| "Pots, like children, have to make their own path in the world," Byron
Temple says. The work of this master potter is on view in the exhibit
"Utilitarian Clay" at The Clay Place Gallery in Shadyside.
From 1958 to 1961, Temple apprenticed with the legendary English potter and
philosopher Bernard Leach at Leach Pottery in St. Ives, England. Leach is the
author of "A Potter's Book," which has influenced generations of
potters since it was first published in 1940.
Leach was one of the first potters to espouse the idea of the
"artist-potter." He maintained that in the artist-potter's work
"there is a unity of design and execution, a cooperation of hand and
undivided personality, for designer and craftsman are one."
Leach's comment is a fitting explanation of Temple's work. At age 68, Temple
is a legendary figure in the field of pottery. Throughout the five decades
Temple has worked and taught, he has influenced generations of potters. He has
taught at Haystack, Penland, Pratt Institute and the Philadelphia College of
Art, among others.
From 1962 to 1989, Temple operated a production pottery studio in
Lambertville, N.J., where he produced a range of standard tableware. Out of that
work, the potter grew an interest in creating more artistic vessels. These have
been his primary focus, and output, since he retired from making his production
oriented work and moved to Louisville, Ky., in the late 1980s.
The 20 pieces in this exhibit are recent examples of this work. The pieces
take the form of either small jars or bowls not more than 6 inches high. They
exude the quiet confidence of an artist who describes his aesthetic as "a
combination of the Bauhaus and Japan."
They are deceptively simple.
A dark-footed bowl looks basic in its design. But when turned over, one can
see the intricately carved-out bottom. Many of the pieces in the show have been
similarly carved out on the bottom. This footed look gives the pieces height and
lift, resulting in a ceremonial quality.
Most of the jars in this show are cylindrical and have flat tops fitted with
lids. The lids are of different sizes depending on the design of each piece.
Some lids are as small as a coin; others are larger and have a small piece of
bamboo inset in the lid for use as a handle.
One type of vessel Temple makes frequently is a lidded jar he calls a tie
box. Each of the two tie boxes in this show has a lid covering the whole top of
the jar. The lids are held in place by silk cords that wrap around the jar and
tie at the top, much like a gift box. This enclosure implies the containment of
precious objects, which is a fitting purpose for such an elegant vessel.
Many of the pieces in the show have been fired in an Anagama kiln - a long,
tubular kiln of Japanese origin. The kiln uses wood as its fuel. The burning
wood gives off ash that falls onto the pieces. That and the action of burning
sawdust (which has been placed against the clay) result in dramatic fire marks
on the pieces.
All of the wood-fired pieces have this natural finish, but a few are
highlighted with a spare, deliberate use of applied glaze. In this show, two
lidded jars with bamboo handles exemplify Temple's minimalist treatment. One jar
looks to have been partially dipped in a dark green glaze, while the other has a
red glaze only on the top. This minimal use of decoration emphasizes the Bauhaus
notion of matching form to function.
Some of the pieces in this show are salt glazed. Salt glazing is a centuries-old
technique in which rock salt is thrown in the kiln during the firing process.
The sodium of the salt combines with the aluminum oxide and silica oxide in the
clay and results in a glassy surface on the piece.
The result can be seen in three bowls in the show. The rich texture of their
glaze has a pitted effect similar to the look of an orange peel. The surface
undulates, revealing the true color of the fired clay beneath it. It is a
remarkably beautiful result from a relatively simple process.
Elvira Peake, owner of The Clay Place Gallery, first made contact with Temple
in 1999. She wanted to show his work then, but because of Temple's international
travels and exhibits, it was not possible until now.
Temple is well respected in the pottery field "because of his dedication
and his aesthetic," Peake says. "He is part of a long tradition."
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