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Mark Baker

Tuesday, February 24, 2015

There are many instances in life when one looks at something and makes an instant value call on it. We glance at things as we walk, but every so often something captures our attention and the look is more than cursory. At that point, we analyse in a flash why we looked at it, whether we like it or not, what relevance it might be to us, is it something worth further viewing time and if so, why? As we process almost instantaneously our thoughts and responses. It can happen in the street and also while working. We also need that when analysing our work along the way. We need at times, to see what is there, not what we think is there.

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I picked up a bowl I"d done as part of last year"s 365 challenge and, to my consternation, I saw that I had not got the curve as I would like to see it. Have a look and there are two distinct areas of the external curve that should not be that way. For some inexplicable reason I had not seen it at the time of making it and I definitely do not like it, so I have set this aside to be reworked at a later date. It isn"t a case of my changing my mind or thoughts about things and not liking it now. It is plainly wrong to me.

Sometimes things take on a much more emotive response, something tugs at us when we look at something and a whole new experience occurs. It is not analysed by hard technical details like wrong curves and not being in proportion or similar. It is often something that is indefinable - "other" is the best way I can put it - as to why we are looking at that particular thing in the way that we are, but the response is none the less there and as a result we are tantalized for a long while as we process that response. I remember a long while ago looking at a piece of work by David Ellsworth from his Solstice series and my first response was a loud mental "Yes!". This was the first turning that had caused me to do that. Many turnings had grabbed my attention where adjectives like "wonderful", "superb" and many more would fit, but this reaction to that work was "other". When seeing those pieces now, that reaction to those turnings has not diminished, even after all these years.

Have fun,

Mark

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