Cross Currents,
Ceramics:
Art and Perception No. 41, 2000
Andrée
Singer Thompson
In
June 1999, an exhibit entitled "Cross Currents" was
presented at the Catharine Hiersoux Gallery in Berkeley, California.
It featured the work of Korean ceramic artist, Kyung-Hee Lee,
and included works of American artists Catharine Hiersoux, Gary
Holt, Mary Law, Neil Moss, and Andrée Singer Thompson.
The origins of the show are perhaps as significant as the work
exhibited, and the title makes reference to the currents of information
and ideas about ceramic art that flow across oceans and national
borders. The currents that led to the 1999 show began in 1986
when Japanese potter Kenichi Saito proposed to American potter
Gary Holt that they initiate a cross-continental series of reciprocal
exhibitions. The two artists, both children during the war, shared
not only aesthetic interests, but also felt strongly about the
importance of exchanging cultural ideas as a way of fostering
peaceful ties between nations.
The
first shows were so well received that Saito suggested expanding
the format to include other California potters. Since then, Holt
has been involved in facilitating cultural exchanges that have
provided opportunities for ceramic artists from both sides of
the Pacific Rim to take part in solo and group exhibitions, lectures,
demonstrations and university visits. (See Arts and Perception
No.17 "Cups as Cultural Ambassadors ." )
With
the help of his Korean wife, Yon Soon Yoon, the exchanges spread
to Korea and resulted in an exhibition, "Six California Artists"
at the Tho Gallery in Seoul, in the fall of 1995. The Tho Artspace
Gallery director, Mr. Byung-tak Woo, and Hong-Ik Universitys
Professor In-Jin Lee, selected an interesting range of American
ceramists: Catharine Hiersoux, Gary Holt, Mary Law, Neil Moss,
Andrée Singer Thompson, and Jeff Zigulis. Four of the six
went to Korea where the artists were wined and dined in true Korean
hospitality, taken to ancient sites as well as university and
contemporary studios. Holt had the opportunity to work with Professor
Lee in his studio. Catharine Hiersoux and Andrée Thompson
gave a slide lecture at EHWA, the Womens University, where
they witnessed the beautiful punchong decorating technique so
characteristic of Korean inlaid celadon porcelains (known as mishima
in Japan). The two women journeyed on to Tokyo to have tea with
Mrs. Joan Mondale, herself a potter and curator of the embassy
collection in which Catharine is substantially represented. (Mrs.
Mondale is also,incidentally, wife of the then Japanese ambassador
and ex-vice president, Walter Mondale. In 1977 she invited 40
American craftspeople to make dinnerware sets for the White House
and Catharine was among those represented. )
The
work in the Tho Gallery show ranged from refined functional pieces
to one-of-a-kind vessels to abstract/figurative sculptures, including
wood-fired, raku, and stoneware. Mr. Woos intent was to
help bridge the gap in Korea between traditional functional ceramics
and more experimental sculptural forms, by presenting a sampling
of American views. The American spirit of experimentation, long
developed from the Voulkos influence, reflects a freedom
of personal expression that is sometimes inhibited by long-held
traditions. At the same time, traditions in older cultures nurture
a cultural identity and a highly developed aesthetic and public
appreciation (sorely lacking in the US) that is still honored
in Korea and Japan. This continuing discussion about traditional
functional work and more individualistic expressive
"free" forms often emerges at these shows; and while
they may often seem opposed, one attitude does not necessarily
negate the other. Traditional and experimental thinking can coexist
within an artist as it does within a culture, like yin and yang.
Many of the works of the Tho Gallery artists were examples of
this union. While reactions to the show varied, it
was well attended and there was always a lively dialogue among
artists, teachers and visitors about these issues.
The Korean connections led to several following "crossings":
a graduate of Hong-Ik University, Hun Chung Lee, came to be Gary
Holts studio assistant, and after receiving an MFA at the
SF Art Institute, won awards on both sides of the Pacific and
is now becoming well known as a ceramic and installation artist
in Korea, the US and China.
