Ceramics Monthly: How does working in a subtractive manner allow you to embrace spontaneity and respond to the material as you create functional forms in clay?
Lucien Koonce: My introduction to kurinuki was through an article on Kaneta Masanao, a Japanese Hagi potter, in the January 2009 issue of Ceramics Monthly. Something struck a chord with me about the process of manipulating the exterior surface of a solid piece of clay, before hollowing it out. I immediately started exploring this forming method and have employed it in my work ever since. I find that I can apply pressure to the outside of a blank form and move the clay around, or dig into it somewhat, and not have to worry about it collapsing or becoming too distorted as I would if it were already hollow. I assign specific weights and blank form shapes to the various vessels. Then, as I begin working the outer surface, I let it develop as I manipulate the clay. The plasticity of the material allows for a gestural exterior. While there is similarity within the surfaces of my vessels, each one remains unique. Afterward, the hollowing-out aspect allows it to become a form of function. That being said, I also apply this manipulative method to solid sculptural forms.
CM: What advice would you share with artists wanting to establish a career marked by longevity?
LK: Being involved with clay since my undergraduate years at East Carolina University (1974–1978) has led to my belief that spending a lifetime making ceramics requires a commitment to the medium as the sole way I identify myself. It needs to be a love affair from the get-go. And like any very long-term relationship, there’s going to be: ups and downs; a multitude of frustrations; having to make concessions on when you can work, where you can work, what materials/equipment you can afford, etc. Whether you are able to work with clay full time as a living or have another job to support your clay work, the most important thing is to never lose the passion. Even if you can’t produce work for a period of time, you are always thinking about creating.
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Ceramics Monthly: How does working in a subtractive manner allow you to embrace spontaneity and respond to the material as you create functional forms in clay?
Lucien Koonce: My introduction to kurinuki was through an article on Kaneta Masanao, a Japanese Hagi potter, in the January 2009 issue of Ceramics Monthly. Something struck a chord with me about the process of manipulating the exterior surface of a solid piece of clay, before hollowing it out. I immediately started exploring this forming method and have employed it in my work ever since. I find that I can apply pressure to the outside of a blank form and move the clay around, or dig into it somewhat, and not have to worry about it collapsing or becoming too distorted as I would if it were already hollow. I assign specific weights and blank form shapes to the various vessels. Then, as I begin working the outer surface, I let it develop as I manipulate the clay. The plasticity of the material allows for a gestural exterior. While there is similarity within the surfaces of my vessels, each one remains unique. Afterward, the hollowing-out aspect allows it to become a form of function. That being said, I also apply this manipulative method to solid sculptural forms.
LK: Being involved with clay since my undergraduate years at East Carolina University (1974–1978) has led to my belief that spending a lifetime making ceramics requires a commitment to the medium as the sole way I identify myself. It needs to be a love affair from the get-go. And like any very long-term relationship, there’s going to be: ups and downs; a multitude of frustrations; having to make concessions on when you can work, where you can work, what materials/equipment you can afford, etc. Whether you are able to work with clay full time as a living or have another job to support your clay work, the most important thing is to never lose the passion. Even if you can’t produce work for a period of time, you are always thinking about creating.
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