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signing pots not posts (was re: about me, mr. reed bakken)

updated wed 29 dec 04

 

Janet Kaiser on wed 29 dec 04


That is great Mr. Bakken... Reed. Thank you for your gracious
post! Puts meat on your bare bones, so to speak and I am sure
many will enjoy any posts you have time to send and share as well
as seeing your pots... I shall too, as soon as I can get the link
to function. Stoneware and porcelain... Hummm... Nice hot stuff
for starters! I am afraid I have not come across your professor
or his work either, so have no way of knowing which school you
are from. But it certainly sounds like yet another name to add to
the list of giants on whose shoulders we all stand. I don't
recall anyone mentioning him before, so I must keep my eyes
peeled... Gib Strawn. An uncommon 1st name, or is it an
abbreviation? Pronounced Jib or Gib?

Now, back to signing POTS (not posts)! BTW I am sorry for
mis-interpreting your post and being what John Hesselberth calls
"hissy"... I obviously was not concentrating... Anyway, I shall
give this pertinent question some serious thought...

How do you yourself sign pots, Reed? I presume you do, because
you are one of a certain generation (as many in Clay Town) so you
will probably continue the tradition of signing/marking or using
a seal (my own preferred method). But like many other traditions,
this is naturally not carved in stone either. Indeed, it seems
more than ever fashionable to pooh-pooh anything our forefathers
were wont to do in the past, so fewer are marking than ever
before. But I don't believe this is entirely due to the
time-and-motion factor as referred to in the "12 step programme"
thread. Often it is because newcomers are not made aware that
they should mark their work. Well, not beyond making their work
recognisable in a classroom full of first-time pots, which tend
to look remarkably similar. Possibly a mark is thought to be the
preserve of manufacturers rather than individual makers these
days?

Whatever the cause, it is something I have tried to influence and
remedy, most recently over the past ten years, as a gallerist
here in Wales. This is because I believe that a "signature" in
whatever form, helps potters establish themselves and their work.
It is instantly recognisable as being theirs, long before they
have developed their own individual, "signature style". IMO This
tenuous but perceived continuity is essential when building a
following of any nature. Then as work matures and no longer needs
a seal to confirm the identity of the maker, it also helps this
established potter to develop new "lines"... It allows them a
certain leeway, because their faithful followers, fans and
collectors will continue to buy, because the signature is such a
significant part of the pot. I have seen poor pots sell on the
strength of this and excellent work not sell because the maker
forgot to sign/mark! Sad, but quite true!

A potter's mark is a major statement and provides a great talking
point when selling pots made by other people. For those selling
their own pots, this may sound a bit odd, but for a gallery to do
their job properly, they need to build a personal link between
the potter and the buyer, so the latter feels related to the
maker as well as an affinity with their pot/s. A seal or a
signature is an ideal tool for doing this. Not everyone has the
same visual recall or ability to recognise the work of individual
potters, but a seal is instantly recognisable to the initiated...
It is also an insurance as well as assurance that a pot really
was made by the maker as accredited on/in the
label/catalogue/price list.

But this is all speaking largely from a British perspective. Over
the past years, the subject has come up often/several times here
in Clay Town and there seems to be a fairly even split between
the various methods. Impressed stamps (both maker's own and
custom made), seals, incised, sgraffito, painted underglaze/oxide
or on-glaze, even ball point pens... You name it and someone,
somewhere will swear it is the best method! Even felt-tip pens...
To which I simply say, "no comment"!!

Even though I have often posted to "highly recommend" seals to
those wondering which marking method is best, the number of
requests to identify potter's marks that I receive is amazing.
The funniest (ha-ha and peculiar) tend to be the written
descriptions rather than the often hard to see images. I should
really buy the definitive book of contemporary UK makers' marks
and seals, which was published a couple of years ago, so I could
help more people, but that would not be much assistance with pots
from the Bahamas, Canada, Poland, Peru, USA or any of the other
countries I have received e-mail from on this topic alone.

I believe it is safe to say that professional history/education
and individual personality are the main keys to whether
potters/clay artists sign their work or not. With methods of
signing depending as much on the individual as their work. But I
remain by my original contention that the tackiest way of signing
must surely be sgraffito onto bone dry clay. Especially anything
with a high grog content -- whether pot or work of art!

Another no-no in my book, is the simple first name, or last name
of common surnames such as Smith and Jones... But that has been
quite a bone of contention in the past, so best not bring it up
again or the list will drown under all the "What about Vincent?"
posts!!! I always wonder if he would have sold his work it in his
own lifetime, had someone pointed out it should be signed as
Vincent van Gogh in full?

Hummm... Anyway, in direct answer as always, is "some do, some
don't"! For what it is worth, when I make, I sign...Which may
just be "again" quite soon! Always an impressed seal, one of
three, including one I made in my first year at college. I
graduated in 1977, but have sadly not been able to dedicate my
whole life to making pots. Indeed, I have spent more time
peddling pots made by others than making my own, but that has
been a great privilege and joy. The sheer diversity of human
creativity remains incomprehensible! I even believe this is a
valid part of the Judeo-Christian & Muslim creation myth... Where
God made Adam "in his image".

It is mind-boggling, but through the history of mankind, there
have been about 12 billion individuals... Just imagine, 12
billion times x, where x is the number of "original" works each
one of us is capable of producing. It is as inconceivable as
infinity! At least it is to my pea-sized brain!!

With that thought, I wish everyone a Happy, Healthy, Peaceful New
Year and Good Pots!!

Sincerely

Janet Kaiser -- Back calmer again tonight... Several young family
& friends on world tours, could have been amongst the 50,000 (and
numbers rising) lost on Sunday. All our own accounted for as of
this minute via Australia, but the loss to millions must be
devastating. Keep imagining what it would be like if a tidal wave
of that magnitude hit this coast... We are just feet above the
waves even up here on the first floor. No African saying of the
day either, because the little book is packed up and waiting to
give to Himself, who will be celebrating his birthday on Friday.
I had promised him sexy multi-coloured Long Johns, but he
scowled... Still count as "old men's underwear" even if they
would stop him suffering from brass monkeys... I don't have the
heart to tell him he is technically "old" so should dress
accordingly!! Should I wait for all the "Don't be so rude,
Janet" posts or go to bed? It is now way past my bedtime, so will
pass on the predictable tide and go star-gazing instead... Past
full moon and no snow left, but peaceful. Praise be for so much!



*** IN REPLY TO THE FOLLOWING MAIL:
>Anyway, my message was about signing pots
>not the messages. Sorry, I should have made that
>more clear. Also I'm sorry for saying "you people"
>as I am very much one of them.
*** THE MAIL FROM sspottery ENDS HERE ***
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The Chapel of Art : Capel Celfyddyd
8 Marine Crescent : Criccieth : Wales : UK
Home of The International Potters' Path
Tel: ++44 (01766) 523570 http://www.the-coa.org.uk

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