Professor
Kyung-Hee Lee, from Silla University in Pusan, shared Holts
studio in March, 1999. After seeing her work, he suggested featuring
her in the Hiersoux Gallery show. Professor Lees sensuous,
undulating, flowing forms echoed the spirit and energy of the
shows title "Cross-Currents." Informed by clouds
and water, these double walled stoneware containers are rooted
in familiar Korean dolgelgus, vessels used in the countryside
for pounding peppers and grain. The work is handmade and well
crafted yet exudes a poetic simplicity that transcends the laborious
process. It is as though Professor Lee uses this forming method
as personal meditation, the calm and inner investigation of which
is reflected in many of the pieces. They are works that exemplify
the
integrety of their source in purely functional (traditional) forms,
but which have become more
expressive of the philosophical and poetic content as "function".(picture)
Other
works of interest in the Cross-Currents show were dynamic new
wood-fired forms by Catharine Hiersoux: very large, beautifully
textured globes,(picture) as well as a few lovely "prayer"
bowls, also double walled, that were longing to be held. Holt
was represented with several of his more stunningly luminous glazed
stoneware platters (picture)(being the luminous glaze king that
he is) and a few elegant simple vases. Mary Laws enchanted
covered "house" jars were present with rich warm-colored,
textured woodfired dressings. (photo) Neil Mosss interesting
(also double walled) forms were an innovative extension of earlier
works; still one of a kind vessels, they were more sculpturally
abstract, with a rich textural vocabulary. (photo) Finally, the
whimsical work of Andrée Singer Thompson provided a light
and sometimes humorous touch, with fantasy figures and sculptures
of raku-fired metal and clay combinations, fired together. (photo)
Most
of these artists established their reputations with beautifully
crafted functional works. Here, however, was an opportunity to
see examples of work evolved into a more personal poetic vision
that both includes and transcends pure function. How do we evaluate
such rich artistic exchanges? We could focus on the work, which
grows and changes, reflecting new influences. But the long term
effect on artists, students, and audiences is much farther reaching
than stylistic and aesthetic differences. Such exposure, encouraging
one on one interaction, provides us with the opportunities to
become more aware and understanding of our historical, philosophical
and cultural differences. Hopefully, we can come to appreciate
that the process of creative artmaking is an important global
and spiritual human
experience shared by all cultures.
As
for the dialogue between traditional function and individualistic
one-of-a-kind vessels and sculptures, it is a continually evolving
discussion--one we have all confronted early in our ceramic educations
in the US, and more often when we visit older cultures where there
are more established ceramic traditions. Once in art school (Cleveland
Art Institute in 1956!),
Toshiko Takaezu was demonstrating one of her ripe oval narrow-necked
forms to her ceramic students. As she narrowed the neck, the opening
hole closed off. She left it. What ensued for weeks was discussion
as to whether or not this object was still a "pot" now
that it could no longer hold a flower, although it still "appeared"
to be functional, or did it become a sculpture? Is it important
what we call it or how we categorize it? The form was beautiful.
It had
simply transformed from being a pot, to a "pod", a poetic
statement in itself. Still clay, still holding a pregnant space,
still an expression of Toshikos skill and vision, its "function"
had changed from holding something physical to holding something
"spiritual" and poetic. I hasten to add: That is not
to say that functional work is not poetic. Thinkwabe-sabe, teabowls,
and some of the above mentioned works. The world is a very big
place. One of the wonders
of this life is that each of us is unique, with our own aesthetic
adventure and creative ideas to discover and express. There is
room for all of us to have a relationship with this ancient earth,
clay, that is itself loaded with information and energy with which
to dialogue in any way we can. There is room, if we try to understand
through exposure and tolerance, for all varieties, styles, traditions,
aesthetic disciplines and philosophies, to exist side by side,
enriching all of us in the process. With thanks to all those who
help to make the crossing of such currents possible.
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