I have always wished I could learn to be a potter. I love collecting ceramics; it would be so fulfilling to create something lovely.
The attractions of ceramics lie partly in its contradictions. It is both difficult and easy, with an element beyond our control. It is both extremely fragile and durable. Like 'Sumi' ink painting, it does not lend itself to erasures and indecision.
I like doing arts and crafts, so I would probably go to one of those fun little ceramic places and go paint some plates and do something fun like that
The very "marks" on the bottom of a piece of rare crockery are able to throw me into a gibbering ecstasy.
When people say ceramics is therapeutic and seductive, I think it's really about the wheel. Nothing I've done has that feeling; I feel like I'm fighting with the material the whole time. It doesn't want to be vague. It doesn't want to be asymmetrical. It doesn't want to have different clays combined. It doesn't want to do any of the things I make it do.
I can see hope inside it." Rachel ran her fingers over the ceramic designs. "So fragile.
I am content to be a bric-a-bracker and a Ceramiker.
The other day I started to take a course in psycho-ceramics. What is psycho-ceramics? It's the study of crackpots.
I do a lot of ceramics.
All of the people in my building are insane. The guy above me designs synthetic hairballs for ceramic cats.
All the perks, all the benefits and advantages you may get for the rank or position you hold, they aren’t meant for you. They are meant for the role you fill. And when you leave your role, which eventually you will, they will give the ceramic cup to the person who replaces you. Because you only ever deserved a Styrofoam cup.
For me it's really important that the work here displays an aesthetic of decay along with the sunken boat with the broken ceramic pieces. They form a unity in showing the power of destruction, the beauty of destruction, whether it's from nature - because the boat has sunk - or through other forces. It's really the beauty of decay and death that holds a power here.
I learned about Chinese ceramics and African sculptures, I aired my scanty knowledge of the French Impressionists, and I prospered.
When I was incarcerated at Alderson in West Virginia for a five-month term, they had a ceramics class.
[Bernard Leach] was an incredible draftsman, and at the end of breakfast time, for instance, he would push his plate back, and he'd pull an old scrap of paper out of his pocket and a little stub of a pencil, and he'd begin to make small drawings, about an inch and a half, two inches tall, of pots that he wanted to make. And they were beautiful drawings. I really wish I'd stolen some of those scraps of paper, because those drawings were exquisite explorations of his ideas of form and volume in a ceramic piece.
I was always doing films, but the ceramics didn't come until later. I did take ceramics in university, which gave me an appetite for the medium, but I couldn't figure out what I wanted to do with it yet.
I took a number of graphic courses, lithography and etching and wood engraving [at Art Institute]. And particularly as I got more and more into ceramics, I thought, life drawing doesn't have anything to do with ceramics.
Some kids spent their allowance going to see 'Indiana Jones and the Temple of Doom'; I spent mine on a great-looking lamp I'd found at the flea market and a ceramic bowl from a neighborhood garage sale.
There was this one lady in Colorado who made us something ceramic, where it could have been either a ring holder or a bowl cleaner. She was just like, "Here you go." And we were both like, "Oh my god! Thank yoooou!"
We both [with Alixandra Kolesky MacKenzie] got into ceramics, you might say, by the back door. Looking back on it, I think this was a very good thing.
No, my friend. We are lunatics from the hospital up the highway, psycho-ceramics, the cracked pots of mankind. Would you like me to decipher a Rorschach for you?
Ridiculous that some people feel superior to the gay minority. They're the only couples you'll ever find poking around for ceramics and candle holders in the winery gift shop and both parties really want to be there.
In the middle of my second year at school, in 1943, I got drafted into the army, was gone for three years, and when I came back, I tried to get into the painting classes which I wanted, but because of all the returned GIs [the GI Bill], everyone was in school and the classes were all full. So I looked at the catalogue and found that there was a ceramic class offered and that there was space in that. I registered for a ceramic class and some drawing classes.
Then there were the shabti, magical figurines that were supposed to come to life when summoned. A few months ago, I’d fallen for a girl named Zia Rashid, who’d turned out to be a shabti. Falling in love for the first time had been hard enough. But when the girl you like turns out to be ceramic and cracks to pieces before your eyes—well, it gives “breaking your heart” a new meaning.
I came up to New York at 20 with a suitcase and a ceramic tiger. That was my one piece of furniture and I wanted to save it.
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