FLYING HIGH: TIMING AND PLACEMENT ARE EVERYTHING IN LIFE

THE ROLES OF PETER, WENDY AND HOOK ARE NORMALLY PLAYED BY WELL-KNOWN BRITISH ACTORS, MORE OFTEN THAN NOT, STARS FROM THE BRITISH FILM WORLD. IN THE 108 YEARS THAT PETER PAN HAS BEEN PLAYING THE CAST LLISTS ARE A VERITABLE WHO’S WHO OF THE BRITISH ENTERTAINMENT INDUSTRY. IT HAS ALSO BEEN THE TRAINING GROUND FOR A LARGE NUMBER OF WELL-KNOWN CHILD ACTORS.

WHEN PAN FINISHED ITS SIX WEEK LONDON SEASON, IT THEN WENT ON THE ROAD FOR SIX TO EIGHT WEEKS TO OTHER THEATERS AROUND THE BRITISH ISLES. IT NORMALLY PLAYED FOR A WEEK, OR POSSIBLY TWO, IN SOME OF THE LARGER CITIES. THERE WERE A NUMBER OF CHANGES IN THE CAST, BASICALLY WITH ALL OF THE LOST BOYS AND WENDY’S BROTHERS JOHN AND MICHAEL. THIS IS BECAUSE OF THE AGE OF THE KIDS AND GOVERNMENT REGULATIONS ABOUT MINORS.  SO THEY THEN AUDITIONED SHORT BOYS ABOVE THE AGE OF 16 TO FILL THOSE ROLES. SEVERAL WERE JOCKEYS, MOST WERE HELLIONS OR LITTLE DEVILS BACKSTAGE!                            
                                                                                                                                                                                                                                                                     DAVY JONES                                       

DAWN ADDAMS AS PETER AND JANE ASHER AS WENDY

    DAVY JONES PLAYED THE                        

TOURING MICHAEL FOR TWO                      

SEASONS, BEFORE BEING CAST AS “THE ARTFUL DODGER” IN THE LONDON, AND LATER NEW YORK  PRODUCTIONS OF “OLIVER”. THIS WAS FOLLOWED BY BECOMING ONE OF THE SINGING GROUP “THE MONKEES”.

ON THE ROAD, ALL THE THEATERS HAD DIFFERENT SIZED STAGES SO ADJUSTMENTS TO THE SETS HAD TO BE MADE TO ACCOMMODATE THEM. THIS OCCASIONALLY LED TO PROBLEMS, PARTICULARLY WITH SCENES WHERE THE ACTORS MIGHT BE FLYING.

TERRY THOMAS AS “HOOK”                           THE THEATER ROYAL, YORK. 
                                                                                           

          











                                                                                    
A THEATER SINCE 1744 AD, BY ROYAL DECREE.  THIS IS A SMALL THEATER BUILT INTO THE 14TH CENTURY SHELL OF A RUINED NUNNERY. IT IS RIGHT ACROSS THE STREET FROM THE YORK MINSTER, ONE OF THE LARGEST AND MOST BEAUTIFUL CATHEDRALS IN EUROPE.  THE STAGE AT THE THEATER IS ONE OF THE SMALLEST POSSIBLE FOR TOURING PETER PAN INTO. ONE PARTICULAR PROBLEM IS THE PROCESS OF FLYING THE CHARACTERS OF PETER, WENDY JOHN AND MICHAEL. THIS IS DONE BY WHAT WAS CALLED KIRBY’S FLYING MACHINES.  HIGH UP ABOVE THE STAGE IS WHAT IS CALLED “THE GRID” WHERE SCENERY IS INSTALLED ON CABLES TO BE LOWERED IN AND OUT AS NEEDED. THE LARGE PULLEYS THAT TAKE THE FLYING WIRES ARE INSTALLED ON THE GRID WITH STEEL WIRES THAT REACH DOWN TO THE STAGE. THE ACTORS WEAR A HARNESS UNDER THEIR COSTUMES THAT HAVE A CONNECTION RING THAT HOLDS A SPECIALIZED CLIP WHICH ATTACHES TO THE HARNESS. THE RAISING AND LOWERING OF THE ACTOR IN FLIGHT IS DONE BY AN OFF-STAGE WORKER WHO PULLS ON ROPES. THE PRINCIPLE IS THAT OF A PENDULUM WITH THE ACTOR BEING THE WEIGHT ON THE END. HE OR SHE THEN IS LIFTED ON THE THIN BLACK WIRE GIVING THE EFFECT OF A PERSON IN FLIGHT. THE ACTOR HAS TO STAND OR KNEEL IN EXACTLY THE RIGHT SPOT TO GET THE PENDULUM TRAJECTORY ACCURATE FROM START TO FINISH. THE HEIGHT OF MOST GRIDS IS BETWEEN 70 AND 75 FEET ABOVE THE STAGE, GIVING A LONG TRAJECTORY.  THE GRID AT THE YORK THEATER IS ONLY 62 FEET, WHICH MEANS THAT THE FLYABLE DISTANCE IS MUCH SHORTER THAN NORMAL. AND IT IS SUPER CRITICAL WHERE THE ACTOR IS POSITIONED FOR FLIGHT. ON ONE PERFORMANCE, PETER WAS JUST ABOUT AN INCH OFF FROM WHERE SHE SHOULD HAVE BEEN. THE FIRST FLIGHT THROUGH THE WINDOW AND INTO THE BEDROOM, THE WIRE CAUGHT AT THE TOP OF THE WINDOW AND PULLED DOWN THE WHOLE BACK OF THE SET. TEN MINUTES LATER THE UNDERSTUDY WAS READY TO GO  ON WITH THE SHOW!

THE THEATER ROYAL IS ONE OF MANY BRITISH THEATERS THAT ALSO HAS A RESIDENT GHOST. I HADN’T HEARD ANYTHING ABOUT HER BEFORE WE MET, AND I WOULD HAVE BEEN SKEPTICAL ANYWAY.  I WAS WORKING IN A VERY DARK SCENE WHERE THERE WAS SOME TRICK FLYING INVOLVED. I SUDDENLY FELT TOTALLY CHILLED AND LOOKED TO MY LEFT WHERE THERE WAS A SHROUDED FEMALE FIGURE. I SUBSEQUENTLY HEARD THE STORY ORF A YOUNG NUN WHO HAD BECOME PREGNANT. SHE WAS BRICKED UP ALIVE IN A ROOM IN THE NUNNERY TO SLOWLY DIE OF STARVATION. THE BACK RIGHT HAND SIDE OF THE STAGE IS BUILT INTO THE WALLS OF THAT NUNNERY.  SHE WAS A BENIGN SPIRIT, AND EVERYWHERE I WENT IN THE THEATER AFTER THAT, SHE WAS THERE!

