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A Potter


Subdeacon Joe

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Shaping History with Southern Pottery

 

It’s a cool night, but Matt Jones is sweating. That 
has something to

do with nerves, and something to do with fire: Before him, in a

600-cubic-foot kiln the ceramist built himself, many months’ labor is

cooking. Shelves upon shelves of pots—some 1,200 pieces, from six-inch

soap dishes to 200-pound planters—pulse white-hot as flames tear past

and leap from the chimney stack. “A river of fire,” Jones says as he

feeds another poplar slab into the blaze. In increments of one hundred

degrees per hour, he is pushing toward 2,300 degrees Fahrenheit, when

the glaze will vitrify to seal his pots in a skin of glass.

 

He doesn’t have to do it this way. An electric kiln would accomplish the

work in a fraction of the time, with far more predictable results. But

to opt for the easier way now would dishonor the work that has come

before: the digging of the alluvial clay; the preparing of the

traditional glazes; the careful slip trailing, texturing, and painting.

It would be like surrendering homegrown heirloom tomatoes to a bottle of

Prego. “The onslaught of industry has put cheap, largely impersonal

objects into our hands,” Jones says. “I want something ragged and

soulful.”

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I always appreciate seeing artisans using old methods of creating their pieces. The article reminded me of a show I saw a number of years ago about a sword maker who started with chunks of iron, made the steel, then crafted the blades. It was amazing stuff.

 

I hope he has or finds apprentices to keep up the tradition.

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