Susan Fox-Hirschmann on tue 23 mar 04
As one of the electic firing potters in your presentation,( who unfortuantely
could not be there at NCECA) , I think all of us that do electric firing owe
a grand word of THANKS! to you for
raising our firing methods---glazing methods as well---to another realm.
No, we do not have the splashes of fire, the trappings of shino, but we are
a group all to our selves, I think...and John and others like him do
appreciate the effects we are getting thru electric firing. Like other firings, it is
not without study, and testing, and some times a bit complicted designs/glaze
formulation. It also comes with slow and carefully planned firings.
You know we have always been looked down upon, I think, in lots of "pottery
circles" as the "not quite accepted" child of firing practises. After all when
potters speak to potters about each other/s work, what is the first thing
they usually ask? How do you fire those pieces? How many of you have smirked at
others when they did not respond "wood" or "gas"?
Your lecture, which I have read on your site, gives us a new "validity" in
the pottery world. And I , and others that fire electric, appreciate your
studies, your writings , and what you are in effect doing for "our craft".
Lois Ruben Aronow on tue 23 mar 04
I too would like to extend a big hug and a thank you to John for his
My work was also shown, and it's great to get recognition for all the work
put into electric firing. And it IS work.
A well known salt firer said to me recently "I don't even glaze - I just
throw my work in the kiln. You guys (meaning electric firers) have so much
more to think about when creating your work!" It meant so much to me.
So thanks again, John. And though I couldn't be at NCECA this year, I hope
to be next year, showing off a new body of work. All electric fired, of
Ivor and Olive Lewis on wed 24 mar 04
Dear Susan Fox-Hirschmann,
Though some of the pieces John used in his presentation may not be to
my taste I consider his illustrations as being an ideal representative
selection of work to convey the message of his thesis
To me the important question, when meeting or speaking with other
potters whose work is displayed or discussed is "How did you conceive
this work" rather than"How did you create it" or "How do you fire it"
The Hoarding displayed by John Hesselberth is emblazoned "Be
Different". You were chosen to represent those who are. It is pleasing
that what you achieved is done "By Design"
Ivor Lewis. Redhill, South Australia