                                      YORK MINSTER CATHEDRAL, YORK, ENGLAND

FLOREAT ETONA

THE CURTAIN GOING UP IN  A THEATER, OR THE KILN DOOR OPENING ON A NEWLY FIRED GROUP OF WORK OFTEN PRODUCES THE SAME SORT OF HIGH ENERGY OR ADRENALIN RUSH. JUDI AND I JUST SAW THE GREAT MARTIN SCORSESE MOVIE ”HUGO”, MANY OF THE STAGING EFFECTS REMINDED ME OF BACKSTAGE AT PETER PAN.

THE WELL-EXPERIENCED ACTOR OR ACTRESS KNOWS BY BOTH INSTINCT AND EXPERIENCE HOW TO COACH THE BEST REACTIONS FROM THE AUDIENCE. THE LIFT OF AN EYEBROW OR THE SNEERFUL RAISING OF AN  UPPER LIP WAS ENOUGH  FOR ALISTAIR SIM TO EFFECT A WHOLE RANGE OF EMOTIONS IN THE 1951 MOVIE OF SCROOGE OR CHRISTMAS CAROL. THIS MOVIE IS USUALLY SHOWN SEVERAL TIMES  OVER THE CHRISTMAS HOLIDAY PERIOD

ALISTAIR SIM AS SCROOGE.

ALISTAIR SIM AS CAPTAIN HOOK  AND MR DARLING IN THE 1961 LONDON PRODUCTION OF ”PETER PAN”. HE WAS THE FIRST CAPTAIN HOOK I WORKED WITH.

    ROBERT EDDISON,  SHOWN HERE IN AN INDIANA  JONES

     MOVIE WAS ONE OF THE BEST “HOOK”

    PERFORMANCES DURING MY TIME WITH THE  SHOW.       

                                                                                SYLVIA SYMS

                                                                              PLAYED PETER IN 

                                                                              1965

“THE HOOK”

“THE ADVENTURES OF PETER PAN” WAS FIRST SHOWN IN     1904 AND IT HAS PLAYED IN LONDON ALMOST EVERY YEAR SINCE FOR SIX     WEEKS OVER THE CHRISTMAS SEASON.  IT THEN GOES ON TOUR AROUND     VARIOUS THEATERS THROUGHOUT THE BRITISH ISLES FOR SIX TO EIGHT WEEKS.      THE STORY REVOLVES AROUND PETER, THE BOY WHO NEVER GREW UP. (I TOTALLY     RELATE TO HIM!). HE LIVES IN     NEVER-NEVERLAND, HEADING UP A MOTLEY     COLLECTION OF LOST BOYS. HE IS ALWAYS AT THE MERCY OF CAPTAIN HOOK     WHOSE HAND HE CHOPPED OFF AND FED     TO A FRIENDLY CROCODILE. PETER FLIES     BACK TO LONDON REGULARLY ON HIS OWN POWER OF MAGIC OR FAIRY DUST. ON     ONE VISIT, HE ENTERS THE OPEN WINDOW OF A LONDON MANSION, THE HOME OF THE DARLING FAMILY, MUM AND DAD, AND THREE CHILDREN, WENDY, JOHN AND     MICHAEL. HE IS ALMOST CAUGHT WHEN MR DARLING SLAMS THE WINDOW SHUT,     CUTTING OFF PETER’S SHADOW IN THE PROCESS. HE ESCAPES, BUT RETURNS AT     THE SAME TIME THE NEXT YEAR TO     SEE IF HE CAN FIND HIS SHADOW WHICH     WENDY HAS KEPT NEATLY ROLLED UP IN A JEWELRY BOX. HE GETS CHATTING TO     WENDY AND EVENTUALLY PETER, WENDY, JOHN, MICHAEL AND PETER’S FAIRY     FRIEND, TINKERBELL, PLAYED BY A HIGH-POWERED FLASHLIGHT, FLY OFF TO     NEVER-NEVERLAND. BESIDES CAPTAIN HOOK THERE ARE A STRANGE SELECTION     OF INEPT PIRATES AND A BUNCH OF INDIANS THAT MAKE UP THE LARGE     CAST.  THE     SHOW WAS HELD AT THE SCALA THEATER FOR MANY YEARS.

     PROBABLY THE BEST KNOWN PEOPLE TO WORK ON THAT STAGE WERE THE     BEATLES, MAKING THEIR FIRST MOVIE “HARD DAY’S NIGHT”. IT WAS FUN BEING     BACKSTAGE WITH THEM BEFORE BEATLEMANIA TOOK OVER. THAT EXPLOSION     HAPPENED     AFTER THEIR PERFORMANCE ON THE ED SULLIVAN SHOW OF 1965.

    PAUL’S GIRLFRIEND AT THE TIME WAS JANE ASHER, WENDY FOR TWO OF THE SIX     SEASONS I SPENT WORKING “PETER PAN”. THEY WERE FUN TIMES AND I WILL TELL     YOU MORE TOMORROW ABOUT “PAN” ON TOUR

THE THEATER OF EDUCATION

THE THEATER OF EDUCATION

I SPENT APPROXIMATELY FOURTEEN YEARS OF MY LIFE INVOLVED IN BOTH AMATEUR AND PROFESSIONAL THEATER. UNFORTUNATELY I NEVER KEPT A JOURNAL SO I CAN’T CHECK ON DATES AND PLACES, BUT IT STARTED AT TWELVE WITH PROFESSIONAL TRAINING AND JUST KEPT GOING THROUGH HIGH SCHOOL AND INTO ART SCHOOL. TO EARN MONEY, I WORKED BACKSTAGE IN THE CROYDON GRAND THEATER, A REGULAR PICTURE FRAME OR PROSCENIUM STAGE, FOLLOWED BY A NEW EXPERIMENTAL THEATER IN THE ROUND, THE PEMBROKE, THAT HAD JUST STARTED UP. I PLAYED SMALL PARTS WHENEVER THE OPPORTUNITY AROSE. I WAS FASCINATED BY THE MAGIC OF THEATER, WATCHING A PLAY GROW FROM PRINTED WORDS ON A PAGE TO A LIVING COLLECTION OF CHARACTERS ON A STAGE. WATCHING ACTORS GOING ABOUT THEIR INTERPRETATION OF ROLES WAS FASCINATING AS THEY MORPHED.

I WAS VERY PRIVILEGED TO WORK WITH EXTREMELY WELL-KNOWN ACTORS AND ACTRESSES OF THE TIME. WATCHING ANDREW CRUICKSHANK TRANSFORM FROM A SCOTTISH SHAKESPEAREAN HEAVYWEIGHT TO A CHICAGO LAWYER, BASED ON RENOWNED 1920’S CLARENCE DARROW, WAS INDEED AN INSPIRING LESSON IN THEATRICAL INTERPRETATION. EACH VOCAL INFLECTION AND CHANGE OF PHRASE LENT MUCH TO THE TOTAL CHARACTERIZATION. I LEARNED A GREAT DEAL ABOUT PRESENCE AND CHARACTER BUILDING DURING THIS TIME. I HAD MY 21ST BIRTHDAY ON STAGE AT THE ST. MARTIN’S THEATER.

