The "WESTERN POTTER" No. 20 October, 1970.

In understanding our craft we comé to appreciate the
infinite variety of ways of seeing and feeling that can
be expressed in clay. In this issue we find three
separate, mature, individual points of view, all
artists whe exhibited in Vancouver this summer. Our
response to these works will vary with each one of us
over a gamut of expression but we have been
privileged to have had the opportunity to see them.

It is all too simple te say that clay is this or it is that;
that someone is or is not a petter. All too easy to
impose one's own idea of what art is about and to
dismiss the many other and conflicting points of view.
It is a belittlement to which the crafts in B.C. are
particularly prone at the moment.

If, however, we want to grow in understanding, surely
a more generous, more embracing approach will find

its reward in enriching our lives and sc, inevitably,
our work. The comment so often used about standara
merely seems to inhibit the growing process: the word
implies a straight jacket of the imagination, the limits
of the standards being quite simply the limits of the one
who sets the standard, This seems an inherent defect
since surely what all art Is about is the unlimited, the
infinite, the eternal.

Editor