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Paul Jay |
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The Kanji symbol represents not only a firing technique, but a family name and the concept of SMILE, or HAPPY. (see LINKS below)
When I work with my chosen material, CLAY, I strive to make contact with the medium itself, what does it want to do. I have worked with all types of clay bodies, but enjoy the freedom of Raku. A style 1st developed by the Koreans in the 16th Cent. to quickly replace roof tiles after an earthquake. This style, done mostly by country potters was adopted by the Japanese Zen Tea Masters shortly thereafter as more fitting for the aesthetic of their ceremony than the Chinese Porcelain they had been using.
I use the American adaptation that came to this country in the 1950’s that heavily reduces the ware taken directly from the kiln at about 1900*F. This reduction causes the crackles and the black clay body you see on my pieces.
MY WORK REFLECTS, I HOPE, deference to the traditional, functional vessel where the outside of a form is a result, and reflection of the inner space. Ideally this shows a technical expertise developed in relationship to that tradition.
The forms originate in nature. The transposition of those forms as they relate to volume concur with my idea of what a clay worker can do given a certain awareness of nature. My work has always been inspired by shapes like seed pods and blooms on flowers just before they bud. The shapes are also derivative of classic forms from Ancient Greece to the Orient.
I use only 3 glazes and 2 engobes manipulated in various ways to simplify the process. The surfaces are areas given to spatial, textural, and glaze manipulation used to convey, in my case, a story of earth, environment and my relationship to God.
But, to paraphrase a friend of mine…I can talk no better about my art than an apple can tell you about its flavor.
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Links to Raku http://www.paulsoldner.com/writings/American_Raku.html http://www.paulsoldner.com/writings/Ceramics_Rev.html http://www.ceramicstoday.com/articles/branfman_raku.htm
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