Diving into the clay

rough hewn pots

I often find students have a strong preference for highly finished “perfect” pots. It can be a slow process for them to see the potency and beauty of historical work, with its unglazed surfaces, dings, muted palette and inconsistencies.

Where does this come from? A life of exposure to manufactured dishes? A desire to - since they’re pouring so many hours and much effort into their own work - “do it right”?

I don’t know. But I do know that when I see pots like the two below, quietly confident, bursting with life and intimacy, I have never seen anything at Ikea or any other supplier of industrially made goods that rival them.