I’d Like to Think About Hand-Made
I’d like to think that as the things I make enter and live in someone’s life in some way our spirit’s connect. I’d like to think that someday when I’m gone the objects of art and craft which I’ve fashioned will retain that connection, whatever it is.
I’d like to think that the object(s) itself, having been fashioned by a human-being, rather than a machine, carries something of me with it into the life of the the person who possesses it. I’d like to think that they will always value the nuances of the object(s), the so-called imperfections, seeing them for what they are; marks of the maker.
When I handle something handmade, whether from past generations, or from an art studio or gallery, I am holding an object which has been thoughtfully made. A person did far more than merely design this object. They also fashioned it. They gathered their materials and guided them into an object of meaning. I enjoy the impressions of the maker; their marks. In fact I look for them; brush strokes, penstrokes, tool marks, hand impressions. I like to imagine them gathering their materials, and perhaps without much thought, through years of experience, guiding an object of meaning into being.
I’d like to think that, in some way, I’ve made some kind of precious impression through the object(s) I create; to have transmitted something in common with the owner(s). I’d like to think that my work is valued, not only for the sustainable, up-cycled aspect of my art practice, but that it is seen as something which interprets, translates, and communicates meaning, either mine or theirs.
Certainly I want to make a good/decent living at my art practice. But I am far less interested in fame or fortune, and far more interested in leaving behind a substantial body of work which continues to transmit meaning. With the singular, personal objects I’m privileged to make, I’d like to think that the connection between our spirits, my patrons and mine, will be both valued and eternal, perhaps for generations to come.