Handbuilding

Handbuilding, 2002 ceramic and clear glaze 7" x 7" x 4"

Handbuilding refers to what I do as a ceramic artist. Generally speaking, ceramics is divided into two separate processes: Handbuilding, and wheel throwing. I prefer handbuilding for a couple of reasons. The first, and most important to me (at least initially) is that handbuilding allows me to spend time with my work. Using a combination of methods: pinch, coiling, slab work, carving, etc., I form the piece into the vision that occupies my mind. The idea that every nuance; every bulge, dent, line, crease, smooth and/or rough area are put there intentionally really appeals to me. I love the imperfection of it all. It implies that the work has resulted from a member of the human race--and not a machine. Handbuilding also makes each piece special, unique.

Another reason why handbuilding so appeals to me has to do with the role of women in ceramics, from an historical perspective. Historically, pottery made by women was done by hand and foot. We would gather the clay, clean and process it, and often mix it with our feet. Then, when it was "just right," it would be transformed--by hand--into something that was almost always functional, but often very sculptural and beautiful, as well. Men have, historically, also made ceramics; but their method of choice was the potter's wheel. Yes, this allowed for faster work--which, in turn, led to production pottery--but my aim, first and foremost, has been to create art. If I can make a functional ware beautiful and sculptural, so much the better. But I do not desire to create mass quantities of identical (or near identical) wares. Everything thing I make is an extension of myself; a piece of me.

In many parts of the world--Africa and Native America come to mind immediately--pottery made by women is considered sacred and mysterious. And it is hand built. When I work with clay, I feel that I'm part of a large, universal Sisterhood--a group that I'm both humbled, and honored, to be a part of.