                                     ANDREW CRUICKSHANK IN “INHERIT THE WIND”

I WORKED AGAIN WITH ANDREW IN A PLAY TITLED “LOOK HOMEWARD, ANGEL” THAT ALSO TRANSFERRED TO THE WEST  END OF LONDON. WATCHING HIM BECOME IMMERSED IN HIS ROLE IN THAT PLAY WAS AGAIN MESMERIZING. I DID SEVERAL WEST END PLAYS AND MUSICALS IN SUCCESSION AFTER THIS, LA BONNE SOUPE, THE GINGERMAN, FAIRY TALES OF NEW YORK, FINIAN’S RAINBOW, AND OTHERS, ALL WITH MAJOR CASTS WHO I LEARNED MUCH FROM.


WHEN I LATER CAME INTO THE WORLD OF TEACHING, I QUICKLY REALIZED THAT GOOD TEACHING IS AN ACT OF THEATER  AND THE MORE INTERESTING THE CLASSROOM EXPERIENCE CAN BE, THE MORE MEMORABLE IT IS FOR THE STUDENT.

THE SHOW THAT I SPENT MOST TIME WITH WAS J.M. BARRIE’S “PETER PAN”. FROM BUILDING A 20’ FULLY ARTICULATED NEW CROCODILE AND MANY OTHER PROPS, I BECAME THE PROPERTY MASTER FOR THE SHOW FOR TWO WINTER SEASON’S, FOLLOWED BY FOUR MORE SEASONS AS STAGE CARPENTER, THE PERSON WHO BASICALLY CONTROLS THE WHOLE OF THE BACKSTAGE AREA.

THERE ARE MANY STORIES THAT GO ALONG WITH MY EXPERIENCES ON “PAN”.  I WILL EXPAND ON THEM NEXT MONDAY.  BELIEVE ME, THEY DO HAVE RELEVANCE TO THE WORLD OF ACADEMIA!  

GUIDES, GURUS, MENTORS AND ROLE MODELS

    HARRY DAVIS
   
    HARRY, AND HIS WIFE MAY, PRODUCED SOME OF THE FINEST     FUNCTIONAL WORK BEING DONE IN ENGLAND FOR MANY YEARS     AT CROWAN POTTERY. THEY MOVED TO NEW ZEALAND IN THE     EARLY 1960’S. THE QUALITY OF THEIR WORK AND THEIR     RESEARCH INTO MATERIALS WERE VERY  INFLUENTIAL TO MY         THINKING. HE WAS MY MENTOR AS FAR AS WORK ETHIC WENT.

ALAN CAIGER-SMITH
       
    ALAN HAD A WORKSHOP WITH UP TO SIX PEOPLE WORKING IN     ALDERMASTON, BERKSHIRE WHERE THEY MADE A BEAUTIFUL     RANGE OF COLORFUL MAJOLICA  AND ALSO VERY SPECIAL ITEMS     USING ARABIAN LUSTER DECORATED WARES. ALAN’S STUDIO WAS     TWELVE MILES FROM MINE. IT WAS A GREAT OPPORTUNITY FOR     ME TO WATCH HIM AND HIS CREW DOING BRUSH DECORATION. I     WORKED IN SLIPWARE AND SGRAFFITO DECORATION AT THE TIME.

   

VIVIKA AND OTTO HEINO
    WELL KNOWN AMERICAN POTTERS WHO SPECIALIZED IN GLAZE     AND COLOR DEVELOPMENT. VIVIKA WAS TEACHING IN TORONTO     AT THE SAME TIME AS I WAS. WE DID FIELD TRIPS TOGETHER WITH     OUR STUDENTS, AS NEITHER COLLEGE HAD ENOUGH FUNDS TO     HIRE A BUS. STUDENTS FROM OCA ALSO JOINED US.

RAY FINCH

    THE MOST INFLUENTIAL POTTER IN THE FUNCTIONAL ARENA     AFTER THE BERNARD LEACH POTTERY AND BERNARD’S SON     DAVID. HE JUST PASSED AWAY RECENTLY AT THE AGE OF 92.
    HIS STUDIO AT WINCHCOMBE IN GLOUCESTER WAS A MECCA.     ALSO A GREAT INFLUENCE WITH REGARD TO WORK ETHIC.




PABLO PICASSO

        PICASSO WAS THE CONSUMMATE EXPERIMENTER WITH EVERY         ART MATERIAL THAT HE TOUCHED. I WAS GREATLY ENCOURAGED         TO EXPLORE AND EXPERIMENT WHILE LOOKING AT HIS WORK IN         ANY MEDIUM. I WAS PARTICULARLY EXCITED BY HIS APPROACH TO         WHEEL THROWN SCULPTURE.

THOMAS SAMUEL HAILE

         SAM HAILE WAS A STUDENT OF WILLIAM STAITE AT THE         ROYAL COLLEGE OF ART WORKING IN CONTEMPORARY PAINTING         ON THE CERAMIC SURFACE. HIS WORK IN SLIPWARE WAS VERY         INSPIRATIONAL AND EXCITING. HE DIED IN A MOTORCYCLE         ACCIDENT AT THE AGE OF 38.
       



WILLIAM STAITE MURRAY

        MURRAY WAS WELL KNOWN AS A PAINTER BEFORE RUNNING THE         CERAMICS DEPARTMENT AT RCA. HE WAS THE “FINE ART”         CERAMIC ARTIST WHERE BERNARD LEACH WAS MOSTLY KNOWN         FOR MAKING ORIENTALLY INSPIRED FUNCTIONAL WARES.  THEY         WERE THE TWO BEST KNOWN CLAY WORKERS OF THE 1920 - 1940         PERIOD.




        LUCIE RIE
   
        LUCIE RIE  MOVED FROM AUSTRIA TO ENGLAND IN 1933 TO         ESCAPE GERMAN AGGRESSION. SHE BECAME ONE OF THE MOST         INFLUENTIAL CERAMIC ARTISTS AND TEACHERS OF THE TIME         DEVELOPING BEAUTIFUL WORK IN PORCELAIN AND STONEWARE.
        HER SENSE OF FORM WAS EXQUISITE.  SHE PASSED AWAY AT THE         AGE OF 95.
   

