The Journal of Australian Ceramics Vol 49 No 1 April 2010

Focus: Wood-Firing
Far left: Graeme Wilkie
Sogetsu II, 2009, coarse
stoneware, hand-built,
six-day anagama firing
Left: Graeme Wilkie
Sogetsu III, 2009, coarse
stoneware, hand·built,
six-day anagama firing
h.L4m
photos: courtesy artist
firings? And what are we committing to eternity, fixed by such a valuable metamorphosis? The creation
of pottery is too often the result of a need for an outcome (a product) before any question of knowing
or not knowing the nature of beauty or the value of aesthetics. Conditioning commences too soon.
This is more than learning; it's a kind of knowing, found in relentless practice. At a certain age we
begin to understand and strive to undo that conditioning, to regain individual authenticity of thought
and expression and so be able to again create freely and naturally. That striving continues until one can
think and live independently, not overly concerned for the opinions of others. It is not essential that the
artist be an intellectual. Insight and intuition are the drivers (rather than reason and logic), giving birth
to asymmetry and the unpretentious. Introspection, practice and observation enable work that is direct,
honest and convincing. I value work showing the human hand at work. Countless hours of practice
are required to get above the fundamental skill. These skills referred to here are of the abstract and the
esoteric. The truth of beauty is that it offers no choice. To choose is the work of the mind and the ego.
When time has passed, the mark of the maker, the fabrication method, the process of development,
bear little influence on the completed work.
But how does extraordinary work occur?
From the conscious mind, we gain intellect and accumulated knowledge which, if not maintained,
weakens and fades from memory. Dualistically inclined intelligence overrides the mind's inherent nature
to create work that is 'at one with itself.'
So, from where does this mysterious capability come 7
Have you ever 'dropped out of the sky' whilst in the making and asked yourself 'what was that?' or
'where have I been? ' Many of you have, I am sure!
We are now touching on the esoteric, not consciously taught; more like a knowing than a teaching.
We all teach ourselves to be individuals striving for the original, making one's own statement. The
egoistic mind self thrives on this type of dialogue and goes on forever developing all manner of cunning
and appropriated works of 'fine art', of which, in my opinion, the world has far too much.
70 THE JOURNAL OF AUSTRALIAN CERAMICS APR il 20'0