Foreword:
The tradition of presenting quality exhibitions continues with the exposure of some fine Texas treasures. All of the work in the Borders show seems to suggest a purpose as well as record the simple joy of making. Perhaps the most important quality perceived in this body of work presented is the individual's ability to record the attitude and expressions of their perceptions in life.
Personally, I would like to congratulate Trinity Ceramic Supply, Inc. for sponsoring this quality exhibit.
I asked these individuals to put together a concurrent exhibition to NCECA that would feature functionally inspired works. I specifically asked this group in particular because of the completeness and encompassing knowledge that they represent to me. The individual works that were selected should give you, the viewer, a clear representation of the health of the ceramic arts in the great state of Texas.
Dan Hammett
On-Site Chair, NCECA '98, Fort Worth, TX
Professor of Art, University of Dallas
Curators' Statements
Being a relative newcomer to Texas (5 years), I welcomed the opportunity to be involved in organizing a Texas pottery show. Though familiar with some of the work, I wanted to see what was "hidden" out beyond my limited view from the flat acres of Dallas County. Above all, I was struck by the rich diversity of the work, reminding me of the enormity of the Texas landscape.
The process of judging, or evaluating three dimensional work from a two dimensional image is clearly a frustrating handicap that we are all aware of. However, I did enjoy the process of coming to terms with all of our reactions to the work; exchanging and challenging ideas and previously held notions created lively discussions and brought clarity to our choices. Personally, I was particularly drawn to the work that provided fresh insight into familiar problems. Work that possesses a sense of confidence of the intentions of the maker. There will always be unintentional omissions, yet I believe this exhibition casts a bright light on the vast diversity of Texas artists working within the vessel tradition.
Peter Beasecker
I was excited about being asked to help organize and execute an exhibition of contemporary clay in Texas. Selfishly, I saw this as an excuse to visually visit areas and attitudes of Texas I ordinarily don't get the opportunity to visit. Using function as merely a basis of concept, I was able to see how wide a spectrum of attitudes towards clay and the duality of function are viewed. It was a pleasure to be able to present these viewpoints to such a vast gallery. I would like to thank all those who submitted work for consideration and my co-curators for their help in this wonderful learning experience. I would like to thank Dan Hammett for his confidence in us, and his support in this project. I consider it an honor to call him a friend and a colleague.
Mark Epstein
It's January. It's Texas. It's 72o. We're making clay outside. But up in the Panhandle it's 10o and snowing. Texas is a big place: almost 900 miles to drive from tip to top. There are deserts, plains and lush forests, mountains and ocean. So is it any wonder that the ceramic artists represented here are a diverse group? They all have one thing in common, though.
Functional vessels remain close to the heart for many potters and each pot in this show is an implicit statement about function. While the evolution from pure, basic, "drink-out-of-it" utility to a more sculptural, conceptual idiom of function is evident to varying degrees, every one of these people is concerned with form and function. This is a group of sensitively crafted pots that are a pleasure to have around, be it in our hand or in our line of vision. Our goal to select a body of work that would reflect the vitality of functional clay in Texas today was a welcome challenge. As confirmed by the accomplishments of these 18 contemporary artists, one thing is certain: Deep in the heart of Texas, functional clay is alive and well.
Daphne Roehr Hatcher
What is a functional potter? I was asked by Dan Hammett to participate in the organization of a Texas functional pottery exhibition. This seemed simple enough when I agreed, but then a flood of questions arose as to the perimeters of what defines a functional potter. By the narrowest definition, a functional potter makes well-crafted vessels for everyday kitchen use. By a broader definition a functional potter makes pots that function to enhance ones environment, providing some visual or conceptual stimulus. Although I have been a "Leach Trained" functional potter for over 20 years, I find the idea of functional pottery an elusive one. In the end I see no virtue in debating whether a raku vessel may be functional or questions such as that.
The 18 potters represented in this show span the spectrum of functional perimeters. As a group, we focused on the best work submitted over a crystallized definition of function. Clearly some of the work serves as well-made utilitarian clay vessels that one would be proud to serve food in, while other works in the show represent an esoteric ideal of function. The answer to function may be found in what function the user needs facilitated. Good ceramic work is ultimately sustained by the needs of society. Function will evolve with the evolution of society's needs. My thanks go to John and Darlene Williams who have both nurtured and supported good ceramic work for many years. It is their generous support that has made this show possible.
Gary C. Hatcher
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This virtual catalog created by Daphne Roehr Hatcher
e-mail her at: claygarden@pobox.com
visit her web site at: www.pinemills.com
