ceramics1
Richard Fairbanks, although many times overlooked, was an important American ceramist. He was known as a "loner" and because of this he was never really appreciated for his talent. Fairbanks was greatly influence by his professors. Professor Paul Bonifas, who taught at the University of Washington, was one who left a huge impact on Fairbanks work. Fairbanks created a system of sketching pottery profiles, which stemmed from Bonifas' teachings, as a mean of "thinking on paper." This approach to pottery through sketching was a crucial element that separated Fairbanks from many other Asian-inspired American peers. Although, Fairbanks was a wheel thrown expert, he continued to "think on paper" throughout his creative life. Much of what absorbs Fairbanks interests can be seen in his making of candlesticks, casseroles, and vases. During the later part of his life he created three of his final pieces. One being the Stoneware Heart Plate, 1985, secondly the Stoneware server, 1985, and thirdly the Stoneware Vase, 1985. These were three of Fairbanks last works, which suggest the direction in which he was headed, in terms of what defined his style, before he became deathly ill.
The glaze Yasuda uses creates a freedom for modern abstraction. Pots are not just a visual object, but something to be cherished on many levels. " The server is covered with red matte glaze. It creates room for interpretation, which I find culminating. As his disease progressed, Fairbanks lost more and more eyesight. The next piece he made during his period of illness was called the "Stoneware Server. Yasuda gave a new name to creamware. Yasuda was a wheel thrower, who was "intrigued by formal complexities of wheel thrown pottery. Even though not extreme, the glaze on this piece is very interesting and captivating. Fairbanks was diagnosed with malignant brain tumor, which created little to no studio activity. It is a thrown vas4e that is 10x8x6. Yasuda's view should not be looked at in terms of design, but in a way a pot can generate and be part of a ritual, and add depth to the viewer or user. This in turn removed his pieces from any realm of perfection. In Yasuda's Sprung bottom Bowls, he takes plate forms and fits them over rigs at the leather hard stage and pushes them down to create deep containers. It was said that most of the time his pots would collapse of the wheel and he would hang tem upside down to dry.
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Acceptance Essays
