mel jacobson via Clayart
clayart at lists.clayartworld.com
Fri Feb 6 09:55:39 EST 2015
don't take me as a small scale guy.
big art is with us, and has been.
it has a valued place.
those that want large scale just have to
find a venue for their work.
it is not easy.
but, that does not mean large scale work
is bad or wrong.
it is, what it is. BIG
colleen has to experience `big scale` and the problems
associated with it. just as i have taught her to make tiny things.
you have to try the push and cut, slash voulkus pots just to feel
the tension and passion of that sort of work. when i do it, it just
feels silly and awkward. but, i have tried it all.
we need front end loaders, tons of clay, big door kilns. glazing becomes
wild. i have seen huge pots in china...all the conditions of the studio
are like nothing else.
but, i agree, as i said to boys in high school, `you make big and
ugly, it is really ugly`.
that is why i said a few post ago...you have to dedicate your
work to scale...it is a choice. and, tough to sell.
i remember being in ken ferguson's studio as he smashed about
twenty huge pots/jars that did not sell..the gallery wanted them
out...bring all new. (ken did get tired of galleries, he told me he
longed for the days of `back yard sales`...then he made money.
that stuff is hard to admit..but, he did admit it to me.)
he stuck one in the back of my car...i found it a mile away as i drove.
(you know, who the hell is in the back seat????`
huge cannister...it had 4 grand on the price tag. love the big pot.
from: minnetonka, mn
new book: http://www.21stcenturykilns.com
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