Teapot, 7 in (18 cm) in height, wheel-thrown and altered porcelain with underglaze pencil and glaze, fired to cone 6 in oxidation.


CM: How do you balance the “automatic drawings” or subconscious doodlings with very clean, considered form? How much is predetermined in some way, and how much is by chance in the moment? 


AR: My bisque firing is the event that divides the two different approaches I take when making my work. Before my bisque firing, my approach is careful, slow, and serious. I want my forms to be seamless and smooth, which requires thoughtful planning. I concentrate on the negative space held inside of a handle and organize the areas that will receive glaze. 


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After my bisque firing, my approach becomes intuitive and immediate. I scribble, smudge, and draw until I feel done. My mark making is automatic and happens without preplanned thought. This spontaneous approach toward the surface of my pots is the opposite of the approach I take when creating my forms. As these two opposites meet, a narrow space is created. It is in this narrow space that I find balance in my work.

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