        HANS COPER

        HANS INITIALLY TRAINED AS AN ENGINEER IN GERMANY AND         ESCAPED TO ENGLAND. HE WAS ARRESTED AS AN ENEMY ALIEN         AND SHIPPED TO CANADA, WHERE HE WAS INCARCERATED IN A         CAMP IN NEWFOUNDLAND FOR MUCH OF THE WAR. THIS SET IN         MOTION SERIOUS HEALTH PROBLEMS THAT CULMINATED IN HIS         EARLY DEATH AT THE AGE OF 61, IN 1981.  HE REMAINS THE MOST         INFLUENTIAL CERAMIC ARTIST IN EUROPE. MOST OF HIS WORK         HAS ITS GENESIS IN MARBLE SCULPTURE OF THE  GREEK         CYCLADIC PERIOD.






        MICHAEL “MICK” CASSON

        MICK WAS ONE OF THE MOST INFLUENTIAL FUNCTIONAL POTTERS
         AND TEACHERS IN ENGLAND THROUGH THE PERIOD OF THE MID         1950’S UNTIL HIS DEATH IN 2003. HE SPENT A GREAT DEAL OF TIME         LIMITING HIS WORK TO A SMALL RANGE OF OBJECTS EXPLORED         IN A WIDE RANGE OF METHODS AND DECORATION PROCESSES.

I WAS INFLUENCED IN MANY WAYS BY ALL OF THESE ARTISTS EITHER DIRECTLY OR INDIRECTLY. I MET MOST OF THEM PERSONALLY. I ALWAYS GIVE THEM CREDIT FOR HELPING IN MY DEVELOPMENT AS A PRODUCING ARTIST AND EDUCATOR.  IT IS IMPORTANT TO REMEMBER WHO HELPED YOU WHEN YOU WERE STARTING TO CLIMB THE LADDER. IF YOU DON’T WANT TO BE ACCUSED OF PLAGIARIZING THEIR WORK, FIND OUT WHERE THEY DEVELOPED THEIR IDEAS FROM AND GO ON A PARALLEL OR TANGENTIAL PATH. APART FROM THE VARIOUS THINGS THAT I LEARNED FROM THEM, MY WORK HAS MOST OFTEN BEEN INFLUENCED BY HUMAN CULTURE, CERAMIC HISTORY, LANDSCAPE, GEOLOGY, PLANTS AND GARDENS. THE OVERRIDING INFLUENCE HAS SOMEHOW ALWAYS BEEN NATURE IN ITS HUGE VARIETY.
TOMORROW - TEACHING AND THEATER

THE BATTLE BETWEEN ART AND CRAFT - STILL RAGING AFTER SIXTY YEARS

THE BATTLE BETWEEN ART AND CRAFT - STILL RAGING AFTER SIXTY YEARS

ARTS PAGE - RH WORK DONE AS A STUDENT AT AGE 20.

“TOAD PLATE”

STONEWARE

IMAGE BORROWED FROM A PICASSO LITHOGRAPH

                                         “PILGRIM BOTTLE VASE”

                                           STONEWARE














GUIDES, GURUS, MENTORS AND ROLE MODELS

THESE ARE SOME OF THE ARTISTS WHO HAD A MAJOR EFFECT ON MY THOUGHTS ABOUT FORM, SURFACE AND FUNCTIONALITY. I KNEW I WOULDN’T BE ABLE TO MAKE A LIVING DOING ONE-OF-A-KIND WORK, SO I DECIDED ON 50% FUNCTIONAL AND 50% ONE-OF-A-KIND, A PATTERN THAT STAYED CONSTANT FOR 45 YEARS. THESE ARTISTS ARE ALMOST ALL FROM UK.

TENMOKU PLATE BY HARRY DAVIS UK/NZ     CASSEROLE BY RAY FINCH

GOBLET BY ALLAN CAIGER-SMITH        VASE BY VIVIKA AND OTTO HEINO

 

PITCHER BY MICHAEL CASSON            VASE BY HANS COPER

 


VASE BY LUCIE RIE            VASE BY  THOMAS SAMUEL HAILE

WILLIAM STAITE MURRAY                                     PABLO PICASSO

PICASSO DECORATING LARGE PLATE                            PICASSO OWL

TO MY MIND, PABLO PICASSO WAS THE MOST UNDERRATED CERAMIC ARTIST OF THE 20TH CENTURY. HE WORKED CONSISTENTLY IN CLAY FOR OVER 20 YEARS FROM 1946 TO 1968.  AS A STUDENT, I WAS FORTUNATE TO SEE A PICASSO NEW CERAMICS EXHIBIT EVERY YEAR IN LONDON.  HE BROKE DOWN LONG-STANDING TRADITIONS IN CERAMICS, AS HE DID WITH VARIOUS MEDIA, AND ALLOWED A VIBRANT NEW ARTISTIC VISION TO DEVELOP.
FAVORITE PICASSO QUOTE:   
 “MEDIOCRE  ARTISTS BORROW, GREAT ARTISTS STEAL”.
______________________________________________________________________

TOMORROW

MORE THOUGHTS ON GUIDES, GURUS, MENTORS AND ROLE MODELS

OFF TO ART SCHOOL 1955

I WAS SIXTEEN WHEN I STARTED STUDIES AT CROYDON COLLEGE OF ART, A SMALL COLLEGE IN SOUTH LONDON.  THE FIRST YEAR OF FOUNDATION STUDIES, WHERE ONE DID A LITTLE OF EVERYTHING, WAS DESIGNED TO PREPARE ONE FOR DIFFERENT DIRECTIONS IN ART. THERE WERE NO CERAMIC COURSES AS THAT PROGRAM WAS BEING RELOCATED TO ANOTHER VENUE IN ANOTHER PART OF TOWN. AT THE END OF THE YEAR IT WAS RECOMMENDED THAT, IN SECOND YEAR, I GO INTO DRAWING, PAINTING AND PRINTMAKING. JUST BEFORE CLOSING FOR THE SUMMER THERE WAS A SALE OF UNCLAIMED BISQUE WARE FROM THE POTTERY STUDIO. I BOUGHT A FEW PIECES FOR A FEW PENNIES AND, NOT KNOWING ANYTHING MUCH ABOUT WHAT WAS INVOLVED, WENT TO A SMALL, SIX-PERSON, PRODUCTION POTTERY TO SEE IF I COULD GET A GLAZE PUT ON THEM. WHILE I WAS THERE, I THOUGHT IT LOOKED LIKE AN INTERESTING PLACE TO WORK, SO I ASKED THE OWNER IF THERE WAS ANY POSSIBILITY OF A SUMMER JOB. HE SAID HE COULD EMPLOY ME BUT WOULDN’T BE ABLE TO PAY ME. I ASKED WHAT THE JOB MIGHT ENTAIL AND WAS TOLD “WEDGING”. I HAD NO IDEA WHAT THAT WAS, BUT TOLD THE OWNER I COULD DO IT. SO I SPENT THREE MONTHS, FIVE DAYS A WEEK,  WEDGING AND PREPARING THOUSANDS OF POUNDS OF CLAY FOR THE THROWERS IN THE WORKSHOP. MY PAYMENT WAS ZILCH IN CASH, BUT DAILY THROWING LESSONS WITH THREE OF THE BEST THROWERS AROUND FOR A WHOLE SUMMER.  I LEARNT MANY TIPS AND TRICKS THAT HAVE BEEN  WELL USED EVER SINCE. BY THE END OF SUMMER, I WAS TOTALLY HOOKED.

