Joel Cherrico Pottery

13 February, 201413 February, 2014

Mountains on Mugs

As the Amtrack roars across the plains of North Dakota, Joel watches the fields outside his window fade back into the landscapes of Central Minnesota. He reads a Snowboarder magazine to pass the time, and his mind instantly returns to skiing fresh powder at Big Sky three days earlier. Before the moment fades, he snaps a picture. Perhaps it’ll give him inspiration when he returns to the wheel. Since he was 3 years old, Joel has taken yearly trips like this one out to the Rockies. They are his second home, and as a result, they appear on his pottery. Drawing inspiration from his former professor and mentor Sam Johnson, who signs many of his pots with a simple-line landscape drawing, Joel signs each piece with an image of the mountains.

Pottery signatures offer us an intimate look at where an artist’s inspiration hides. Sam says his signature represents the flat landscape where he grew up, in western Minnesota. In Joel’s case, the mountains are a symbol of moving forward. They not only show the foundation from which he builds his art, but they show an image of where he wants to go.

“I want you to feel like you’ve got a mountain of clay to work with.” – Sam Johnson

Stoneware Mug Signature by Joel Cherrico, Carved through Porcelain, 2014 — For Joel, the mountains symbolize where he’s going. They find a home on every pot he makes.

In practically every creative writing workshop, beginning writers hear the motto, “Write what you know.” With pottery it’s no different. Potters pull inspiration from the world around them and try to bring these inspirations to life in their work. Perhaps the most revealing aspects of a potter’s art then, are the elements he/she leaves constant. The inspirations that continually find a home in their work.

With this in mind, let’s return to the mountains on Joel’s mugs. As new life circumstances reshape his pottery, Joel still draws mountains on every pot. While he calls them, “a symbol to where he’s going,” I read them as a testament to where he’s been. They stay constant while nearly everything else changes around him, offering a link between the past, present, and future. Look at his glazing for instance. The mountains come to life in the way the dark blues meet the pale Nuka glaze like the sky meets a snowy mountaintop. In everything from his abstract expressionist glazing to his simple-line signature, the mountains are present.

Stoneware Bowl, Cobalt Blue glaze over Nuka Glaze, Joel Cherrico Pottery 2014 — The Nuka and Cobalt glazes on this bowl remind me of a snowy mountaintop as it meets the dark blue glaze near the lip.

It’s strange to think that an annual ski trip could have such a large influence on somebody’s pottery. But that’s the joy of art; inspiration hits often when the artist least expects it. He may be on a train barreling across North Dakota, and BAM, there it is. Steven Hill, a potter who I mentioned in my last post, describes finding inspiration like climbing a mountain. In Tales of the Red Clay Rambler podcast Steven Hill is interviewed by fellow potter Ben Carter. Hill says:

Landscape Mug, Stoneware Clay, Joel Cerrico Pottery, 2014 — This pot shows a realistic representation of a midwestern landscape. Notice how the porcelain slip represents clouds, cobalt blue looks like birds, and raw clay near the bottom resembles a horizon line. The creamy, gray glaze feels like a winter sky.

“I feel like we all need to have something that we’re searching for that’s out of our grasp. It’s kind of like you’re climbing a mountain. Once you get to the peak there’s no where to go except down. And the search for a better resolution, a better curve, a better surface…a better something that’s always been elusive of my grasp, but it’s always been right out in front of me and I’ve never attained it.”

Successful full-time artists rarely separate themselves from their work. They always look for inspiration, even in the strangest places. If you follow Joel on Instagram, you’ll see how his obsession with rock music, rock culture, and skiing all influence his pottery. True to this culture, he even has a large tattoo of his pottery signature on his arm. Many historically famous potters spoke about synthesis of life and art. In short, the two fuel each other, providing moments of inspiration when we least expect them.

“…it is obvious that Shoji [Hamada] approached his life and work in a holistic manner, and that his workshop, house, clothes, and lifestyle were all related to his greater motivation for working in clay.”

