as a tool, with my materials, with myself and with observers -- the relation with "others" -- involves intuiting the margin that is to be shared. For myselfas a creator/presenter, the pursuit of "otherness" amounts to intuiting that margin.
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Short link: http://bit.ly/dwqOUk
  • "Argue for Argument's Sake," (w)120.0 - (d)40.0 - (h)44.0 cm, handbuild Bizen stoneware, natural wood ash, traditional way fired to 1300 degrees C. in oxidized or reduced atmoshere, eight-day firing, with metal.
  • "Otherness 03-20-2," (w)130.0 - (d)37.0 - (h)53.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked, fired 1250 degrees C. in oxidation, with metal and epoxy.
  • "Otherness 01-19-1," (w)70.0 - (d)30.0 - (h)55.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked, fired 1250 degrees C. in reduction, with metal and epoxy.
  • "Otherness 02-20-1," (w)100.0 - (d)48.0 - (h)57.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked, fired 1250 degrees C. in reduction, with metal and epoxy.
  • "Otherness 04-20-3," (w)94.0 - (d)26.0 - (h)71.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked fired to 1250 degrees C. in oxidized atmoshere, with metal and epoxy.
  • "Otherness 05-20-4," (w)105.0 - (d)31.0 - (h)51.0 cm, wheel-thrown and handbuild stoneware with slip, unglazed and charcoal smoked fired to 1250 degrees C. in oxidation and reduction, with metal and epoxy.
  • "Sutra," (w)45.0 - (d)49.0 - (h)26.0cm, handbuild stonware, wood fired and charcoal smoked, fired 1250  degrees C. in reduced atmoshere, eight-day firing, with wood and metal.
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My basic and consistent position in making pottery is "facing tradition". Tradition, although it presents itself as rejecting people's interferen… Read More
My basic and consistent position in making pottery is "facing tradition". Tradition, although it presents itself as rejecting people's interference and intrusions, is in fact the accumulated "convention" of all the people living in a specific period, so it is possible, in any period, for us to destroy or reconstruct it. Tradition is not fixed or immutable, and the people who "create" it live in the passing waves of generations and in the recurring certainty of fatality. I consider the most important aspect of this fatality to be "otherness" (not necessarily only of human beings), and have observed this aspect in the traditional spirit of Japanese pottery. The relation with the kiln as a tool, with my materials, with myself and with observers -- the relation with "others" -- involves intuiting the margin that is to be shared. For myselfas a creator/presenter, the pursuit of "otherness" amounts to intuiting that margin. Read Less
Published: January 31, 2009
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