LIFE DRAWING AND PAINTING WERE HELD IN THIS WONDERFUL CONSERVATORY OF AN OLD MID-VICTORIAN MANSION AT THE TOP OF A PARK

POTTERY, PRINTMAKING, SCULPTURE AND THEATER DESIGN WERE HELD IN THIS BUILDING, ONCE THE HOME OF GEORGE CRUIKSHANK, ONE OF  CHARLES DICKENS’ BEST KNOWN ILLUSTRATORS.

WHEN I RETURNED TO COLLEGE IN THE FALL, I STARTED IN PAINTING.  I WAS PHYSICALLY NAUSEATED BY THE COMBINED SMELLS OF OIL PAINT AND TURPENTINE, AND IT WAS BEFORE ACRYLIC PAINTS WERE IN COMMON USE, SO I TRANSFERRED TO CERAMICS - A MATCH MADE IN HEAVEN. EACH SUMMER AFTER THE FIRST ONE I SPENT 3 MONTHS HITCH - HIKING ALL OVER EUROPE TO DO FURTHER CERAMIC STUDIES IN THE MAJOR MUSEUMS AND GENERALLY GET TO KNOW MY WAY AROUND IN DIFFERENT COUNTRIES, USING DIFFERENT LANGUAGES.   

ONE EXTRA SPECIAL THING ABOUT THIS COLLEGE WAS THAT IT HAD A GREAT REPUTATION AS A SCHOOL FOR STAGE DESIGN, SOMETHING I HAD BEEN INTERESTED IN THROUGHOUT MY HIGH SCHOOL YEARS.  I HAD BEEN TRAINED AS A CHILD AND ADOLESCENT ACTOR AND IT WAS A DECISION BETWEEN THEATER AND ART THAT LIE IN THE FUTURE. THE COLLEGE HAD A GROUP OF ACTORS WHO PLAYED THE PARTS IN THE PLAYS THAT WERE BEING DESIGNED. I BECAME ONE OF THEM FOR THE WHOLE TIME I WAS IN COLLEGE. I ALSO AUDITED ALL THEATER-RELATED COURSES THAT WERE OFFERED, LEARNING ABOUT SCENIC AND COSTUME DESIGN, SCENE-PAINTING AND CONSTRUCTION, LIGHTING AND PROPERTY MAKING. ONE NEVER KNEW WHEN THESE SKILLS MIGHT BE USEFUL. IN MY LAST TWO YEARS OF COLLEGE I WORKED BACKSTAGE IN THE LOCAL PROFESSIONAL COMPANY AND PLAYING THE ODD SMALL ACTING ROLES. I WAS INVITED TO AUDITION FOR THE BRITISH PREMIERE OF A WELL-KNOWN AMERICAN PLAY, “INHERIT THE WIND”, GOT THE PART AND WAS APPEARING IN LONDON’S “WEST END” AT THE SAME TIME AS DOING MY NATIONAL DIPLOMA IN DESIGN (LIKE AN MFA). MY LIFE HAS ALWAYS BEEN CHAOTICALLY LAYERED. THE “WEST END” IS LONDON’S EQUIVALENT TO NEW YORK’S “BROADWAY”.


 THIS IS ME IN THE LONDON PRODUCTION OF "INHERIT THE WIND", 1961. AGE 21.

AFTER GRADUATION, I STAYED IN THE THEATER BUSINESS WORKING ON SEVERAL PLAYS AS AN ACTOR AND STAGE MANAGER. I DIDN’T STAY AN ACTOR FOR LONG AS WITH A YOUNG FAMILY I NEEDED A REGULAR INCOME. EVEN WELL-KNOWN ACTORS ARE USUALLY ONLY EMPLOYED FOR THREE OR FOUR MONTHS PER YEAR. WITH ALL THE BACKSTAGE SKILLS I HAD DEVELOPED, I COULD BE EMPLOYED FULL-TIME AND MAKE A GOOD INCOME IN THE PROCESS. 
A LIFE PATTERN EMERGED WITH THEATER FROM NOVEMBER TO MARCH, THEN TWO MONTHS PROP-MAKING, FOLLOWED BY FOUR MONTHS OF SUMMER AS A EUROPEAN TRAVEL GUIDE. THEN MORE PROP-MAKING UNTIL BACK INTO THEATER IN NOVEMBER. FIVE YEARS OF THIS REGIME AND I HAD SAVED ENOUGH MONEY FOR MY FIRST HOUSE AND STUDIO.  I COULD NOW GET BACK TO CLAY.  I DROPPED THE THEATER AND TRAVEL WORK, TOOK ON A LITTLE PART-TIME TEACHING AND DEVELOPED MY STUDIO, SELLING MY WORK IN GALLERIES THROUGHOUT THE SOUTHERN HALF OF ENGLAND.

            WHEEL-THROWN BIRD SCULPTURE

 

TOMORROW

A LOOK AT CLAY WORK DONE WHILE IN COLLEGE AND INFLUENCES BEHIND IT.

EDUCATION

SEVERAL PEOPLE WROTE AND ASKED ABOUT THE POTENTIAL LIKELIHOOD OF COLLEGE AND UNIVERSITY TEACHING POSITIONS. MY OBSERVATIONS HAVE BEEN THAT WHEN A TEACHING POSITION BECOMES AVAILABLE, THERE IS A VERITABLE HORDE OF POTENTIAL CANDIDATES. DEPENDING ON THE POSITION THERE IS USUALLY UPWARDS OF 20 FOR EACH AVAILABLE FACULTY POSITION. FOR POSITIONS THAT OFFER TENURE AND HIGH VISIBILITY, THE CANDIDATES IN THE RACE MIGHT GET TO OVER 100.  FACULTY GENERALLY STAY IN A POSITION FOR BETWEEN 10 AND 35 YEARS, EFFECTIVELY ELIMINATING THAT POSITION FOR AS LONG AS THE PERSON REMAINS IN PLACE.