Andrew L. Maske, on National Living Treasure Shoji Hamada, February 2009, from “Three Generations of Hamada Potters,” Pucker Gallery, Boston.

Jar by Peter Swanson, from Phil Rogers, "Ash Glazes." Joel's Nuka glaze recipe came out of this book, and he's conducted over 300 tests to experiment with the glaze at varying temperatures and in both gas and electric kilns. The drips of iron on this stunning pot exemplify an abstract depiction of a mountainous landscape. — Jar by Peter Swanson, from Phil Rogers, “Ash Glazes.” Joel’s Nuka glaze recipe came out of this book, and he’s conducted over 300 tests to experiment with the glaze at varying temperatures, between cone 6 and 13. The drips of iron on this stunning pot exemplify an abstract depiction of a mountainous landscape.

7 February, 201423 June, 2015

Athletic Pottery: Tough Times Call for Strong Potters

When Joel went to see Bill Gossman at a small pottery workshop in New London, the time-tested artist wedged, centered, and threw 25-50lb. blocks of clay at a time. These blocks, impressive in themselves, soon became massive 3-4ft. jugs that Gossman needed to finish in multiple sections. If you have ever thrown pottery or seen somebody throw pottery, then you’ll understand the effort Gossman needed just to raise that amount of clay once. He did it three times per jug.

Bill Gossman, Stoneware Throwing in Sections, Joel Cherricon Pottery, Big Pots Bill Gossman, Fire, Fired Pottery, Stoneware Throwing in Sections, Joel Cherricon Pottery, Big Pots

Bill Gossman Pottery, Athletic Potter, Joel Cherrico Pottery, 2014 — Click the image to view Joel’s Facebook album of the “Gossman and Morris Workshop”

As someone who’s only thrown about ten functional mugs in his life, potters like Gossman amaze me. They possess an unparalleled dedication to their craft. And like any professional athlete, these guys will often spend years practicing and perfecting their work before they receive any recognition.

Don Reitz, Abstract Expressionism, Clay Sculpture, Pottery, Massive Clay Work, Joel Cherrico Pottery, Flagstaff, Arizona — Reitz working long hours at a 2009 pottery conference in Flagstaff, AZ.

Consider someone like Don Reitz for example. When Joel went to see the 84 year old potter at a 2009 workshop in Flagstaff, AZ, Reitz started working before anyone else in the morning and stayed well over an hour late each night. In only 2 days, Reitz went through 2 wheelbarrows full of clay! These pictures show only a small sample of Reitz’s work, but listen to him discuss it here for the full story.

Warning -it gets emotional.

Years after the conference, Joel contacted Reitz. This workshop directly led to Joel’s creation of Mindscape, and Joel wanted to connect with Reitz by sending him a cup or two as a thanks. Still humble after years at the wheel, Reitz wrote back saying, “A cup is not necessary, I’m just happy to know that my work is appreciated. Also, watch the movie The World’s Fastest Indian. Rent it or whatever. It’s about TOTAL COMMITMENT.”

As spectators to art, we only see the final product. We never see the hours of studio-time behind the world’s fastest motorcycle or even a massive clay sculpture. We see the game, but we don’t see the practice. What I’ve learned from hearing the stories of people like Gossman, Reitz, and Joel is that to make beautiful pieces of art, a potter needs to balance inspiration with dedication. Like Reitz says, he needs TOTAL COMMITMENT by immersing himself in the clay.

Michael Cardew was a historically famous potter that lived a tough life partly by choice and also by circumstance. While in Africa, he made pottery in places where water was so scarce, he had to use caustic wood ashes to make clay more plastic. Joel often looks at Cardew’s biography when he needs motivation, especially in the more difficult times of his career. Here’s a quote from the book that I feel speaks well to Joel’s pottery. Joel first heard it from his friend and author Ken Ferber. It says:

“…a good design in pottery is the product of a tension or ‘dialect’ between the demands of pure utility and those of pure beauty, and only a long experience and continual struggle enables you to achieve a successful fusion of the two.”

