enters the room. Once the avenue of communication is
opened between the child and the so called teacher,
the battle is half over. The child comes rushing into
the room and heads directly for his point of interest,
he needn't wait to be told what to do for if he gets
stuck he is able to ask someone for assistance. With
some children the learning may be slower but if there
is pleasure in being with people and in doing things,
the time it takes to master the task is irrelevant.

Jean Marie Weakland

THE MAGIC OF THE EXHIBIT

Galleries change exhibits frequently. Throughout
the year, theatres offer full schedules of drama. Novels
are published daily. In fact, artists working in all
media regularly place their work before the public.

Why is this?

Money, would be the most obvious reason which comes
to mind. However, though it is nice to have and quite
necessary, it is not the primary reason. Looking at the
situation through experience as a performer in dance and
now as a potter and weaver it is my belief that the
reason for exhibiting, either in the concert world or
the gallery, is one quite closely related to the devel-
opment of the artist.

Let me illustrate with a comparison between dance
and ceramics. Beginners in either art spend the first
years in sheer torture, humiliation and frustration
trying to master the mechanical skills of their art.

If patience lasts, the dancer eventually reaches a point
where fulfillment comes through the exhilaration of
moving through space with fluidity. He also finds pleas-
ure and satisfaction in performing other artists compo-
sitions. The potter, too, reaches heights technically
where he is carried along on the sensory satis faction

he gets from a harmonious working of his hands in re-