WHEN ADMINISTRATORS ARE WORKING ON SETTING COURSE COSTS THEY USUALLY WORK BASED ON THE SQUARE FOOTAGE OF SPACE NEEDED TO FULFILL THE JOB AT HAND.  ON AVERAGE IT TAKES 27 SQ FT FOR A CERAMICS STUDENT AND, 9 SQ FT FOR A COMPUTER ENGINEER OR PROGRAMMER. THEREFORE YOU CAN GET 3 COMPUTER PEOPLE IN THE SPACE NEEDED FOR  ONE CLAY WORKER. COURSE SUCCESS IS USUALLY MEASURED BY THE NUMBER OF JOB PLACEMENTS ACHIEVED. VIRTUALLY EVERY COMPUTER PERSON HAS A JOB WAITING. FOR CERAMIC ARTISTS IN IS NORMALLY 1 IN 20.  THEY DON’T USUALLY COUNT BEING SELF-EMPLOYMENT AS HAVING A JOB!
SELF TEACHING

THIS IS A LITTLE OF A MISNOMER. WHAT IT REALLY MEANS IS LEARNING OUTSIDE OF THE NORMAL ACADEMIC ARENA THROUGH MANY POSSIBLY AVAILABLE AVENUES WITH MANY DIFFERENT SCENARIOS. YOU CAN START TO LEARN FAMILIARITY WITH CLAY AT THE KITCHEN TABLE WITH ONLY A FEW CHEAP TOOLS AND CLAY. LEARNING BASIC HANDBUILDING DISCIPLINES OF PINCHING, COILING SLAB-BUILDING AND COMBINATIONS OF THESE SIMPLE PROCEDURES WILL GIVE YOU THE POSITIVE FEEDBACK OF SIMPLE CONTROL. THEY TEACH YOU THE “FEEL” OF CLAY AT A SLOW SPEED. GETTING THIS BASIC FEEL IS PARTICULARLY IMPORTANT WHEN YOU START TO LEARN HOW TO THROW CLAY ON A WHEEL AND EVERYTHING IS SPEEDED UP. THE POTTERS‘ WHEEL IS A DECEPTIVELY SIMPLE LOOKING TOOL THAT TAKES MANY YEARS TO MASTER.  EXERCISES SPEED UP THE LEARNING PROCESS BY CREATING AMBITION TO IMPROVE. THROWING EXERCISES ARE THE POTTER’S EQUIVALENT OF THE MUSICIAN’S PLAYING SCALES. WHEN I WAS A STUDENT WE WEREN’T ALLOWED TO KEEP ANYTHING UNTIL WE COULD THROW CYLINDERS 6” WIDE AND 18” TALL OR 18” WIDE AND 6” TALL. IF YOU CAN THROW THAT, YOU CAN BASICALLY THROW ANYTHING. MY ANALYTICAL BASIC   THROWING VIDEO SHOWS MANY LEARNING VARIABLES AND EXERCISES TO HELP SPEED UP THE LEARNING PROCESS. AS WITH MUSIC, THE MORE YOU PRACTICE, THE BETTER AND MORE MELODIC THE MUSIC YOU CAN MAKE. WHEN YOU SEE VERY EXPERIENCED POTTERS THROWING IT ALL LOOKS SO EASY. THERE ARE MANY VIDEOS AVAILABLE THAT COVER A HOST OF CERAMIC TOPICS.


TRY TO LEARN GLAZING, DECORATING AND FIRING TECHNIQUES AT THE SAME TIME AS YOUR THROWING OR HAND-BUILDING. ALL YOUR SKILLS ARE THEN BEING DEVELOPED TOGETHER AND WON’T LEAVE YOU WITH A WHOLE LOT OF WORK AND NOT THE FAINTEST IDEA OF WHERE TO GO NEXT!


THERE ARE MANY PRIVATE INDIVIDUAL TEACHERS, PRIVATE SCHOOLS AND POTTERS GROUPS THAT PROVIDE AN ALTERNATIVE OPPORTUNITY FOR LEARNING. IN CONJUNCTION WITH WORKSHOPS, SEMINARS AND CONFERENCES YOU CAN BUILD YOURSELF A LEARNING PACKAGE THAT DOESN’T BREAK THE BANK AND ALSO DOESN’T LEAVE YOU OVERLY INFLUENCED IN ANY ONE STYLE OF WORKING, ALLOWING YOU TO GROW AS AN INDIVIDUAL AND ELIMINATE BECOMING A CLONE USING SOMEONE ELSE’S STYLE.


A WORD OF CAUTION. 


DON’T GO OUT AND BUY ALL THE BEST EQUIPMENT AND SET YOURSELF UP WITH A FABULOUS, EXPENSIVE STUDIO UNTIL YOU HAVE PROVEN TO YOURSELF THAT THIS IS WHAT YOU REALLY WANT TO, AND CAN DO. ALSO, DON’T SELL YOUR WORK UNTIL IT IS A GOOD REPRESENTATION OF YOUR ABILITIES. REMEMBER THAT THE BEST TOOL IN THE POTTER’S STUDIO IS A LARGE, UNFORGIVING HAMMER BY THE SIDE OF THE KILN. IT IS THERE FOR QUALITY CONTROL. WE ALL MAKE JUNK SOMETIMES.  BETTER TO GET RID OF IT BEFORE IT HAS THE CHANCE OF POLLUTING THE VISUAL ENVIRONMENT. IT IS VERY DIFFICULT TO GET THOSE MISTAKES BACK ONCE THEY HAVE BEEN SOLD TO SOMEONE ELSE.  I MOVED FROM ENGLAND TO CANADA PARTLY TO ESCAPE THE LESS THAN GREAT POTS THAT I SOLD THERE!


SO, BASICALLY, THERE ARE YOUR EDUCATIONAL OPTIONS,  DEPENDING ON WHO YOU ARE AND YOUR REASONS FOR WANTING TO WORK IN THIS COMPLEX, BUT VERY BEAUTIFUL, MEDIUM. JOINING AND PARTICIPATING IN ORGANIZATIONS WITH LIKE-MINDED PEOPLE IS ALSO A GOOD WAY TO GET INTEGRATED INTO THE GREGARIOUS GLOBAL CERAMIC SCENE. THE MORE INVOLVEMENT, THE BETTER THE LEARNING  AND APPRECIATION  SEEMS TO BE. THE FURTHER YOU STAY FROM WHERE IT IS HAPPENING, THE SLOWER THE LEARNING PROCESS.

MY ENGLISH ART COLLEGE EXPERIENCE

TOMORROW I START TO RE-CONNECT TO MY PERSONAL JOURNEY IN SCHOOL AT THE CROYDON COLLEGE OF ART IN SOUTH LONDON. THE LAST THING IN MY MIND WAS WANTING TO TEACH, I JUST WANTED TO DO CLAY ON THE ONE HAND AND WORK IN THEATERS ON THE OTHER. I FOUND THE PERFECT MARRIAGE FOR MY SKILLS.

OBITUARY

RAY FINCH  - 1914 - 2012


IT HAS JUST COME TO MY NOTICE THAT RAY FINCH PASSED AWAY THIS MORNING AT THE AGE OF 98. KNOWING RAY, HE WAS PROBABLY IN THE STUDIO AT 8AM YESTERDAY THROWING HIS SIGNATURE VESSELS. RAY, A FORMER STUDENT OF MICHAEL CARDEW, WAS THE PREMIER ENGLISH POTTER OF FUNCTIONAL WARES FOR MORE THAN HALF A CENTURY. MOST BRITISH FUNCTIONAL POTTERS OF THE LAST HALF OF THE 20TH CENTURY OWE RAY A GREAT DEBT.