-Michael Cardew

The biography goes on to describe Cardew as a potter with “athleticism” and his work with clay as, “direct, physical and urgent.” I think you could prescribe the same qualities to almost any professional potter, especially guys like Gossman and Reitz who continue to make massive ceramic pieces throughout the second half of their career. These guys are making a statement through their effort. And in many ways, their art then becomes the direct expression of this effort.

Compressed, Peter Voulkos Stack, Minneapolis Institutue of Art, photo by Joel Cherrico — 8ft. tall Wheel-thrown clay sculpture by Peter Voulkos, converted to bronze, Minneapolis Institute of Art, photo by Joel Cherrico, 2009

A lot of this philosophy parallels the Abstract Expressionist school of thought which was made popular by artists like Jackson Pollack and Peter Voulkos. Joel himself draws heavily from the abstract expressionists. He feels abstract expressionism has the potential to foster a healthy lifestyle through clay. Mindscape was Joel’s first experiment with abstract expressionism, but even with his functional pottery or hump throwing demonstrations, he likes the almost unconscious movement of working through 50lbs. of clay spinning on the wheel. For him, clay becomes an expression that’s at every moment “direct, physical, and urgent.”

2,000lbs Stoneware + 3 flights of stairs = afternoon workout

31 January, 201431 January, 2014

Live with your Pottery

Guest Blog posting from Alex Forster: “Marketing Intern” and senior English major at the College of St. Benedict/St. John’s University. View his Linkedin Page here.

Recently, Joel pulled a mug off the counter of the Local Blend. Its lip had chipped, and he didn’t want people drinking from it anymore. The mug was one of the earliest pieces Joel had offered the Blend three years ago. And over the course of a thousand washings, handlings, and refills, the mug had started to wear the scars of a wounded soldier. Its chapped foot was tattooed with the number sixteen marking ounces, its curves were scratched from being passed across countertops, and its insides were browned with coffee stains. Almost no part except its speckled yellow skin was in the original condition. But instead of throwing the mug away, Joel discovered beauty in its scars. Now it sits like a trophy on a shelf in his office -a proud token to the life of pottery.

An early mug Joel brought to the Local Blend 3 years ago. Besides the chipped lip, the mug has a vertical hairline crack, chipped edges on the foot, and permanent coffee stains inside.

16 marks the mug ounce size, drawn with permanent marker 3 years ago so a Local Blend employee knew what drink size to make.

Every pot tells a story. And like people, we can learn a lot about our pottery by looking at its history. One of Joel’s friends, a fellow potter named Matthew Mejia, recently shared these words of wisdom on Joel’s Facebook page. They come from the Pennsylvania potter Jack Troy. He writes, “My feeling is that we potters finish our work, but only others can complete it, through use. Pottery, therefore, is only finished once, but can be completed endlessly, by a succession of users, keeping it active in a variety of settings. When we say we are ‘moved’ by a pot, it may be the animating force of its creator refusing to be still.”

Joel tries to emulate this mindset in his pottery installations at places like the Local Blend. In one of our earliest conversations, he said to me, “Surround yourself with pottery.” When we bring pottery into our lives, we ourselves become artists. Like the mug at the Local Blend, our lives scar little memories into the artwork. A chip in the lip may remind us of a time when we tried to balance too many things at once. Coffee stains may remind us of long conversations with close friends, or perhaps, long nights and early mornings. Whatever the scars are, our pottery shares the story.

Even the best potters cannot create two completely identical pieces. Sure, a potter may make 100 or even 200 pieces of the same style, but each one has its own personality. Each pot reflects the mindset of the potter at one particular moment on the wheel. On the same shelf in Joel’s office, next to the mug from the Local Blend, sits a porcelain cup by the potter Steven Hill. Joel got this piece after Hill came to the Paramount Arts Center for a 2 day pottery workshop. What’s interesting about the cup is its imperfection. A little s-shaped scar on the inside of the cup shows that Hill speed dried it. A crack in the glaze near the foot says that Hill had to reattach the part after it fell off during glazing. Even marks in the glaze itself show that Hill may have been rushing to get the piece finished before the end of the conference. Every part of the cup feels hurried.

