Have I talked about this before
have i told you that i think
that one of the most beautiful words
in the English language is
BREAD
here is my longest blog to date
the story of my connection with
both a loaf of bread and a loaf of clay
The most important aspect, in
relation to the expression of any craft, is the attitude with which it is
practiced. This is, and definitely has been, the common element in my personal
experience in the crafts of both Bread and Ceramic making.
Certain strict attitudes toward
the making process, the materials, the tools, and the spirit of place, (the
bakery), were instilled during my time as an apprentice. These were imposed
with a strong sense of discipline. A discipline enforced by an authority based
on knowledge. Later, earned with practice and trust, this was allowed to turn,
or develop slowly, into ‘self-discipline’.
I carried the disciplines from
one craft into the other without any difficulty, because the manipulation, the
forming and baking of both dough and clay are very similar and based on the same premise. The premise
of learning the basics first, being followed by the development of those skills
to the point where they became a personal expression. Skills first learned when
entering the craft through a school, an apprenticeship, or a workshop
situation.
In my case there was a
specialised school in combination with a practical learning experience. Yes, an
old-fashioned apprenticeship. Every move I made, and skill I learned, was
carefully monitored and appraised until the particular authority deemed it good
enough. This careful process of learning and acquiring skills encouraged the steady
development of a professional approach towards the materials, tools, and working
space. With the successful development of these skills and attitudes, came more
responsibility, which meant more ownership.
Both the crafts of bread and
ceramic making have, within the confines of their material restrictions, plenty of room for personal expression.
The development of a personal expression of any craft can only come about once
the basic skill structure is in place. Not only in place, but preferably
transcended. Transcending a skill means to know it to such an extent that it
does not place any restrictions upon the practitioner. The maker has become
liberated from the limitations of emerging skills and is now free to make the choices
of what to do with them. When this transcendence of the basic and necessary
skills occurs, it is a natural development for the maker to make the process
his/her own. To make it an expression of his/her own particular spirit. To
place a personal stamp on it. To find one’s language in it, and express it.
When the authorities deemed that
I had a acceptable grasp of the basic skills, a three year period of working in
three different bakeries followed. One per year. This gave me the experience of
working under the supervision of three masters of the craft, and learn about
their particular specialties. After satisfactorily completing this time, I was
ready to start my own bakery, create my own specialities. Be my own man.
Freedom, as expressed in the
baking and ceramic process, in itself and like all freedom, is shapeless and
without form and as such does not work. However, through practice, self
discipline and responsibility we are able to give this ‘freedom’ a shape, our
own shape, and thus make it work for us. Within the boundaries of the material,
we will feel free in our chosen field. It is interesting to note here, that the
creative process cannot be restricted by any material restrictions.
I started my ‘Making’ life by
learning the craft of bread-making and from there moved into the craft of
ceramic-making. In the first, the end product was a loaf of bread, in the
second the process started with a loaf. A loaf of clay.
There are of course some
differences between the crafts of bread and ceramic making. One of which is the
way society views and accepts the finished work.
My reason for moving from one
craft to the other had to do with ‘freedom of expression’. At the time, the
craft of bread making was more restrictive than that of ceramic making. To a
large extent this was a result of the expectation of the public, who wanted the
same fresh loaf of bread each and every day. The repetitive nature of this kind
of work, combined with the unnaturally early hours involved, became oppressive.
For me there existed an element of drudgery. A spirit killer.
I realise that the process of
both bread and ceramic making have the same creative potential. However, at the
time I practiced bread making, the food consciousness of Australia had not
moved much beyond ‘the-white-loaf’ expression. At this time also, my creative
spirit, developed and nurtured within the rich tradition and variety of
European bread making, became more and more frustrated because it was unable to
express itself fully.
The practice of ceramics, on the
other hand, offered a much larger space for the expression of my creativity. I
felt I owed it to myself to move into a field where I could be as creative as
possible. I believe that the more one allows the creative spirit to manifest,
the more one is partaking in life. Life expressed creatively. Life creating
itself. Being a-life.
The practice of each and every
craft has the potential to be special. It also has the potential to be magic.
Over the years of practice, I have wondered how that quality is achieved? What
is the formula?
One of the enemies of the
creative spirit, and the development of ‘specialness’, is taking things for
granted. In most cases we take our fresh daily loaf of bread for granted. By
the repetitive nature of this purchase, we have been lulled into the belief
that this is a normal expectation. We have forgotten that it is a privilege.
That it is special. Thus, as soon as ‘For Granted’ arrives, the concepts of
‘Special’ and ‘Magic’ disappear. That ‘special loaf’ becomes ‘just a loaf’.
Unfortunately there is, in our
culture, far more room for the expression of specialness in the field of ceramics
then that of bread making. Probably because ceramic making isn’t related to our
daily expectations and therefore much more space is allowed for experimentation
and expression. A much larger play space is available. I love that space.
Another big difference is that
ceramics are placed on a plinth which bestows it with ‘attention’, which is the
magic ingredient for specialness. Yet, after working in both occupations, I see
just as much beauty in a loaf of bread.
Imagine, a loaf of bread on a
plinth!
Although artistic expression is
possible in both disciplines, it seems easier in one than the other. We can
choose the one which suits our particular spirit. My engagement with bread
making was chosen by my elders, my environment and social circumstance. My
engagement with ceramic making came about because I expressed my freedom of
choice and a strong need to be creative
Petrus