HOROSCOPE

IF ONE DISCOUNTS THE NEGATIVES AND OCCASIONAL TRAGEDIES OF LIFE, AND DECADES OF WORKING SEVEN DAYS PER WEEK, 12 - 16 HOURS PER DAY,

I MUST SAY THAT I MUST HAVE BEEN ONE OF THE LUCKIEST GUYS AROUND. I WAS BORN UNDER THE ASTROLOGICAL SIGN OF TAURUS, LUCKIEST SIGN IN THE ZODIAC.

I WAS BORN IN APRIL 1939, IN CHINESE ASTROLOGY THE YEAR OF THE RABBIT, ACKNOWLEDGED TO BE THE LUCKIEST SIGN IN THE CHINESE CALENDAR. WHOOPEE, A DOUBLE GOOD-LUCK WHAMMY!  MY WONDERFUL PARENTS HAD PERFECT TIMING IN THE  PROCESS OF CONCEPTION IN THE THIRD WEEK OF AUGUST 1938.  THIS TIMING PHENOMENON ONLY OCCURS FOR FIVE SPECIFIC DAYS IN EVERY TWELVE YEARS. I HAVE ALWAYS BELIEVED THAT THE SUCCESS OF EVERYTHING IN LIFE WAS DEPENDENT ON TIMING! WORKING IN CLAY CERTAINLY PROVES THIS POINT

YOU CAN’T CONTROL THE TIMING OF YOUR OWN BIRTH, BUT IT IS REALLY WONDERFUL WHEN OTHERS HAVE THE FORESIGHT TO DO IT FOR YOU!

EDUCATION

BACK TO EDUCATION IN THE CERAMIC ARTS    

GOOD K-13 ARTS EDUCATION IS NOT AVAILABLE EVERYWHERE IN PRIMARY OR SECONDARY EDUCATION LEVELS UNFORTUNATELY. IN MANY PARTS OF THE U.S. IT IS LOOKED AT AS A MAJOR PROGRAM HELPING YOUNG DEVELOP IN A CIVILIZED SOCIETY THROUGH CREATIVE CULTURE AND CREATIVE THINKING. ONE CAN SEE THE RESULTS OF THIS ANNUALLY AT THE NATIONAL COUNCIL FOR THE CERAMIC ARTS (NCECA) ANNUAL CONFERENCE.  THIS YEAR IT IS IN SEATTLE, WASHINGTON. UNDER THE WATCHFUL EYE OF BOB FEDER AND HIS HARD-WORKING COMRADES, THERE IS ASSEMBLED A JURIED EXHIBIT OF WORK FROM SCHOOLS ALL OVER.  FOR MY MONEY, THIS IS ALWAYS ONE OF THE MOST VIBRANT, AFFIRMATIVE AND EXCITING SHOWS AROUND THESE CONFERENCES. THESE SCHOOLS ARE ONE OF THE MAIN VENUES WHERE OUR NEXT GENERATION OF CERAMIC ARTISTS WILL COME FROM. THE BETTER THE EXPOSURE AT A YOUNG AGE, THE MORE LIKELY THE EXCITING GROWTH AT THE LEVEL OF TERTIARY EDUCATION. LEARNING GOOD HABITS IN SKILL DEVELOPMENT EARLY IN WORKING WITH CLAY, SETS THE STUDENT UP FOR LIFE, NO MATTER WHAT LINE OF WORK HE OR SHE FOLLOWS. GOOD BASICS ARE THE FOUNDATION OF EVERYTHING.

UNFORTUNATELY, NOT ALL MINISTRIES OR DEPARTMENTS OF EDUCATION ARE EQUALLY FAR- SIGHTED. IN CANADA, FOR INSTANCE, THERE IS LITTLE IN THE

WAY OF PLANNED ARTS AND CULTURE EDUCATION IN RELATION TO TEAM SPORTS.  CREATIVE THINKING IS REDUCED TO A MINIMUM.  TO MY MIND, THE DEPARTMENTS OF EDUCATION SHOULD BE SUB-DIVISIONS OF THE DEPARTMENTS OF HEALTH. HEALTH IS ABOUT IMPROVING LIFE AND LONGEVITY. CULTURAL ACTIVITIES ARE ABOUT A LIFELONG PURSUIT WHERE AGGRESSIVE SPORTS SO OFTEN LEAD TO EARLY BURNOUT, AS THE BODY REFUSES TO TAKE MORE PUNISHMENT.

SO THIS IS WHERE PARENTAL POSITIVITY COMES IN. INSTEAD OF COMPLAINING AT THE MESS, ENCOURAGE CREATIVITY AND SELF-EXPRESSION.  THESE WILL HELP THE CHILD’S DEVELOPMENT TOWARDS ANY AVENUE IN LIFE. THE CREATIVE THINKER IS THE MOST SOUGHT AFTER EMPLOYEE IN ANY AVENUE OF WORK.  THE RAGGLE TAGGLE GROUP OF METAPHORICAL SHEEP SOON TURN INTO A SMART FLOCK FROM WHICH THE INDIVIDUALS HAVE A CHANCE TO EMERGE AND BECOME LEADERS IN THE FIELD.

TERTIARY EDUCATION - COLLEGE, UNIVERSITY AND SELF-TEACHING

UNLESS YOU HAPPEN TO BE A PRECOCIOUS CULTURAL GENIUS THE LIKE OF MOZART, MENDELSOHN, PICASSO AND RODIN, YOU ARE GOING TO HAVE TO WORK HARD AND DILIGENTLY FOR MANY YEARS TO BECOME A MASTER OF THE CERAMIC MEDIUM.  THE EDUCATIONAL DIRECTIONS THAT YOU TAKE AT THIS POINT ARE NORMALLY RELATED TO HOW YOU SEE YOUR JOURNEY THROUGH LIFE.  TO BE A FIRST RATE WORKING ARTIST YOU NEED ONE THING. TO TEACH IN INSTITUTIONS FUNDED BY THE PUBLIC PURSE YOU HAVE NO OPTION BUT UNIVERSITY.

TOMORROW:  WHO ARE YOU AND WHICH FORM OF TERTIARY EDUCATION IS RIGHT FOR YOU?

