Pottery Quotes

And as far as I know about Alix's [MacKenzie] work, I don't believe she ever did any sculptural work at all. It was always pottery.

Well-crafted things inspire me, whether it's pottery or art or music.

I do pottery. I love it. It's very relaxing; it takes me to another planet.

If [Bernard Leach] didn't like the drawing, he'd X it out and do another one and change the form a little bit. And when he was all done, he would stuff these pieces of paper in his pocket and go off to the pottery, and when he wanted to make pots, he would then take these out and he'd begin to produce the pot that he had designed on paper in front of us.

We moved up here [to St.Paul with my wife] and started to teach, we very quickly found out we were not equipped either to teach or to run our own pottery, and so we decided that we had to have further training.

Friends of Bernard's [Leach] came to visit, and when we went to London, we were given introductions to people like Lucie Rie, Hans Coper, Richard Batram. All these people were, let's say, made available to us by a friendship with Leach. In addition there was a potter's group - what was it called? I think it was called the Cornish Potters Society, but I'm not sure of that. Anyway, they had meetings and we would go with Leach to these meetings and meet other potters, and they would have programs where they would discuss pottery and people would interchange ideas.

Ideal date is doing something new, either hiking a new place I've not been, or learning something weird and new like pottery.... and then a meal.

We [me and my wife] went back to St. Paul, worked for a year - again, I guess I would have to admit now, doing a rather shaky job of teaching people - but at the end of that year we returned to England and worked in the [Bernard] Leach Pottery for two and a half years.

Living with [Bernard] Leach, who thought about pottery 24 hours a day, was a fantastic experience, and we really began to get inside his mind and understand what had motivated him to work all his life as a potter.

I don't like the idea of things being off-limits to kids - like a fancy sitting room where they can't touch anything. I own vintage pottery cups, and I let my girls hold them. It teaches them to treat objects with respect.

We did respect [Bernard Leach], although we also were willing to challenge ideas and at least put forth our feelings about the way the pottery was run, about things that were done, about the pots we were making, etc. And we would get into sometimes some very fierce arguments. We'd be shouting at one another because of disagreements.

I'm trolling through the recesses of my mind for the things I did with my kids when they used to like to do things with me. They don't want to be around me now. I look back on these times - all those little funny pottery dishes that you'd pay for, and they'd paint, and they were ugly, and you glazed them, and you'd go back, pick them up, and it's like, "Oh, now I've got to put this on my desk." There's all that kind of stuff.

I want to learn how to pick locks, swordfight, throw pottery - it's all research. It's like the curious person's version of James Bond's license to kill. I've got a license to learn.

I have always striven to fix beauty in wood, stone, glass or pottery, in oil or watercolor by using whatever seemed fittest for the expression of beauty, that has been my creed.

I've done a lot of crafts in my day. I learned how to do pottery, yoga... and I just wanted to share and talk and write.

Expectations were like fine pottery. The harder you held them, the more likely they were to crack.

If you took a cracked pot and you cracked that cracked pot, you'd be approaching the level of cracked pottery we are talking about here.

We got a great benefit from our contact with those people [Lucie Rie, Hans Coper, Richard Batram] and met people that we wouldn't have probably met if we had simply worked at the pottery.

It was there that we really first came in contact with the work of Shoji Hamada, who was Bernard's best friend from Japan, who had come from Japan back to England with [Bernard] Leach when Leach was establishing his pottery.

For the longest time I was afraid I'd have to keep on working at the factories. There was a steel mill and a pottery; if you didn't go to college, you went to work in those places.

Thou spring'st a leak already in thy crown, A flaw is in thy ill-bak'd vessel found; 'Tis hollow, and returns a jarring sound, Yet thy moist clay is pliant to command, Unwrought, and easy to the potter's hand: Now take the mould; now bend thy mind to feel The first sharp motions of the forming wheel.

When we worked at the pottery, we did learn to make pots, that is, the physical act of making the pot. We learned to control clay, to put it where you want it and not just wherever it wanted to go, and that was valuable. At the end of about six months, though, I think if that was all we had, we may have been inclined to leave because the workshop did not challenge us so much as living with [Bernard] Leach did.

A home is not a museum. It doesn't have to be furnished with Picasso paintings, or Sheraton suites, or Oriental rugs, or Chinese pottery. But it does have to be furnished with things that mean something to you.

I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.

The very "marks" on the bottom of a piece of rare crockery are able to throw me into a gibbering ecstasy.

Israel is the very embodiment of Jewish continuity: It is the only nation on earth that inhabits the same land, bears the same name, speaks the same language, and worships the same God that it did 3,000 years ago. You dig the soil and you find pottery from Davidic times, coins from Bar Kokhba, and 2,000-year-old scrolls written in a script remarkably like the one that today advertises ice cream at the corner candy store.

As we cleared the passage we found mixed with the rubble broken potsherds, jar seals, and numerous fragments of small objects; water skins lying on the floor together with alabaster jars, whole and broken, and coloured pottery vases; all pertaining to some disturbed burial, but telling us nothing to whom they belonged further than by their type which was of the late XVIIIth Dyn. These were disturbing elements as they pointed towards plundering.

For a male person bric-a-brac hunting is about as robust a business as making doll-clothes.

