I haven’t been very active during the last few months, as you can see from the frequency of these blog posts. I’ve found the lockdown period to be very depressing. Long stretches of time with little to do has been very disheartening for me. But, I hear you say, it’s the perfect time to paint; why don’t you get the brushes out and get to work? I’m afraid my modus operandi isn’t quite like that.
The inability to get out and about into the wilder landscape has seriously dampened my creative spark, and only in the last week have I started work on a few paintings from older sketches.
This would seem to be the perfect time to think about what I want to do artistically when the lockdown is lifted and where I want to go with my painting. My latest work has taken on a more abstract and incisive quality – scored lines with knife and pencil, paint gouged on with brushes, and perhaps I need to follow this through. Perhaps not.
In chess there’s a saying ‘a bad plan is better than no plan at all’. This is true of pottery too. On working days I don’t expect to sit down at the wheel and expect to produce satisfactory work without some kind of an idea of what I’m aiming at. Even a vague thought like ‘I’m going to throw some bowls’ isn’t enough – I need to have drawings and a visual idea of what I’m trying to produce. This is particularly true when working on surface treatment – patterns, decoration and so on. Work that has been done with an attitude of nonchalance is rarely successful and I would urge anyone who makes pots, or is thinking about it, to make drawings of what they are attempting.
Even if you don’t think you’re much good with a pencil, it doesn’t matter. No one will see your efforts unless you choose to show them. The point is that any plans or sketches you make are for your reference only. Having a visual cue sharpens the imagination, making it easier to realise what you intend, but these should be working drawings in the strictest sense – a means to an end, not works of art in themselves.
Working to a plan when glazing and decorating is particularly important. Picking up a loaded brush ready to paint a pot but having no idea of the design you intend to put on it is usually a waste of time; by having a design already on paper you at least save that precious commodity. I would encourage anyone, whether you make pots or not, to sketch. Even if you dismiss your efforts as meaningless on unworthy at the time, in months or years in the future you might think differently and the doodles you did can provide you with a wealth of ideas. Motifs derived from sketches of plants, trees, leaves, foliage, bricks, stonework, clouds, water, rocks and animals are limited only by one’s imagination.