1/2 Edmund de Waal - What Do Artists Do All Day ?

everything begins always begins with a lump of clay and me sitting by myself you know that's my complete alpha moment of that's what it's about for me you the exhibition is full of vessels and it's full of repeated vessels that that's an expression of time of spending time repeating making by repeating them it's not it's not industrial at all actually it's not it's not it's not hasn't got that kind of um severity about it but it has got us is the sense of of spending time you know one person spending time since the last show two and a half years ago I have really been concentrating on what the trends mean and retrieves a glass case but but but in this case it means a vitrine means any frame and his sculptural frame which holds my objects and so there are all kinds of different interpretations of the Trine's within the show and but but one of the things that I'm trying to do with the vitrines is to find more and more space within them oh I'm sorry we get round yesterday oh I wasn't on the market all thank you it's Saturday insertion - what she wants to make is what did you need to find such as technically impoverished the balance between two family life and and time by myself in the studio and writing and the sort of press staff and the talking stuff is it's always difficult to kind of to think of it as bad to achieve balance but but the the reality is that there is a complete imperative when we complete straightforward thing which says go to the studio and make things you know and that that I'm this is our little electric kiln kind of fantastically in bizarrely since we yellow on lots of tests the particular Chinese poem which talks about the sound of porcelain which is fantastic like birdsong 10th century 10th century poem about drinking and as you drink you listen to the porcelain cup just thought that was a particularly beautiful so this is and see how how subtle this is this is so this is a if you look at again against a hard white you can see that it's almost something like sort of clotted cream but it's going to be absolutely beautiful in a vitrine so that is a successful I'm packing up a kiln it's not always like that just happens happens to be a on film this one that's good it's wonderful to work to music it's absolutely one that's a very great privilege to be able to sit and work to me work with music it liberates you because you're not concentrating in that kind of slightly over focused way on what your hands are doing there are kind of very special bits of music which are really really matter to me my listen to lots of some lots of classical music I spent the summer listening to to Mozart piano sonatas and then and then there's there's really quite a lot of sort of American memnos music whereas repetition and the sea reality being explored and that of course is absolutely present in my work save the phone I was woken up by meetings throwing this series of pots and I definitely got rise to tiptoe to get drier and then I started working at least these groups at 6:30 this morning they are what's called leather hard and - they're up high enough to trim drinks do using these different titles some wood some metals some were very very old jersey from the guys are processed to you um and what I was trying to do is to read three articulate a face that I want tit upon our throat seen and taken off excess clay and also predefined profiles sharp edges scribing line sometimes on one voice is generally revealing the shape that I want the look the time to create I'm a machine this is to meet me as absolutely as much pleasure as trophy when I was working this V&A project I had this way of working where I go and look at something that really cared about and look at it for a long long long time and so it was burned in my retina I go away I wouldn't have a photograph of it I just use that kind of after image and strangely enough it was a very powerful image but it was a blurred image at the same time and so what I wanted to do is to make to make objects which had that that that power of that that that powerful sense of being looked at for a very very long time and being out of focus being being so powerful that you couldn't quite concentrate on them and in this show a thousand hours there are several pieces where there are objects which are also kept at a distance there they're blurred you can't get your hands on and can't get your eyes on they come and go and it's not me being annoying in trixie and post-modern at all it's about thinking through very very hard about about the presence of objects why objects can matter so much and that's sometimes objects that can be blur they can be more powerful because they're not absolutely in focus it's very very intuitive and so I kind of place it very quickly and almost always it's wrong almost always it's almost right that almost right is almost worth the difference in almost right and right it is enormous so you then have to sort of spend time coming back looking looking looking looking looking and and sometimes you just have to walk away and say if you know what it doesn't work it just it you know the the scale of it the mood of it that the the atmosphere is just not there these things are very you in the middle of the night on a boat that there's there's a there's there's the middle watch which is right in the middle of the night and it's the most crucial watch in some ways

Channel: Art Documentaries

Views: 122,774

Rating: 4.7414451 out of 5

Keywords: Edmund de Waal, ceramics, potter

Id: me2EmbWZYH8

Length: 15min 0sec (900 seconds)

Published: Thu Nov 07 2013