The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.

Ceramics Monthly: How do you incorporate experimentation into your studio practice? 

Chance Taylor: I employ a permutative design process in which I make small changes to each piece or in each making cycle. I strive to never make the same pot twice and to pay close attention to small nuances in form and surface. My aim is to reflect and reinforce formal decisions throughout my vessels as much as possible in order to create pots with a strong feeling of unity and purpose. The pursuit of beauty is never-ending, but you get closer every day. 

1 Chance Taylor's Jar, 5½ in. (14 cm) in width, porcelain, glaze, fired in oxidation to cone 6, 2025.

Making pots is a process of seeing, selection, and discernment that develops through practice and reflection. It is important to learn to look past your expectations to see the thing in front of you. I strive to be attentive to new possibilities and embrace them as they arise. 

CM: What is one piece of advice you would offer to others pursuing ceramics? 

CT: It is an old piece of wisdom that technique is a means to an end, not an end in itself. Process and technique are important, but a narrow focus on such things leads to an insular and navel-gazing perspective. Look to history, not only to the history of ceramics, but also to contemporary art history, the broader history of craft, and to the cultural and technological forces that influenced their development. Look to the world around you and consider how your work fits into and contributes to the broad tapestry of contemporary society. Pots are an extension of their maker, and they should embody their creator’s ethos. 

2 Chance Taylor's Winged Gourd Vase, 8 in. (20.3 cm) in height, porcelain, glaze, fired in oxidation to cone 6, 2025.

Learn more at www.chancetaylorceramics.com or follow on Instagram @chancetaylorceramics

 

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