Re-infusing the essence
Nothing is more exposing than clay. It reveals the truth of the people who work with it. Initially, clay yields easily to the touch. Later it is cast into finality through drying and firing.
When used by an artist or a crafts person , clay is brutal in its sincerity. It refuses to lie. A final product made of clay carries a language that speaks of its conception, and under what duress it was born from.
A contemporary maker may find themselves unable to express his intentions without absurdity, this speaks of a dilemma of identity. On the other hand the artisan-craftsperson finds solace in producing functional and humble vessels for everyday use.
Within the contemporary field of craft there is also a cloud of distortion. The dissolution of necessity, caused by mass production, has led to a misunderstanding of general craft values and a weakening of craft lineage.
It is my strong belief that the essence of craft must be consciously sought after by the modern artisan-craftsperson. We can no longer exist making 'crude' work. It is somewhat audacious to think we can reinvent humanity's core response to our product.
The essence of our world, as humans, is humanity itself. When viewing archaic pottery we are touched with an innate sense of our spirituality. The essence imbued in ancient art came from our ancestors' relationship with nature.
The nature of humans, in our experience of the nature of the world, is exposed in our manifestations. Artefacts from the past feed us with truth. They survive as links to our ancestor’s senses, whose profound nature is captured within the necessity of their craft work.
To make craft work that pays homage to our ancestors we must think deeply about how we approach our practices. This is especially true if we are individual makers who wish to become crafts persons without the groundings of being born within a lineage of crafts.
Bernard Leach set about teaching the notion of the ‘Sung standard’ of work. His concept has been interpreted in many ways and misunderstood by many. It may be possible to distrust Leach's philosophy based on our examination of his own outcomes. We must take initiative to delve deeper into his message and to elaborate on his vision.
In looking at a Sung Dynasty pot, one should not take it at face value. One must look at every facet of its manifestation. In looking at its shape alone, you have missed Leach's point completely. Take a look at the 'quality' of work (craftsmanship), you are closer to understanding the truth of the matter.
Leach simply sought to enlighten us to the level of quality set in the past. He also wanted us to strive towards regaining an understanding of how to achieve success in the now. His teachings can be easily reinterpreted for the modern day. Leach's manifesto is rooted in the urge to promote what is healthy and harmonious, as opposed to what is not. This is a timeless endeavour that we can strive for in every aspect of our lives.
In understanding what has failed us in modernity, we may begin to procure a basis for our practice.
In order to produce harmonious work now, contemporary crafts practitioners, designers, and artists alike, can learn to understand what has come before, and why it worked. They must, of course, seek to emulate it. In paying homage to the values of our forebears, we keep the spirit alive; we re-infuse it.
Robert Yellin, of the Yakimono Gallery in Mishima City, Japan, recounts the day he was asked to take Steve Jobs (Apple inc.) on a day trip to learn about Japanese ceramic culture. He took Jobs to see a renowned collector, and the pair viewed many traditional Japanese pots, including a 16th century Shigaraki jar in mint condition. Yellin writes that Jobs was inspired by the organic and rolling curves of the ancient stoneware jars and even got some design hints from their shoulders for computers. He is quoted as saying, "Sublime, these works are all so sublime, and not in your face, they allude to greater beauty, I enjoy that,"
As this tale suggests, Steve Job's felt touched by what he had witnessed, and became inspired by the timeless nature of the work. Not only had he felt it, he incorporated it. He sought to re-infuse it in modern terms.
Archaic works cannot be reproduced, as they were born of their time. But contemporary artisans can be wise in choosing timeless themes to focus their practice on. They may acknowledge the wisdom of the past when approaching fresh work. Working in this way, a healthy level of respect and harmony can be re established.
Humanity has a fundamental truth which we are all beckoned by internally. When something is honest, and made with truthful understanding, it is worthy for all.
To begin our journey towards becoming an individual artisan, we must be truly honest with ourselves. Without establishing a relationship with the knowledge of time honoured practices we 'may', as individuals, never be able to produce something with the purity of an ancient piece. We must understand that we can only ever start out inspired to infuse the essence of divinity within our own work. We must understand that if we are not trained under a master, or any masters, we must become our own masters.
It is dependent on our level of respect for truth, and the sacrifices we are willing to undergo, that ultimately bring us our manifestations.
Jacob Bodilly
Original 2015
Edited 2022
