Talk:Edmund de Waal
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[edit] COI Tag
The COI tag does not mean the article is not neutral, it only says that the person who wrote the article has a conflict of interest and there may be a neutrality problem. Please do not remove the tag again. Jons63 (talk) 02:23, 11 December 2007 (UTC)
[edit] Huh?
I deleted
- "His books, which have been published, are:
- "Edmund de Waal, photography by Helene Binet Essays by Jorunn Veiteberg and Helen Waters Kettle's Yard / mima 2007
- "Rethinking Bernard Leach: Studio Pottery and Contemporary Ceramics (Japanese Edition) Shibunkaku Publishing Co. 2007
- "Twentieth Century Ceramics, Thames and Hudson, 2003
- "Design Sourcebook: Ceramics, New Holland Publishers, 1999 Dutch, German, American editions 1999 UK paperback edition 2003
- "Bernard Leach, Tate Publishing, 1998 new edition 1999, new edition 2003 Japanese edition 2006 with additional chapters"
because it's very unclear to me who did what; if they're books, pamphlets, or what; & just what relevance they have, especially if he's such a well known potter... Trekphiler (talk) 11:09, 29 February 2008 (UTC)
[edit] Oh, shut up
I would delete or rewrite
- "I love the ‘visible imperfections’ that come from the gestures of throwing and handling clay and the fierce symmetries of industrial porcelain, the vessels of the chemical laboratory. My pots span both these histories. Working in Japan has given me a feeling for how pots can work in the hand, how their heft, balance and texture matters. So my pots are slightly bashed, slightly crooked and tell of their making.
- "For the last eight years I have also been making installation groups. I called them ‘cargoes’ of pots, an image that came from the images of sunken cargoes of porcelain.
- "There are few images of groups of porcelain – we are much more used to seeing single pieces in isolated splendour – and this has haunted me. Some of these installations were for Modernist houses as with my work at High Cross House in 1999. Some were for austere art galleries – as with the Porcelain Room made for the Geffrye Museum, 2002-2003 and shown at the Kunstindustri Museum in Copenhagen in 2004. For my solo show at Roche Court in 2004 I made three installations that respond to the Arcadian landscape in which the gallery sits. This focus on installation has allowed me to be ambitious in making pots that challenge architectural space. My installation groups focus on the ways in which subtle modulations are manifested through repetition.
- "Recent projects at Blackwell, the Lake District mansion designed by Baillie Scott, and the National Museum and Gallery in Wales, have extended this practice.
- "Much of my recent work explores colour through hidden interstices and openings. These pieces look at how colour change through shadow.
- "All these pots were made in porcelain as I believe that it is the porcelain that is the matrix for East and West, the sung dynasty and the Bauhaus.
- "It remains to be a powerfully contemporary medium.[1]"
It's pompous, self-serving, & irrelevant; it could (should!) as easily be summarized in a couple of lines. Trekphiler (talk) 11:21, 29 February 2008 (UTC)
