By Colin Pearson

November 1986 1 2 Ceramics Monthly William C. Hunt........................................ Editor Ruth C. Butler....................... Associate Editor Valentina Rojo...................... Assistant Editor Robert L. Creager........................ Art Director Mary Rushley................ Circulation Manager Mary E. Beaver. .. Circulation Assistant Jayne Lohr .................... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis .............................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI 8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. 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Copyright © 1986 Professional Publications, Inc. All rights reserved November 1986 3 4 Ceramics Monthly Ceramics Monthly Volume 34, Number 9 November 1986 Feature Articles Making a Living by Peter Powning.................................................... 24 Ontario Fireworks 28 I Was Here by Dennis Parks....................................................... 32 Traditional Moroccan Tilework by Andre Paccard.................................................... 36 Shelter and Sustenance by Brook Le Van..................................................... 44 Then and Now by Colin Pearson..................................................... 45 A Multipurpose Glaze by Harold McWhinnie............................................. 75 Departments Letters to the Editor.................................................... 7 Questions 11 Where to Show 13 Suggestions 15 Itinerary 17 Comment: Weights and Measures by Susan Sauerbrun ................................................21 News & Retrospect.................................................... 55 New Books.................................................................. 77 Classified Advertising 78 Index to Advertisers 80 The Cover Since moving six years ago from his Aylesford studio (where he had “room to sprawl around”) to a smaller workspace in London, British potter Colin Pearson has, after 25 years of reduction firing, been making pots adapted for a smaller electric kiln. “It’s possible to do almost anything in oxidation, if one studies it,” says Colin, who continues regardless of such changes to make some of the most consistently recognizable pots in the world. For a larger view of this artist and his work, see the first-person profile which begins on page 45. Photo: Peter Kinnear. November 1986 5 6 Ceramics Monthly Letters Choosing Words with Care er I had demanded the subservience of the from knowing how and then creating some Philip Rawson’s essay on British ceramics spirit of my own students. thing with new-found knowledge. in the September issue strikes me as very At Haystack, in the summer of 1979, I Sure, you show children steps A, B and scholarly, self-assured, dry and ultimately had been nourished through a course with C, and they do exactly that. But part of the frigid. It serves to remind that, while it is a M.C. Richards called “Clay, Myth, and learning process is to imitate. Just listen to legitimate goal of the ceramic community to Movement.” My approach to clay and to any group of 10-year-olds. Most everything enlarge its vocabulary and speak directly to teaching was forever altered by that expe they say and do is something they have heard a wider circle of people, the existing circle rience. and seen somewhere else. But even they will must choose its words with care. The way I later learned that the approach to teach be individual in their conformity and become into a public’s heart is not through its brain, ing used by M. C. Richards was developed more unique as they grow. And if they are but through its senses. Clay talks, too, you by Rudolf Steiner early in the 20th cen able to make an exact copy of the “Mona know. Potters: pot! Actions, as always, speak tury—the teaching of the “whole” child. Lisa,” plagiarism will be of little concern. louder than words. The producing, creative Thereafter, instead of giving the assign Someone who can reproduce work of others potter will always make a stronger statement ment—throw four matching coffee mugs, 10- for their own profit will be of little conse for and about art than will intellectuals who ounce capacity, approximately 4 by 5 inches, quence in the long run. Plagiarism—copying simply tend to their crop of creditable au with matching decoration and pulled han for profit, passing work of others as your diences. dles—I asked my students to “make four own—cannot succeed. Copies of anything are It is certainly desirable to have a vocab drinking vessels.” I finally allowed their in not as desirable or fulfilling as originals, and ulary and standard of criticism, but to allow dividuality, imagination and spirit to partic society as a whole does not support a cheap historians and professional critics to deter ipate. What bounty they delivered! They were imitation over the expensive original. mine the parameters of those essential and active, excited, involved and resourceful. I Successful/professional artists obviously organizing elements of community is to invite taught techniques. We discussed design and do not need to use others’ ideas. They have the foxes into the hen house. They thrive on craftsmanship. proven themselves to have earned the respect erudition, categorization and controversy: My own work, too, was transformed. I of their peers, which is the ultimate com things which are not to be shunned outright. finally allowed my own spirit to emerge. A pliment/approval. But in this house, or any bed of creation, breath of new life was born from soul, through Then there is the intermediate artist. I at they can be inappropriate, if not dangerous. my hands and eyes, and out into the world. tend a community college which has a modest Art does not thrive on these things; it draws Every piece a gift of love. but very good ceramics department. I’ve seen on the deep well of tradition, but it thrives I am currently designing art lessons for a few groups of “green” students come and on spirit and endeavor. children in elementary schools. Lessons can go for a few semesters and have noticed a The search for those elusive facets of the be designed to defy plagiarism (debated in recurring trait. There are three types of stu created object which transcend time and space recent Letters) and the subservience of the dents. Type 1 students don’t really care if is an intensely personal and sometimes em spirit. it’s ceramics or basket weaving. It’s an easy barrassing one. In their rush to place things Thank you Stephen DeStaebler for your class and rounds off their class schedule. Even in a “proper” perspective, critics and analysts wonderful article and for the life of your spirit if they are able to copy work they are not tend to violate the tender spots of creation, in your work. Thank you M. C. Richards likely to be using their talent to earn a living inhibiting and even perverting otherwise for teaching me to listen to my spirit. And, in ceramics. They do not return the next spontaneous processes. Let us not aid and thank you Ceramics Monthly for this re semester. Type 2 students enjoy the class, but abet that violation. Let us respect the ten union and for years of stimulation. their talent, creativity and passion for clay derness of creation, while carefully consid Linda Stewart are not strong enough to overcome the first

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