My main excuses for a lack of substance in the article are that I was feeling quite sick that week and wasn't on my game, and also I am really crap at thinking/doing/responding-intelligently-to-questions on the spot. Especially when strangers are involved. Another complication is that I am currently working on two very different 'lines' of work. They were developed in different ways, for different reasons. Many of the questions I was asked had more than one answer. I think my tendency was to offer one vague or muddled answer instead.
The writer, Megan Backhouse, seems a lovely, energetic lady, who is competent at her work, but i'm afraid I didn't give her a lot to go on.
A few notes then:
-Links to my stockists can be found on the right hand side of the screen. In Melbourne that's Craft Victoria, Save Yourself, Small Pieces and Ursa.
-a small correction, I work at Northcote Pottery Supplies, as opposed to Northcote Pottery (Australasia).
-Back home I wasn't applying glaze in "layers" but using resist methods to apply glazes side by side, with, as Backhouse says, very clean lines in between.
|circa 2008 Midfire, pointed bottom cup, multiple glazes|
-I find my creative process relies on these sorts of restrictions. I was without a potters wheel, so I began building with slabs. Without a kiln, I change my work to make transport to the kilns less of a headache. Without restrictions I would be overwhelmed with possibilities and I wouldn't know where to start.
-"What Vachon wants out of her crockery are pieces that feel good in the hand or on the mouth and that don't have thin parts that will chip off" There is something really embarrassing about this. Like my main goal is that bits won't chip off. I truely dislike chipped feet or lips. But there obviously more to my work than sturdiness! I just don't know how to put it into words.