things but things like attitude, ways of living and philosophy
towards life, All three were on a different trip but all helped me
realise that I desired to be a potterer, not a putterer.

I feel that once this is realised an art school situation is not for
the aspiring potterer. I have absolutely no time for the putterers
that I continually trip over 5 days a week, I remain only to com-
plete the last of four years that have brought me to where I am
now.

Important things ....

- a productive relationship with a mature artist potter.

-a working, sweating, relaxing, feeling, doing atmosphere in a
highly aesthetic atmosphere (like discussions in the tops of
prune trees),

- freedom from putterers and freedom from thinking "Damn it's a
quarter to ten and the janitor's going to kick me out and it
takes two hours to get home",

Wendy Birch

——— ee eee

Inspiration may come from meagre or profound origins. For me it
can be a walk on the beach, playing with gourds, meaningful
criticism, watching a vibrant potter throw, a strong arm and a kind
word - or so many other things. Surroundings mean a lot.

In the grey walls at our school pottery, our inspiration cannot
come from our environment but must come from the vitality, dis-
coveries and aspirations of those around us, These rooms are
certainly not the best place to view and judge pots. A pot taken
from the kiln and placed on a counter or shelf has a completely
different meaning when placed on a different ground. Ee it on
grass or on your own table or floor, any pot takes on a brand new
life,

My ideal situation would of course start with beautiful surround-
ings, perhaps a country place but not isolated, Enough room for
two or three potters to work and live, to be able to share major

equipment and ideas and enough space and privacy for individual

fulfilment,
16.