Sharing the Fire's second all-day workshop took place last Friday. The demonstrations and presentations were given by master potter Linda Christianson and clay artist Jil Franke. I came home with a sense of admiration for the persistence and grace in their work, coupled with a feeling of deep gratitude for being given the gift of this day.
Both women shared their stories with such openness and eloquence. Linda's thoughtful explanations and responses to our questions impressed me deeply and drew me right in. Jil's experience as a teacher was clear in her demonstrations and a benefit to all in the room.
Handles especially fascinate me. There is such a variety to them and each offers a different value. For me they, more than the form itself, make or break the pot. As I watched Linda pound, cut, shape and press handles onto her cups, I wondered about their evolution through the years. I asked her if she would mind explaining it a little. Not only did she thoroughly demonstrate the building of her handles, but she continued to check back in with me to make sure she was satisfying my question. Rarely is one afforded this sincere consideration.
Jil's hand-built work is delicate and exact. She brought out paper templates, an exacto knife and a ruler. I appreciate the precision in her pieces and enjoyed watching how she achieves it. Like her I have always been drawn to patterns in architecture and design. I happily followed the logic of clay slabs being treated like fabric. I was brought back to my costume shop days when we custom fit clothing with countless darts. Seeing her spend significant time and attention on each step reassured me that I am not alone in my fastidious geometric endeavors.
But even more than their skilled hands, it is the words that are sitting most with me now. Linda spoke of being able to see the honesty in work. She talked about self-critique and moving on from it. She explained why she believes "we become what we pay attention to." She generally keeps her head down, she said, when it comes to current trends in the ceramic world and instead focuses on medieval pots and antique farming equipment. She enjoys seeing the effects of time on things and takes care to note seams and joints. Maybe it's a strap on an old ski, the thread of a rusty machine screw, or a tin bucket that will inspire her. She compared pottery to jazz and how it is more of an interpretation
within a well-defined structure than a new composition; that we are
playing the standards when we make a pot.
These two women drew analogies that spoke directly to me and gave expression to how I tend to operate that I didn't see as clearly before. Their work is so very different from each other, but to each I could relate and could find common ground.
All this, thanks to the Folk Tradition Arts grant from the Minnesota State Arts Board. I am so grateful for this incredible opportunity. I look forward to the documentary and exhibition coming to the Northern Clay Center in March. Eight potters will be on display in the gallery including Richard Bresnahan, Steven Lemke, Robert Briscoe, Jason Trebs, Warren MacKenzie, Guillermo Cuellar, and of course Linda Christianson and Jil Franke too.
