I remember we were listening to a lot of Neil Young in the studio this day because I wanted to sing “Old Man” to the brushmaker. He didn’t speak much at all for the time he was there and worked with one bunch of hairs for the time he was there.
The trimmer couldn’t work much because a lot of the work was still too wet. He trimmed off at least half of the clay on each piece. I think he trimmed off so much because the nature of the porcelain having to be thrown so thick in order to remain stable.
Again the question of authorship came up. The trimmer made chattering mark designs on some of the pieces. When a person is looking at a ceramic piece, why are they attracted to it? Do they like the accent designs, for example, the chattering or do they like the glazes or the shape of the form? What is that initial attraction for people and who is in control of those aspects of the piece?
The trimmer couldn’t work much because a lot of the work was still too wet. He trimmed off at least half of the clay on each piece. I think he trimmed off so much because the nature of the porcelain having to be thrown so thick in order to remain stable.
Again the question of authorship came up. The trimmer made chattering mark designs on some of the pieces. When a person is looking at a ceramic piece, why are they attracted to it? Do they like the accent designs, for example, the chattering or do they like the glazes or the shape of the form? What is that initial attraction for people and who is in control of those aspects of the piece?
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