2007 Strictly Functional Pottery National


I had no idea what I was getting myself into when I accepted this assignment. Of course, it was a great honor to be invited to select this show, joining the ranks of those exceptional makers of functional pots that had juried the pervious 14 national shows. But I was worried and nervous, knowing that I would have to make difficult decisions without other jurors to blame.

The day finally came and I was alone with over a thousand images to view and review.  This year, for the first time, both slides and digital images (over 70%) were accepted. I resisted the digitals at first, being more comfortable with viewing slides all these years, and I had a devil of a time figuring out how to use the Mac to preview images. However, once I figured it out, I must say that it was a much better way to actually look at work, zooming in to check out spouts, lids, handles, decoration and specific areas of inquiry. What fun to almost get into the pot!

There were guidelines that made my work difficult; first of all, there was the limit of the show (105 pots), which meant that I was able to select only one from every 10 entries. And to allow the representation of as many potters as possible, I was asked to admit no more than one entry per person. And, finally, there was the limitation of functionality, forcing the elimination of some very exciting sculptural work that went beyond the strictly functional definition.

I was given no information on the name or origin of the potters, nor whether they were beginners or full time professionals.  Of course, I was familiar with work submitted by students and friends and I struggled hard not to give them an advantage from knowing their work first hand

And, of course, there were a lot of shino pots entered, which was not an advantage. Since I wasn't jurying a shino show, I selected only the very best, wanting to balance the show with work far from my own.

My Process:
I first went through all the images for an overall view of the breadth and variety for work submitted. No decisions were made, no notes taken. Then I went through everything a second time, still making no choices, but making notes on what was porcelain (39%), stoneware (57%), or earthenware (4%).  I also gave attention to types of firings: oxidation (26%), reduction (31%), crystalline, soda, salt, wood, anagama, and raku.

The third time through, I eliminated entries that were obviously not functional, work that failed to show good craftsmanship and work represented by poor images, which made it difficult to view the pot presented.  Perhaps my strongest suggestion after spending these weeks with your images is that if you are not a gifted photographer with good equipment, it is a waste of your time and money to submit images to a national show that are out of focus, poorly lit, shot against backgrounds of wrinkled material or cinderblock walls.  You are putting your work out there with some of the strongest pots and best images I have ever seen.  My current nightmare is going to the actual show to discover that a pot I selected from a dynamite image turns out to be poorly crafted or dysfunctional.

The fourth time through I gave attention to the balance and scale of the show, checking the sizes you gave for each entry, as well as the forms and techniques represented. There were 133 teapots entered, 124 bowls, 107 vases, 96 jars, 52 plates or platters, 33 bottles, 20 creamer & sugar and an assortment of cruets, sets, boxes, baskets. I love tea bowls, but chose only those that were more than a cup.

I looked for strong forms, evidence of good craftsmanship and design. I considered issues of balance, scale and proportion. I gave considerable attention to technique, as well as thoughtful planning and execution.  I put a lot of weight on imagination and the personal aesthetic. Finally, I addressed the issue of surface: whether decoration, texture and firing complemented and completed the work or was irrelevant or worse. It's always disappointing for me to see skilled decoration or brush work on a weak form.

I finally came up with 160 images. Then I was in trouble. The most difficult task of all was to cull those last 55 pots. Unfortunately, you who were not selected will never know whether you were in that last cut or not.  It was very difficult indeed to have to eliminate good work.  But it certainly made me feel better about all the times I have been rejected, knowing that perhaps my entry had been in that final, difficult cut.

I then went through each of the 160 images carefully, using not only the functional criteria, but also the STRICTLY functional requirement. This enabled me to cull work that I very much liked, but considered in some way functionally compromised.
Finally, I had only 10 pots to eliminate. At this point, I looked at all the images entered by each potter to see if the one I liked was just a fluke or represented a strong and consistent body of work, a personal aesthetic or voice. In the end, I was only able to eliminate 5 and ended up with a show of 110 entries, 5 over my limit.

I wish there were some way I could share with each of you the thoughts, reactions, suggestions that came to mind as I viewed your images. Of course, the image is not a fair representation of a pot, especially a functional pot, since one cannot tell from a slide or digital anything about weight or balance, whether the lid fits, or the spout pours.  But I spent much time with each of your images and many are embedded in my brain, including those not selected.

This was not easy.  And after jurying this show, I don't think I will ever again apply to another! But I loved every minute of it and will miss spending part of each day with your work.

For me personally, the variety, breadth and imagination that you all bring to clay were thrilling and inspiring.

It was wonderful to see potters sending in what they consider their good work, whether from a beginner or full-time studio potter.  You entered what you were proud of and happy to put out there to be considered and reviewed and it was a privilege to share with you this process. If your work was not included in this year's show, be aware that the competition was powerful indeed. Many of the best pots entered were not included.  I know from my own experience that a letter of rejection brings disappointment; but if you are committed to your work, the clay and your passion, it's time to get back to the clay, do your best and try again!

We can't help but have a great show with so many wondering entries!


Malcolm Davis        March 10, 2007