Ideas fired in clay
Publisher: Mumbai ; ; 2015Edition: XIX; IV; October.Description: 36-41.Subject(s):
| ARCHITECTURE GENERAL (AR-GEN) | CHANGING LANDSCAPE;CLAY;DRY GLAZESOnline resources: Click here to access online
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Summary: A group of 15 contemporary potters from across the country had gathered at the Golden Bridge Pottery (GBP) in Pondicherry on a salubrious afternoon in January 2000. They were there on pedagogue Ray Meeker’s invitation, to attend a workshop conducted by Mike Dodd. Dodd was in India to share his techniques, his philosophical approach to ceramics and his experience as a studio potter in Britain. However, at teatime, some in the group expressed a sense of dissatisfaction. They felt that in India ceramists fell between the cracks. Their choice of medium was often misunderstood. Patrons were few and far between and there were only a handful of serious collectors. Those who made bespoke objects for use lamented that their work was often compared to mass-produced factory products. Only a small number of people could perceive the difference between a beautifully hand-crafted ceramic work and an industrially produced one. Moreover, very few galleries supported ceramics as a medium; many others were reluctant to even show their work.
| Item type | Current location | Call number | Status | Date due | Barcode | Item holds |
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Articles Abstract Database
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School of Architecture Archieval Section | Not for loan | 2020-2021059 |
A group of 15 contemporary potters from across the country had gathered at the Golden Bridge Pottery (GBP) in Pondicherry on a salubrious afternoon in January 2000. They were there on pedagogue Ray Meeker’s invitation, to attend a workshop conducted by Mike Dodd. Dodd was in India to share his techniques, his philosophical approach to ceramics and his experience as a studio potter in Britain. However, at teatime, some in the group expressed a sense of dissatisfaction. They felt that in India ceramists fell between the cracks. Their choice of medium was often misunderstood. Patrons were few and far between and there were only a handful of serious collectors. Those who made bespoke objects for use lamented that their work was often compared to mass-produced factory products. Only a small number of people could perceive the difference between a beautifully hand-crafted ceramic work and an industrially produced one. Moreover, very few galleries supported ceramics as a medium; many others were reluctant to even show their work.
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