Judges comments on the "Sharing A Passion For Clay 2008" show

Dear GACA members,

It was a wonderful experience for me to attend and judge your exhibition, although it was quite the unanticipated challenge with the variety and quality of work from which to choose. Austin is fortunate to have so many truly gifted clay artists. Allowed to select only five pieces to receive awards, there was a time during the decision making process when I was tempted to offer at least three more to ease my struggle. Not wanting to diminish the value of each, I persevered, finally narrowing down to five. The night of the opening, I had hoped to say a few words about the works chosen, but being cursed with shyness, found even the calling of names to be difficult. This is the very concise version of what I would have said:

The five pieces were truly remarkable. I loved the way Shikha’s teapot invited meditation, its intricate carving acting as a braille labyrinth with which to trace away the stresses of the day. The minimal glazing, beautifully fashioned lid, and demure size enhanced one’s ability to enjoy the purity of this functional art, every inch delightful.

Lebeth’s sculpture was an extraordinary example of “the whole is more than the sum of its parts” as it seemed to emerge from the pedestal on which it sat. The crawl glaze danced across the surface, reminiscent of air bubbles clinging to stems plunged into water. Ethereal and luminous, the tenuous balance of the pods cradled by slender spires, it gave birth to a new organic form whose beauty rivaled that of the rarest orchid.

The freshness and spontaneity of Matthew’s tea bowls charmed me from the first glance; I marveled in their lack of heavy-handed manipulation. The surface of the bowls brought back memories of the first encounter with clay, when the results meant nothing and exploration was paramount. There was a wonderful unity in the tea bowls and their respective saucers. Holding the pieces, gratified by their weight and balance, I admitted that beauty and refinement are not always necessary partners.

At the other end of the ceramic spectrum was Roni’s “Belle of the Ball”, with it’s delicious, mellifluous glaze; coffee and cream mingled together to create wonderful pale blue eddies at the juncture of the two forms. Every detail of the piece was splendidly attended to, from the swell of the bell to the delicate feet which peeked out from beneath. Rarely have I seen clay, form, glaze, and firing complementing and completing each other so beautifully.

But the piece that took my breath away was Diana’s wonderfully subtle vessel, that was tucked into the front corner of the entry room. Until the shades were opened, I had barely noticed it. Once in the light, the glow of the warm speckled body from beneath the satin glaze beckoned me. The impressions of left by fingertips invited you to look beyond the undulating rim to enjoy the rhythmic touch that joined together the pale gray-blue coils. The softly paddled, loosely geometric exterior was quietly simple. I really loved the way the swathe of blue at the base grounded the piece, and that the black lines fattened in response to bumping a corner, defining without shouting. It was wonderfully peaceful, like a lazy day at the beach, devoid of any noise or unpleasantness. Thus, the integrity of the clay shone through, the conversation between artist and medium was heard, and we were allowed to be a part of it.

This is why we choose clay, for its strength, beauty, and unique working properties. Each one of the pieces chosen exhibited an understanding of the give and take necessary in the relationship between artist and medium.

I am so grateful that you included me. Thank you for sharing your clay art with me.

Warmest regards,

Pamela Owens