Traveler
Monday, November 28, 2005
Chapter Two
THE CRAFTSMAN
broken lives
on the potter's wheel
shattered pieces
gathered up
and shaped
into new creations
THE POTTER'S HOUSE
The journey now passes through an open field. In the distance is a small house. Outwardly it is nothing special. You must go inside to see what makes it so unique. No one can continue on the path without frequent visits here. The potter is a gentleman. His eyes sparkle wtih joy and wisdom. He places his hands on your shoulders and says, "I knew you would find me. Sit down, watch and listen."
CLAY
The potter begins his lesson. "Wind and time transform these rock-hard lumps into a fine powder. When I add water, it becomes a raw slimy-looking mud. Nature and circumstance have made raw earth into something that is without beauty, yet it is quite pliable. Clay cannot shape itself. It needs the potter."
PASSING THE TEST
"I have a few basic requirements of the clay that I work with. It must be able to be molded and stretched and it must withstand the fire of the kiln without shattering. This ensues that the time and work I put into it will not be in vain." He looks you directly in the eye as he says this, hoping that you will understand the deeper meaning.
SCREENS
"Clay that has been dug from the earth and brought into my house must be made more fine before I can use it. I pound out the large lumps and force them through sifters. A series of different sized screens is used in this process. Each one in succession has smaller holes." He leans forward and shows you a dry lump of clay. "Just like a human heart filled with vanity, pride and ego." He crushes in in his hands and pushes it through the smallest sifter.
WEDGING
"Wedging is the throwing, rolling and pounding motion that drives the air pockets out of the freshly watered clay. The water must be distributed smoothly so that proper texture and usability can be achieved. Bubbles must be removed to prevent areas of weakness. An air pocket that is not pressed out will cause an explosion in the kiln. It is absolutely neccessary to slam the clay with great force."
THE WHEEL
"Clay that has been properly prepared can be placed on the wheel. The spinning motion will destroy it unless I guide it with my hands. The combination of inner force and outer pressure causes it to become symmetrical and easily formed. You can imagine what would happen if I stepped back and allowed the process to be altered. It would be quite a mess."
THE BLADE"As the wheel rotates, I remove the excess with a sharp blade. I know what to save and what to cut away. Interesting that the clay often thinks it's wiser than the potter. I have yet to see it transform from raw earth into a glazed pot without the help of the skilled craftsman. The potter knows what the finished product is going to look like. He isn't obligated to pass this information on to his creation."
SGRAFFITO"Some clay has marred and damaged sections. Most people would simply throw it away. I don't. Did you realize that scars can be turned into beauty? I scratch the leathery surface with a pointed tool, thus creating elegant patterns that blend the bad area into the good. The glaze will settle deeper here and the seemingly ruined surface now becomes the most important part of the pot. My unique designs make it more valuable. Some of my most famous creations were once considered of no value to anyone until the transformation took place."
GLAZING
"Liquid glaze is ugly. When brushed on, it appears chalky and is usually a muted form of grays and browns. The pot waiting for the fire is not much to look at and it cannot yet be used to hold water. This is a process. None of the steps can be skipped. Each one is important. Patience is the key. Transformation from a hunk of earth into a piece that will be shown with pride is not instant. I have a separate timetable for each pot. Don't try to compare. It can only cause jealousy and confusion."
THE FIRE
"The temperature of the kiln reaches 1700 degrees or more. This causes all of the impurities to burn off. The glaze transforms into a glassy surface. It has a hardened shine. The once chalky substance will become a brilliant array of colors. If there are defects in the pot, the fire causes it to crack or burst apart. That is why I work with patience, precision and skill." Now his eyes glow with intensity and passion. He holds a finished pot in his hands, turning it slowly. Light bounces off the surface. You see your reflection in the glaze. The potter approves.
Sunday, November 20, 2005
Chapter One
WELCOME
The sounds of the city are deafening. No matter how hard you press your hands over your ears you can't seem to block out the noise. The pressure is killing you. There has to be more to life than this. In the distance is a narrow pathway. Your eyes are drawn to it. Your heart is pulled in a way that you have never known before. A calming voice beckons you to follow...
THE GATE
A small gate must be passed through before you can enter the pathway. The paint is peeling and spots of rust can be seen on the hinges. A magnificent Celtic cross has been designed directly in the center. It is crafted out of iron and is a shade of bluish green that is hard to describe. You run your fingers across it and are mesmerized. The weight of the world seems to slide off your tired shoulders. You take one last glance at where you have come from, then turn and push. The gate swings easily.
FIRST STEPS
You place your foot down with a sense of fear and excitement. This makes no sense. It defies all logic. Why would you depart from the day-to-day routine of your gray life to enter a new world? Whose voice asked you to enter? Can it be trusted? What will friends and family think? Maybe you are dreaming.
THE MURAL
On the side of the pathway you see a hand painted mural that stretches for many hundreds of feet. The artwork is amazing. Even though it has been created on a flat surface, it appears three-dimensional. It depicts the history of the world. You move quickly as you trace time and space through the hands of the Master Craftsman who created this wall of information, then suddenly stop and become transfixed on what appears to be one of the most significant paintings. It is a baby in a rough-hewn cradle in a dirty stable. The word HOPE is etched on the headboard.