Yarrobil Magazine – Issue four

Take Cavener’s fox. There is something of the shadow in all its features, as if they have been cast by other features somehow more solid and just out of reach, and that wait somewhere in the distance for it to catch up. Its eye is fierce like that of a falcon, but also a child, that same clawed and implacable hunger. 

 — John Hughes writes on Beth Cavener

His “lumpy” forms and aggressive lines were not simply strategic devices employed in an art-world dispute over aesthetics. They reflected a particular perspective on art and life, or rather on art that had anything meaningful to do with life. “You know,” he argued, “part of the aesthetic of beauty is imperfection, and sadness is integral. We’re all going to die, but isn’t it beautiful? I mean everyone else did.” 

 — Glen Brown writes on Kirk Mangus

What this means though is that ceramic art and the Fortress are irrevocably separated. We, the ceramic community, no longer have any say or influence in what is defined in our world as ceramic art.

 — Garth Clark and Mark del Vecchio

In this everyday ritual I find the most intimate pleasure of the creative process, the result of my intentions and the randomness of the fire. In these first moments of observation I take in the gift of beauty and I feel that these are not my works that I see, but rather things from another place. I always have this feeling when I leave my work behind the door of the kiln.

 — Rafa Perez 

All are combined to create a readable whole – the encounters, proportions and precision striking a perfect balance: like a killer punch to the solar plexus. The process remains a continuous dialogue between knowledge, practice and cruel critical reflection.

 — Torbjorn Kvasbo

For some reason, my chawan pieces are the ones I like the least when I see them several years after I’ve made them, especially the kodai (foot). I am not a traditionalist, but the form speaks very deeply to me and my understanding of it seems to evolve and change over time.

 — Akira Satake