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192 Jim Boone Rd
Bakersville, NC, 28705
United States

828-675-4097

The central information hub for Michael Kline Pottery, a small one man shop of pottery making in the mountains of western North Carolina.

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The Best of Sawdust and Dirt

A record of the goings on around Michael Kline Pottery!

Filtering by Tag: creativity

the timelessness of night

Michael Kline

OK.

 The thaw is happening, I think. During the #hunkerdownbythewoodstovepolarvortex the kids got home schooled and I beat a path from wood stove to wood stove, studio and house, respectfully. I also checked water pipes, chickens, road conditions, email, calendar. Seems like I would have had plenty of time to make pots, to get that studio hoed out and crystallize my vision for a bump free flow.

[insert perplexed, vexed, and cross-eyed emoticon]

On the heels of my declaration of a 500 word guarantee here on ye olde blogge, I stood there like a deer in the headlights of the big brain freeze, mental frostbite. So, just as one rubs hands to create friction, thus heat, thus thawing, I will try to rub some brain cells together and make a clickity clackity sound with this keyboard to illustrate a few "thaw-ts".

So, here we go. [pause, deep breath, now go!]

Something interesting happened at the wheel the other night. Yes, I did say night. That time of my day when it is quiet and all are asleep, except for me. The darkness of night has a timelessness that, MS and I used to jokingly referred to as "3 o'clock in the morning". Timelessness in the sense that the darkness (outside) is not specific, compared to the light of the sun, glaring morning light through to pink o'clock, then dark.


Unable to train my thoughts on much through my day, I was able to sequester and focus on the pots later that night. With headphones on, some music playing in my head, I was able to get some pots made. Some really great pots, IMHO. I know what you might be saying. "This guys has some kind of mental problem, either distraction, or maybe something worse!" Could it be that I go through a brief period of ADD or PTSD before the highly prized momentum flows? I'm sure someone more qualified than I can diagnose what potters, like moi, might be experiencing.

[note to self: don't stray, get to the point]

Oh, right. I do want to share something other than a pathology of distraction with you.

So, I've heard potters speak about the wheel as their sketchbook and I would say, yes! It's the only way I can "draw" pots. Some potters are very good at portraying pottery in 2 dimensions, I applaud them and I think that a 2D sketchbook is a must, but in reality I don't draw pots in mine. I use my sketchbook to work on patterns and loosen up my "brush-mind" (I'm about the start a new one that Stacey gave me! A beautiful new sketchbook (made by John Hartom) for Christmas!) So, yes, put me in that group who think that the wheel is a better sketchbook for pots. Ha! Maybe our wheels are the original 3d printers!

In the past I have certainly played around with this notion of the wheel as sketchbook. Throwing a series of pots can result in a board of pots all the same or all different, depending on one's intentions AND skills. I've written about the impact that first pot can have on the rest of the pots and how there is redemption in a series of the same.



The other night I had a bit of fun chasing down something that happened unexpectedly. Rather, maybe it happened from some sort of prodding by my sub conscience?(the best kind of prodding?) Maybe I was bored with the way I usually make swirl ware and that boredom exerted itself and prompted me to take a risk, after all, it's just clay, as Cynthia Bringle would say. But I tend to think, or better yet, obsess, of the times that I have failed when I take a chance.

I never think of those momentous times when my whole body of work has shifted because of something I tried that was out of the ordinary. Hmmm, more psychological evidence of pathology...But why are we afraid of risk if the outcome of something wonderful, something truly personal, and new can come of it?

Most people would probably say that pottery is a pretty safe business. But think of the speculation, the risks that a potter makes/takes when submitting our pots to the kiln?! Not to be too melodramatic, but, instead, to make the point that potters aren't to blame for playing it safe because of this looming risk of the kiln, but does playing it safe promote healthy living pots?

[OK, now I've done it. Which rabbit hole should I take?]




Let me reel (real?) myself in just a bit. Which risks do I decide to take, which sleeping dogs do I let lie? We can't always work at the edge. We can't always run at full clip. Pace is everything. Change is slow, Just ask Carl Sagan. But when we, as potters, are ready for change, we make it happen, perhaps prompted by a kind of boredom, perhaps triggered by our sub conscience.

So I guess I was ready to insert the wrench into the way I make my swirl ware. It wasn't something I put on my to do list that night. It was something that happened spontaneously. Maybe this emerged from the noise of the day, from the "urgency" of the day, or maybe from the desire to see something different.

This new "twist" on my technique was kind of thrilling. In this small way I am changed and I am motivated, jazzed, pumped up! The hexagonal wheel makes a light bump and down the road we go. It's an exciting thing when this happens in the shop. As potters, it is our challenge to make this happen, over and over again. Give life to the pots. Give our life to the pots. No pressure, as my friend Scott would say!


When we talk about giving life to our pots, what do we mean? When we talk about pots having something special, what do we mean? I guess we mean that something from our soul has somehow been transferred to the clay. Something that can't be written, something like a quality without a name. Maybe it's simply an excitement we feel when we are making . Maybe it's a kind of joy we are experiencing?

Hey, come on, it's just clay, right?

Drawings and Layers

Michael Kline

a detail of a larger drawing

a slightly different detail
of the same drawing

loop-d-loop fun

loop-d-loop + reeds+ fake writing

Here are a few of the drawings I have been working on. These are all india ink on tracing paper and were photographed through the window of my studio. The above are each either two sheets, or three sheets that were put together in different orders. I'm playing around not only with line and form but with the various compositions and how they look together in varying degrees of transparency. I have bumped up the contrast a little to get an accurate darkness of the top sheet. I have been drawing these very quickly and usually do about twenty sheets over a ten minute flurry. Then I spend a fair amount of time looking at them in various combinations. This is awkward territory for me and I'm hoping to be more confident and less self-conscious. I think the drawings will be better.

Anyway, I hope this is a little window into what I'll be doing in the coming weeks. I will share more thoughts as this process evolves.

Ramping Up the Creativity Curve

Michael Kline

More plates from today and some sketches in ink from a couple of days ago. It's a slow start but that how is usually is at a beginning of a cycle. I'll have help in the coming weeks and hopefully July will be a big month!

I'll be working on the 2D work for the October solo show at American Folk Art in Asheville, NC in the coming weeks as well. I have a lot of ideas but doesn't anybody? The difficult part is, always, producing good work. My plan is to make time every day and space in my studio to explore some of these ideas and work through the "creativity" curve to get to the other side of those ideas. Just as the pottery comes out of the kiln in a far more interesting way than I had "imagined", my drawings will, hopefully, take a similar journey.
More to come.