It doesn’t but I do. About painters, at least young ones that I knew when I was young, or at least younger.
Frequently I have had people from other media wonder/ask how the uncertainty of firing could be dealt with. I always found this question baffling. I could not always put it into words.Ceramics is no different in this way than any other medium.
Uncertainty can be excitement. You can have certainty if that is what you want, or at least close in onit. Test and measure until you are certain. Its not what I want from clay, but someone can want it. Somep[eople think that they have it. They have more of it then I do, maybe, probably not. Life is uncertain, you are always balancing variables in everything, is the pan hot enough for the eggs not to stick or is the butter going to burn? You think that you know how the details will be seen. You think you understand your motivation. You think a lot of things and they are not always right, rarely if ever really. They are never complete. You cannot know the whole story. Stories are always too complex.
All of this, “I know what I am going to paint” nonsense, is prefaced on the idea that painters can visualize, fully comprehend, fully plan, fully understand, what their work will look like, how it will impact people, themselves, how it will stand. They work in a similar manner, and really have no idea until it is finished. They too have surprise. The too are orchestrating process. The finished content is not controlled, and never fully revealed. The work will be different through the lense of a weeks time, and a year, or however long.
Really though, the work is not finished until we are gone, and well after that. When someone uses your coffee cup or mug, or looks at your work anew, each time the work changes. It is not some fixed static entity when it comes from the kiln. I have a cup from a friend Wally. I bought it at t thrift store. I remember when people made handles like the one he put on it. Its ridiculous in many ways, but it shows time, it shows where it was made. It also has a handle that is hollow and since it is dishwashed the handle fills up with water. Could he have imagined how I feel about it weeping on papers after filling it with coffee?
The classic example of this post firing manipulation of work is Old Japanese Teabowls, with records kept of who drank what and when, with stains, cracks, repairs, Kintsugi, thoughts, writings poetry. But it really is not different for any other object. Price is part of the work, What Rick Newby thinks about it becomes part of it, who bought it, what gallery, a thrift store? The teabowl, The Kizaemon, the teabowl that is supposed to express it all was made by a peasant potter in Korea then taken to Japan. It is rarely displayed. How could the maker know? It is a plain bowl for rice, disposable. Its worth was in its being collected, appreciated and held.
There is nothing that does not add to the work, even if it seems to detract. I am not sure it is over if it is buried. Although if its been subducted, melted in the middle of the earth and extruded as new igneous material the relationship is getting a bit thin,, Perhaps a trace of carbon will remain firmly placing it in time by C14 dating or some other scientific alchemy.
people should read this: