The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What inspires your work in clay?
Joshua Scott: My work in clay is inspired by utility. More specifically, it is an ongoing observation between historical ceramic, metal, and stone implements, as well as the modern tools used in my day-to-day life.
As a potter, I’m interested in the specific function of pots and why someone is driven to employ a piece of pottery. I grew up around job sites and worked as a housepainter for more than a decade. During that time, I became very acquainted with
the specific things tradesmen would carry, wear, and use to complete their tasks. Roofers had their protective sun hats, flooring guys donned kneepads, and painters such as myself wore whites. It was immediately understood what job they were there
to do. I apply that same principle to the pots I make. I want the function of the piece to be at the forefront.
I find inspiration in knowing that the effort put into making a functional pot is paid out when it performs well.
CM: How do you approach incorporating experimentation into your studio practice?
JS: Experimentation is constant in my studio practice. Primarily, it shows up in the exploration of form and function. Sorting out the best angle for a spout, or the launching and landing points of a handle are two of many small but repeated
explorations happening on my wheel and worktable.
After formal exploration, surface experiments take place mostly in a train-style wood kiln. My two main clay bodies are always being slightly adjusted and I try to incorporate a new slip application method or a new glaze in every firing. Loading strategy,
wadding techniques, and cooling cycles are implemented to achieve a wide variety of surfaces. An ideal end to a making cycle would yield successful forms accented by ash glaze, blacks, and reduction-cooled reds, something that I certainly don’t
get right every time.
CM: What do you do to you stay engaged with the field of contemporary ceramics?
JS: My life would look much different if it weren’t for my daily interaction with clay. Whether it’s physically making the work, or using one of hundreds of pots that my friends or mentors have made, the end result is constant
immersion. Good pots are always within arm’s reach. On top of that, I try my best to attend any clay conferences and workshops that I can. Having an opportunity to see historical works in museums, the work of my heroes, or even just meeting
people in person is very impactful to me. It was the early National Council on Education for the Ceramic Arts (NCECA) trips, workshops, and conferences that have shaped my view of ceramics and my appreciation for the people who commit themselves to
this field.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
You have read of of your complimentary articles for the month.
For unlimited access to Ceramics Monthly premium content, subscribe right now for as low as $4.85/month.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Ceramics Monthly
The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What inspires your work in clay?
Joshua Scott: My work in clay is inspired by utility. More specifically, it is an ongoing observation between historical ceramic, metal, and stone implements, as well as the modern tools used in my day-to-day life.
As a potter, I’m interested in the specific function of pots and why someone is driven to employ a piece of pottery. I grew up around job sites and worked as a housepainter for more than a decade. During that time, I became very acquainted with the specific things tradesmen would carry, wear, and use to complete their tasks. Roofers had their protective sun hats, flooring guys donned kneepads, and painters such as myself wore whites. It was immediately understood what job they were there to do. I apply that same principle to the pots I make. I want the function of the piece to be at the forefront.
I find inspiration in knowing that the effort put into making a functional pot is paid out when it performs well.
CM: How do you approach incorporating experimentation into your studio practice?
JS: Experimentation is constant in my studio practice. Primarily, it shows up in the exploration of form and function. Sorting out the best angle for a spout, or the launching and landing points of a handle are two of many small but repeated explorations happening on my wheel and worktable.
After formal exploration, surface experiments take place mostly in a train-style wood kiln. My two main clay bodies are always being slightly adjusted and I try to incorporate a new slip application method or a new glaze in every firing. Loading strategy, wadding techniques, and cooling cycles are implemented to achieve a wide variety of surfaces. An ideal end to a making cycle would yield successful forms accented by ash glaze, blacks, and reduction-cooled reds, something that I certainly don’t get right every time.
CM: What do you do to you stay engaged with the field of contemporary ceramics?
JS: My life would look much different if it weren’t for my daily interaction with clay. Whether it’s physically making the work, or using one of hundreds of pots that my friends or mentors have made, the end result is constant immersion. Good pots are always within arm’s reach. On top of that, I try my best to attend any clay conferences and workshops that I can. Having an opportunity to see historical works in museums, the work of my heroes, or even just meeting people in person is very impactful to me. It was the early National Council on Education for the Ceramic Arts (NCECA) trips, workshops, and conferences that have shaped my view of ceramics and my appreciation for the people who commit themselves to this field.
Learn more at www.joshscottpottery.com.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents