From Amara ....
I was speaking with a friend recently about "perfect bowls." It turns out he had a friend who was a potter who would refuse to finish any bowls other than those that were perfect -- no wobbles! My friend couldn't understand this, saying how lovely imperfection is -- how it shows its hand-made-ness and spontaneity (as in our Wabi-Sabi bowls).
I now understand, perhaps, why that potter insisted on the "perfect" bowl. Within it, is stillness. See, from the moment the mound of clay is centered on the turning potter's wheel, there is stillness -- stillness in motion. Next, the well is dropped and a void appears in the center of the clay. As the bowl is created from the mound, the stillness must be maintained in order to throw it to its fullness. Movement and stillness as one in the perfect bowl.
From the very beginning of my time with clay, I've been in love with the bowl form ... obsessed, almost. I would call it "framed potential" or "the void made graspable" -- with focus placed on the formless, while others focused on the bowl itself.
For the past fifteen years in pottery there has been much centering, much maintaining of stillness within the movement, a focus on the void framed by form.
And now, there is an effortless turning to that stillness within.
I come from the same placeless place laughter does --
before it is.
Laughter was .... first.
Then there was a me --