The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: Who is your ideal audience?
Eric Ordway: My ideal audience is people who love pots. My aesthetic is for those who love the little, mundane surprises in life. The characteristics that have been used to describe my work are rustic, weathered,
aged, speckled with rust, reminiscent of a seashell, rough, light, rocky, immediate, fresh, and elegant. I find these qualities usually attract folks who are interested in a slower, contemplative, or meditative way of experiencing the world. I
often have the pleasure of talking to people about my pots, but the true delight is when I see them touch the work and have a surprising experience. My conscious choices are embodied through small, deliberate textures that are exemplified through
the pot’s use.
CM: What strategies have you developed to handle challenges you face, including setbacks in the studio or difficulties along the path to becoming an artist?
EO: The strategies I have developed have evolved over time. When I was a young(er) man, my primary strategy involved ignorance and hard work. Ignoring basic things like healthcare or a savings plan to pursue the arts
while working two jobs allowed me to survive. I prioritized pursuing experiences that pushed me to make better work. As I have gotten older, I don’t have the luxury of ignoring those things anymore. So, my studio time has become very deliberate.
Even if it means I only get an hour to make something, I use that hour to the best of my ability to continue to move my work forward. Whether that is making a series of mugs or bowls, or making a single coffee pot, I strive to be deliberate with
my time and ask the question, “What thing can I do right now that I wouldn’t be able to do later?” This question helps me prioritize the multiple demands on my time and allows me to still find the joy of small moments in the
studio.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: Who is your ideal audience?
Eric Ordway: My ideal audience is people who love pots. My aesthetic is for those who love the little, mundane surprises in life. The characteristics that have been used to describe my work are rustic, weathered, aged, speckled with rust, reminiscent of a seashell, rough, light, rocky, immediate, fresh, and elegant. I find these qualities usually attract folks who are interested in a slower, contemplative, or meditative way of experiencing the world. I often have the pleasure of talking to people about my pots, but the true delight is when I see them touch the work and have a surprising experience. My conscious choices are embodied through small, deliberate textures that are exemplified through the pot’s use.
CM: What strategies have you developed to handle challenges you face, including setbacks in the studio or difficulties along the path to becoming an artist?
EO: The strategies I have developed have evolved over time. When I was a young(er) man, my primary strategy involved ignorance and hard work. Ignoring basic things like healthcare or a savings plan to pursue the arts while working two jobs allowed me to survive. I prioritized pursuing experiences that pushed me to make better work. As I have gotten older, I don’t have the luxury of ignoring those things anymore. So, my studio time has become very deliberate. Even if it means I only get an hour to make something, I use that hour to the best of my ability to continue to move my work forward. Whether that is making a series of mugs or bowls, or making a single coffee pot, I strive to be deliberate with my time and ask the question, “What thing can I do right now that I wouldn’t be able to do later?” This question helps me prioritize the multiple demands on my time and allows me to still find the joy of small moments in the studio.
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