I am content to be a bric-a-bracker and a Ceramiker.

The more I have learned about wine ... the more I have realized that it weaves in with human history from its very beginning as few, if any, other products do. Textiles, pottery, bread ... there are other objects of daily use that we can also trace back to the Stone Age. Yet wine alone is charged with sacramental meaning, with healing powers; indeed with a life of its own.

In the Leach Pottery we did most of our work on the wheel. [Bernard] Leach did a little work in the studio, which was press-molded forms, plastic clay pressed into plaster forms to make small rectangular boxes and some vase forms, which he liked to make. These were molds which had been made to an original that he had modeled in solid clay, and during our work there, sometimes I would be pressing these forms as a means of production.

What is conserved in the ground? Stone, bronze, ivory, bone, sometimes pottery. Never wood objects, no fabric or skins. That completely skews our notions about primitive man.

There is on the earth no institution which Friendship has established; it is not taught by any religion; no scripture contains itsmaxims. It has no temple, nor even a solitary column. There goes a rumor that the earth is inhabited, but the shipwrecked mariner has not seen a footprint on the shore. The hunter has found only fragments of pottery and the monuments of inhabitants.

We had our own civilization in Africa before we were captured and carried off to this land. We smelted iron, danced, made music and folk poems; we sculpted, worked in glass, spun cotton and wool, wove baskets and cloth. We invented a medium of exchange, mined silver and gold, made pottery and cutlery, we fashioned tools and utensils of brass, bronze, ivory, quartz, and granite. We had our own literature, our own systems of law, religion, medicine, science, and education.

My decorating and renovation skills are nil - indeed, I once used a shower curtain from Pottery Barn as 'window dressing.

Then they have the audacity to go shopping and pick out their own gifts. I want to know who the first person was who said this was okay. After spending all that money on a bachelorette weekend, a shower, and often a flight across the country, they expect you to go to Williams Sonoma or Pottery Barn and do research? Then they send you a thank-you note applauding you for such a thoughtful gift. They're the one who picked it out!

We were working from very exact models and dimensions and weights of clay to make these pots which had been designed some 10 or 12 years previous to our arriving [at Bernard's Leach studio]. And we, being, I guess you would say young, arrogant Americans, thought that we ought to be able to somehow express ourselves a little bit more in the daily work of the pottery.

Many years ago, when I was once saying sadly to Max it was a pity I couldn't have taken up archaeology when I was a girl, so as to be more knowledgeable on the subject, he said, 'Don't you realize that at this moment you know more about prehistoric pottery than any woman in England?'

American archaeology has always attracted lots of amateurs ... They were digging up Indian pottery all over the place.

Having a little fun at my work does not make me any less of an artist and people who appreciate truly beautiful and original creations in pottery are not frightened by innocent tomfoolery!

[In the Field Museum of Natural History] we could see very simple, primitive, hand-built pottery from Babylonia and ancient Egypt and so forth, Greece. We could see the most sophisticated things that came out of the Orient - Japan, Korea, and China - some few pieces of European porcelain, majolica [tin glazed earthenware], and that sort of thing. But they had a marvelous collection.

The interesting thing was we never talked about pottery. Bernard [Leach] talked about social issues; he talked about the world political situation, he talked about the economy, he talked about all kinds of things.

I do remember that when we left [Bernard Leach] after two and a half years, we went home on a boat again - this was before air travel became really easy - and Alix [MacKenzie] turned to me and she said, "You know, that was a great two years of training, but that's not the way we're going to run our pottery."

In Old Europe and Ancient Crete, women were respected for their roles in the discovery of agriculture and for inventing the arts of weaving and pottery making.

Rentals sank, living rose. I could not afford help. I must be owner, agent, landlady and janitor. I loathed landladying... I tried in every way to augment my income. Small fruit, hens, rabbits, dogs - pottery... I never painted now - had neither time nor wanting. For about fifteen years I did not paint.

Looking back on it now, I understand why that was not possible [to express ourselves], because the pottery employed a dozen people, not all of whom are making pots. And these people had families, children, and they had to have a wage that would allow them to raise their family and they had to get a paycheck every Friday afternoon. So if we had not made pots that would sell it, would not have been possible for these people to be employed.

There was one point in high school actually when I was on the chess team, marching band, model United Nations and debate club all at the same time. And I would spend time with the computer club after school. And I had just quit pottery club, which I was in junior high, but I let that go.

We asked a lot of questions and we watched everyone who was working in the studio. And we had an opportunity to sit in on discussions, aesthetic discussions at the pottery, which took place generally over tea breaks in the morning and afternoon. So we learned a lot just from being around there [with Bernard Leach ].

His whole being radiates a pure, wild sweetness, flitting through night woods with little melodious cries, on some cryptic errand. There is also an aura of doom and sadness about this trusting little creature. He has been abandoned many times over the centuries, left to die in cold city alleys, in hot noon vacant lots, pottery shards, nettles, crumbled mud walls. Many times he has cried for help in vain.

In the 19th century China dominated the manufacture of porcelain. Then European factories discovered a cheaper method of making pottery of equal quality, demolishing the Chinese industry the exact reverse of what is happening now. World economics have turned full circle.