A Conversation with
Cathi Jefferson

When I found out that Cathi would be leaving her beautiful Deep Cove
home and moving to the Cowichan River area, I thought I should capture the
opportunity to have a short conversation with her. Here are some of the areas
we talked about, hope you enjoy Cathi’s candid comments.

LK: What keeps you in potteryr
CJ: It’s not the money; it 1s the process, the making of things. I can’t imagine
not making new bits and pieces; it’s all about the making and the process.

LK: What defines a good piece of work?

CJ: The definition of good is subjective, but when you find a good piece you
get a physical reaction, it strikes you. Look at a lot of pots and one will stand
out, even one of your own pieces will be special to you. Good pieces have a
presence. Beauty is important to me, a sense of beauty, and the bones of the
piece. The form relates to the surface and it is not just eye candy. Form and
surface interact, they make the piece, and they make sense together. Some
forms demand a certain surface treatment. The decoration relates to the form
and the work as a whole.

LK: How do you learn that skill?

CJ: Reading, looking at lots of pots, trying to see and understand the form.
Learning to see and always growing. You never get there - you are always in the
process of evolving. Work that I liked 30 years ago may not be appealing now.
Look at lots of images, find
the bones, the foundation,
search for the — structure,
and pay attention. Learn by
talking about pots with other
potters. Look at historical
pots, good pots were there
in the beginning and they are
still good pots, the underlying
principles are there in all of
them. A good pot is a good
pot. Look at books, pay
attention to things that attract
you, there 1s a pattern if you
look for it.

LK: What would you tell a
new potter?

2-Year Diploma in
Ar raf Desian CJ: Read the “Art & Fear”
Art, Craft & Desig by David Bayles and Ted
— Fibre Orland. It 1s an excellent

— Jewellery and Small Object Design

1-Year Certificate in

- Metal Studio

book. When you are trying
to find your voice, pay
attention to what appeals to
you, what you notice. Look
at your pots, each pot has a
piece of you in it, really look
at them what are they telling
you about yourself? Acquire
the skills you need to make
what you want to make.

Apply Now for September and
January Entry

For more information, contact Laura White

at lwhite@selkirk.ca, 1.877.552.2821or visit
Quote from “Art & Fear”

selkirk.ca/ksa
Selkirk |@] college — “Vision is always ahead of
[ execution and it should be.”

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selkirk.ca

LK: What would you tell a mid career potter?
CJ: Challenge yourself, build or buy a new
kiln, try new glazes, new clay. Find a way to
step outside your comfort zone. No pain no
gain. What 1s important 1s that you love to
make pots, so apply yourself and you will get
better. Push yourself, but don’t be hard on
yourself.

Going to the Archie Bray residency for the
first ttme was hard for me, it was a difficult
time. However my work progressed in such a
short period of time, that within six months,
Thad grown so much it was surprising. Pursue
what feels right, salt firing for me is the right
thing to do. Pay attention to what you are
paying attention to. Like building my own salt
kaln, know your own path and pursue it.

When I am teaching, some students say they
are not good enough. I tell them there are no
negatives here. “I can’t do this,” 1s turned into
a positive, “What can you do”. Now how can
you work toward your goal? You can do it if
you want to!

We all have expectations that we can instantly
do something but you have to work at the
steps to make it a reality. Find a resonant tone
and allow that to build, don’t be intimidated
by the big open space.

LK: What have you found difficult?

CJ: Computers, packing up, the physical side
of craft shows aren’t my favorites. Some
people are into the chemistry and like the
science of glaze making but that is not an area
that holds a lot of interest for me either. The
marketing side 1s a challenge, I just want to
make pots and have them find happy homes.
Making my ideas become reality and being
impatient is also something I am working
with.

At craft shows, connecting with someone who
will be using and enjoying my work everyday,
learning what they don’t like and what draws

them is exciting.

POTTERS

GUILD
ot BRITISH
COLUMBIA

LK: Comment about the
clay process and the people.
CJ: Clay people are good
people: no pretext and clay is so
basic it is of the earth. You have
to be grounded; after all, you are
working with mud. Without art
you have no culture, I strongly
believe im that statement

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