The rough surface happened because Hill skipped the bisque firing, raw glazed the pot, then speed dried it.

Hill would probably regard this cup as “flawed,” and unlike Joel, I doubt he would exhibit it on his shelf of inspiring pieces. Many potters would never exhibit or sell a flawed pot, and most usually smash them. Joel, on the other hand, appreciates these flawed pieces for the stories they tell. For him, they hold life and personality -characteristics you can’t find in a machine made, or even a beautifully glazed, flawless pot.

When Hill glazed this cup, he accidentally ripped off the foot, then dipped it in glaze and stuck it back on. The hairline crack reminds Joel of this event.

Many of us, myself included, may feel like we need an art degree to understand a Salvador Dali painting or a Clase Oldenburg sculpture. But with pottery I feel it’s different. With pottery, our lives become the galleries. We not only bring the beauty of the art into our lives, but our lives make the art more beautiful. Potter Dick Lehman sums it up perfectly. When it comes to appreciating our pottery he writes, “Fine dinnerware has the potential for helping us to find, even though in a small way, affection for life and beauty in living.” So, the next time life requires pottery, take a moment to study its living history.

Every little scar in our pottery shares a story. Some are pleasant, some are unpleasant, but they are all important. Joel appreciates the flaws in his pottery for the important lessons they teach him. Below are some examples of these lessons.

This crack comes from “dunting” – a stress crack that happens when making pottery, but opens during the firing. The pot probably got bumped in travel, since Joel often drives to and from Minneapolis to get Paige Dansinger’s paintings on his pots and exhibit them in Gallery Paige.

Joel uses a wood ash glaze called Nuka, which gives his pots interesting and irregular qualities like surface pinholes. Nuka stains with coffee over time, allowing the pot’s character to evolve with the user. After getting banged around for 6 months in the Local Blend, this mug cracked and leaked. Employees wash the mugs up to 5 times per day, everyday, and sometimes a mug will hold up for over 2 years. Joel pulled this one from the Blend and quickly snapped a photo of the bleeding soldier.

This is an “S” crack that sometimes happens with hump throwing. Joel filled it with epoxy and metal leaf. Look at the amazing color the “S” crack has next to the Copper Red glaze.

18 December, 20133 January, 2014

Finding a Balance in an Imbalanced Art World

Hannah Anderson worked as a “Pottery Marketing Intern” this semester. She is a senior Art major at the College of St. Benedict/St. John’s University. In this post, she describes our semester long task of trying to define the role of pottery in the contemporary art world.

Guest Posting by Hannah Anderson (view her Linkedin page here)

Throughout my internship with Joel, we had many discussions of “high art” vs. “low art” and where his pottery fit into the mix. High art, one could argue, is not functional for the consumer. Traditionally, the function for this type of art is to sit in a museum as a masterpiece, observed through this elevated status. Low art is generally mass-produced, inexpensive, and far more available to the public. In my critical theory class, we discussed how museums have opinions on high and low art as well, and can influence how people view artwork by either appearing intimidating or more approachable.

The terms “high” and “low” art should be reevaluated and adapted to today’s contemporary art world. Words that correlate with high art seem far too Renaissance or Baroque in feel, such as “master of art,” prestige, traditional, western, still-life, landscapes, portraits, and, my favorite, original. This particular word poses the question: can high art even exist anymore? I would argue that it certainly still exists, but not in the same light in which it was originally established. High art and low art should be adaptable terms for each new generation of artists. Low art has synonyms such as: consumerism, production, affordable, advertised, ordinary, etc. This is a challenge many artists face today, and it creates a huge imbalance in the art world.

Joel poses the question, “why are we making and selling pots?” He gathers a lot of insight from potter Warren Mackenzie, whom also has a lot to say about art as a functional vessel vs. sitting in a gallery space. Warren is an 89 year old, world-renowned artist. He is most at ease with his work when he knows it is being used, handled everyday and looked at often. Pottery has the potential to be the most intimate of artwork, because it’s users have constant contact with it. Clay is not expensive and is made from the earth, so when does it make the transition from low to high art?

Price plays a factor into what is high and low art. Warren says “A 10 dollar pot, now that’s affordable.” He says that if it breaks, then it is not a huge loss. This is interesting coming from a renowned artist, because his philosophy conflicts with his position in the art world; his pots resell on Ebay.com for hundreds of dollars everyday. Mackenzie says, “Unfortunately, now I only sell through galleries.” His philosophy seems more focused on low art, but his standing is high.

Bernard Leach, A Potter's Book, 1940, Joel Cherrico Pottery — Bernard Leach, “A Potter’s Book” 1940 – Pottery mentor to Warren Mackenzie

I like to think that many artists in today’s art world present a mix of high and low art, and it is perhaps just difficult to find the balance. Right now, an imbalance is evident in Joel’s artwork. His pottery is functional, consumer-friendly, priced lower than most professional potters, and is meant to bring a comfortable aesthetic to anyone’s home. His online store is in contrast with this idea, because we take a high art approach by using professional photography equipment to shoot pots in front of a gradated background. We then use these photos to try and join the contemporary art world.

I wonder, is the Local Blend pottery high or low art? At the Local Blend coffee shop, they use Joel’s pottery in mass, so anyone can eat and drink from his pottery everyday. This seems much closer to low art to me. We take the same pots and put them in front of a gradated background, making them high art in a different atmosphere. Without a little low art, high art wouldn’t be possible, since the Blend is where most of Joel’s income is generated. Writing about this venue has also brought him some of his biggest successes in the art world, including 2 major magazine publications. Perhaps these everyday pots will someday be elevated to a high art status?

Low art is what’s paying the bills, yet in the future, Joel wants to support his livelihood with a balance between low and high art. This means more of his income needs to be generated from our work on the online store. One way we accomplished this was by branding his artwork in a more focused way, using one glaze: the Nuka Glaze with iron. Nuka with iron had a great deal of success for Joel throughout my internship, enough for him to narrow his focus toward solely that glaze. Currently the online store has less Nuka with Iron than Joel would like, and his future plans are to recreate his online store geared toward pottery of only that glaze type. Over 50% of the online sales were Nuka with iron, and Joel sold pots with this glaze type to five different people both locally and nationally in one week. He has also completed 4 dinnerware sets in this glaze, 2 of which were sold through wedding registries. We see huge potential in this glaze combination.

This branding was influenced by Ayumi Horie, who certainly has a recognized, established, successful brand for herself. Her style is easily recognizable on every pot. Her artwork sells at high prices online and is always sold out in less than a day. Moreover, Horie has earned her place in the art world through years of consistent craftsmanship, a huge resume, and skillfully writing about her craft in major publications.

Our experience with high art continued through Paige Dansinger– an internationally renowned painter and art historian who is collaborating with Joel. She makes high art in the form of painting on canvas, digital paintings on IPads, projections, performance, and most recently, painting with glazes on Joel’s pottery. During my internship, she opened a gallery in the Minneapolis Skyway Mall called Gallery Paige. Everyday, she exhibits and sells her artwork as high art. The collaborative work made by herself and Joel has huge potential to take off in the high art world.

To conclude, perhaps in today’s world, the balance needs to be found in the middle of the spectrum between high art and low art. Are the best artists those who spend their time making both high and low art? One could argue that they can reach the most amount of people that way. Because that in fact is what art is all about: reaching the most amount of people with a particular message. The meaning of art and its purpose to be seen can easily get lost when identifying it as either high or low. As renowned potter Bernard Leach said, “To me the greatest thing is to live beauty in our daily life and to crowd every moment with things of beauty. It is then, and then only, that the art of the people as a whole is endowed with its richest significance.”

17 November, 201329 December, 2013

Pottery Business Trip: Stamped Mugs for Duluth Coffee Company, Artist Dinnerware for Gallery Paige

“When asked about his chief concern as an artist and potter, he modestly replied, ‘I honestly do not know. I respond to something inside me and I do not know what I am doing until I have done it. The moment of completion is sharing with others. The work is from myself but not for myself.’”

– Jonathan L. Fairbanks, about Brother Thomas, October 2007, from “Remembering Brother Thomas Bezanson,” Pucker Gallery, Boston.

The moment of completion is an exciting part of the pottery process. My old college professor, Sam Johnson, used to say that unloading glaze kilns was like Christmas or Halloween. Either the pots turn out great and cause an adrenaline rush of excitement, or ugly, flawed glazes send you plunging into a pit of despair.

When good pots do come out of the kiln, the artistic process continues to the viewer or user of those pots. Brother Thomas created forms and surfaces with inherent beauty, and he knew that this beauty needed to be shared. His work is exhibited in museums and galleries across the world. Sharing artwork lets artists grow by collecting feedback from viewers. Potters generally do this in 2 ways: exhibition and sales.

I see a lot of common ground between good kiln openings, selling pots, and exhibiting art. They involve the culmination of hard work and reaping rewards. The experiences happen quickly and often bring good vibes that linger for hours. Last Friday, I shared three of these experiences in one, epic day. It’s also worth mentioning 381 miles of travel, which comes to $215 in tax deductions at $.565 per mile according to www.irs.gov.

8:00am Kiln Opening

I opened the Skutt kiln and pulled out about 70 mugs for Duluth Coffee Company, made with a hand carved stamp by Bruno Press. I spent an hour polishing the bottoms of 100 total mugs, packaged them in 5 clay boxes and loaded the car. After a morning of errands, I drove from St. Joseph to Duluth.

2:00pm Duluth Coffee Company Drop-off

Eric Faust, owner and roaster, met me with an awesome cup of fresh roasted coffee and a check. This was an order for re-sale, and it could revolutionize how I make new bodies of work for coffee shops. Last year, Eric worked with a potter that sold about 400 stamped mugs through his shop. The potter moved out of state and Eric has been searching for a potter to rejuvenate this project. I was lucky enough to meet him months ago, when visiting friends in Duluth and scouting coffee shops. I was even luckier when he offered to buy the mugs wholesale- the first time this has happen in my 3.5 years as a full-time potter.

Eric generously let me retain artistic freedom. Too often I have received requests for stamps, carvings, or colors that fall outside my aesthetic interests or capabilities. This project reflects Duluth Coffee Company’s philosophies about roasting and brewing signature, gourmet coffees for the local community.

8:00pm: Gallery Paige, Grand Opening

Paige Dansinger is a renowned painter and art historian who has exhibited internationally, including a show at the Guggenheim this past spring. We met coincidentally at Continental Clay supplier while she was buying machine-made plates and glazes to paint for a commission. I said, “It would be great if a potter could make plates for you” and she replied, “Well, do you make plates?” Also coincidentally, I was at Up Cafe performing pottery throwing demos, that day only. She saw me throw, saw the stack of 500+ pots in their space, and we caught the vibe that we need to team up.

In the 2 months I’ve known Paige, she’s come to my kiln space to paint on my pots, invited me to her studio to view her process and bring more pots, and opened a gallery. That’s right, she opened a gallery in the downtown Minneapolis Skyway mall!

Gallery Paige had the Grand Opening Friday. Dozens of her pieces graced the gallery walls as paint on canvas, painted plates, and her innovative #DrawArt displayed as video and projection. Artists and art collectors streamed in and out of the space for hours. I brought her the first 2 glazed, finished pots from our collaboration and we shared a toast to the next body of work! Her paintings are gorgeous and I feel honored to begin the process of making pots as canvases for such a renowned artist.

When I met Paige she said, “I want my paintings in museums all over the world, hanging next to Picasso.” I think she’s on track to live into that goal!

Photo by Paige Dansinger

Photo by video artist Jim Mcallister. View some of our collaborative work here:

https://www.cherricopottery.com/video/