SCHOOLS ARE CLOSED

SCHOOLS ARE CLOSED BECAUSE OF SNOW TODAY.  WE INTERRUPT THE DISCUSSION ON CERAMIC EDUCATION TO BRING YOU IMAGES OF BEAUTY FROM THE GARDEN UNDER SNOW. UNLIKE MOST OF CANADA, SNOW IS A RARITY ON SOUTHERN VANCOUVER ISLAND AS WE HAVE A MARITIME MEDITERRANEAN CLIMATE, SIMILAR TO THE SOUTH OF FRANCE. IT IS USUALLY GONE IN A FEW DAYS.  IN COUNTRY AREAS IT MAINTAINS ITS PRISTINE WHITENESS, UNLIKE THE SMELLY, BROWN AND YELLOW VERSIONS THAT PERMEATE URBAN AREAS. SNOW HERE IS VERY DANGEROUS FOR DRIVING IN, AS IT NEVER GETS COLD ENOUGH TO PACK DOWN ON THE ROAD. IT IS MORE LIKE A SHEET OF GREASE AND YOU HAVE ALMOST NO TRACTION. BEST THING TO DO IS STAY HOME!

THE SILENCE IN THESE IMAGES OF OUR INNER MEDITATION GARDEN IS LIKE THAT OF THE SILENCE FOUND IN MEDITATION ITSELF. THIS IS PART OF OUR 2.5 ACRE GARDEN THAT INCLUDES MY INTERPRETATION OF THE FIVE BASIC FORMATS OF JAPANESE GARDEN. IT IS NOT SUPPOSED TO BE A JAPANESE GARDEN. WE CALL THIS ORIGINAL STYLE ANGLOJAPANADIAN.

 

WINTER SCENE GLAZE PAINTING ON PORCELAIN CANVAS SUBSTRATE

 

PORCELAIN SLAB/THROWN BOTTLE

WINTER LANDSCAPE SERIES  1978

 

IRON KOI GATE TO MEDITATION GARDEN BY ARTIST:  BEVERLEY PETOW

WOOD LANTERNS BY ARTIST:  DAVID SEAGER

EAT YOUR HEART OUT DR. T. MLSD, MFA, ET AL

THE SNOW IS ALREADY MELTING!  BACK TO REGULAR EDUCATION COLUMN TOMORROW.

OBITUARY

Eva Zeisel: November 13, 1906 – December 30, 2011

EVA ZEISEL WAS THE PRE-EMINENT CERAMIC DESIGNER OF THE 20^T CENTURY. HER ELEGANT WORK GRACES HOMES AND TABLES THE WORLD OVER. SHE WAS 105 YEARS YOUNG AT THE TIME OF PASSING.

EDUCATION

IN YESTERDAY’S POST I MENTIONED TWO OF MY BOOKS, “FUNCTIONAL POTTERY” AND “MAKING MARKS”. IN CONJUNCTION WITH “CERAMIC SPECTRUM”, THE CONTENT THESE THREE BOOKS WAS DESIGNED TO GIVE THE READER THE EQUIVALENT OF A FOUR YEAR PLUS COLLEGE DIPLOMA OR BFA DEGREE. TOGETHER, THEY COVER FORM, SURFACE AND CERAMIC TECHNOLOGY. YOU CAN EASILY TEACH YOURSELF FROM THIS TRILOGY. IF YOU CAN GET THE VIDEOS, SO MUCH THE BETTER. BOOK AND VIDEO ARE LIKE A TEAM.

 

                                      RH PERSONALITY TRAITS

I WAS DEFINITELY THE BLACK SHEEP OF THE FAMILY, A DREAMER, REBEL AND RESEARCHER OF THE RARE, UNUSUAL, IMPROBABLE AND IMPOSSIBLE, ONE WHO NEVER TOOK “NO” FOR AN ANSWER AND NEVER FINISHES SEARCHING.

MY GREATEST MENTORS THROUGHOUT MY LIFE HAVE BEEN MICKEY MOUSE AND PETER PAN. THEY BOTH REPRESENT PLAYFUL BUT SERIOUS AND POSITIVE FORCES AND JOY IN LIFE - THE ETERNAL CHILDREN.

MY BRAIN PROBABLY LOOKS LIKE THE DALE CHIHULY GLASS SCULPTURE, ENDLESSLY MOVING IN MANY DIRECTIONS AT THE SAME TIME AND FOCUS ING DEEPLY TO UNDERSTAND THE VISION, IDEA OR CONCEPT THAT PRESENTS ITSELF, NO MATTER HOW OBSCURE OR TRIVIAL THEY MIGHT SEEM. REMEMBER THE OLD ADAGE: “GREAT OAKS FROM LITTLE ACORNS GROW”

AS ONE’S SKILLS IN MANIPULATING CLAY DEVELOP, ONE USUALLY NEEDS FURTHER STIMULATION TO GROW IN ABILITY.  THIS MIGHT BE IN THE FORM OF ATTENDING WORKSHOPS, CONFERENCES, DEMONSTRATIONS AND EXHIBITIONS. FORMAL SCHOOLS AND  HIGHER EDUCATION INSTITUTIONS COME INTO THEIR OWN HERE.  DEPENDING WHERE ONE MAY LIVE IN THE WORLD, ART EDUCATION MAY GO FROM KINDERTEN TO GRADE 13. IN THE USA THERE ARE TERRIFIC K-13 ART AND CERAMICS PROGRAMS IN MANY STATES. IN CANADA, THERE IS ALMOST NOTHING. ARTS AND CULTURE FUNDING IN CANADA IS ALMOST THE WORST IN THE WESTERN WORLD. I LIVE ON THE WEST COAST IN A PROVINCE NAMED BRITISH COLUMBIA. IT HAS THE WORST CULTURAL FUNDING RECORD IN THE COUNTRY. DESPITE LACK OF GOVERNMENTAL ARTS SUPPORT, BC HAS THE SECOND LARGEST NUMBER OF CULTURAL WORKERS BEHIND FRENCH-SPEAKING QUEBEC.  QUEBEC, ON THE OTHER HAND, VALUES ITS CULTURE AND PROVIDES THE BEST ENVIRONMENT FOR CREATIVITY ANYWHERE IN MY ADOPTED COUNTRY. I WAS VICE CHAIR OF THE BC ARTS COUNCIL FOR FIVE YEARS, AN EXERCISE IN FRUSTRATION IN NOT BEING ABLE TO PUT ARTS AND CULTURE IN A HIGH PRIORITY POSITION. A STRONG CULTURAL IDENTITY MAKES FOR CREATIVE COMMUNITIES, WHERE SO MANY TEAM SPORTS ACTIVITIES ARE OFTEN BREEDING GROUNDS FOR AGGRESSION. A CULTURE CONSCIOUS COMMUNITY IS A HEALTHY COMMUNITY.

TOMORROW’S POST WILL LOOK AT FORMAL EDUCATIONAL ACTIVITIES,  FROM KINDER GARTEN TO COLLEGE AND UNIVERSITY

                    DEFINITELY AN INDIVIDUAL SHEEP AND CERTAINLY NOT A CLONE!