Also, an example of a different kind of process and outcome of 'the partnership between the artist and his/her material' referred to in the post dated 24 September 2013, entitled 'Form Finding - Continued', making full use of happenstance.
The outcome - or one of them - of a throwing session (throwing as in forming clay on a wheel, not actually hurling pots through the air, which no doubt would be fun and might also bring up some interesting things of course ...) that aimed to see how far I could 'steer' the clay to the point of collapse. What appeals to me and interests me in this piece, what I find very beautiful, is the sense of movement starting in the central spiral and culminating round the outer edge, a dynamic gesture that came about in a tiny window of time, a split second that occurred between the stage of simply a sloppy pot and over-fatigued clay. It is imbued with spontaneity, yet my decision to take it that far, to stop there, and to keep it was extremely measured.
Usually the aim when throwing a pot is to achieve a perfect (symmetrical) equilibrium, a static gesture, a stillness. All the other pieces went into the recycle bin; this one has a vivacious balance. It is also unique, in the sense that it is absolutely singular, unrepeatable:
