Welcome to my site, and thank you for visiting! This place represents the pottery of Asia, myself, and the classes, small memberships in the small studio I've developed at Freehold Art Exchange, in Freehold, NY.  Please be in touch if you would like to know more about this, or visit freeholdartexchange.org to find out more about our mission and activity.

Back to pot, well; pottery is my offering for just about everything one may feel in the world, so what I feel but imagine others may as well, and the pot symbolically holds something, anything, everything, or nothing; offers its space empty or full. A pot is free in itself, its form relieved from clay and fired to stone-like quality.

 

The act of making pottery on the potter's wheel is like the union of heaven and earth, spirit soul, mind and body. It is a complete offering. Like so, it is also a precious refuge when one is with the wheel and the clay becoming hollowed and shaped; aha, the heart speaks!

Phenomenally, it speaks throughout the body, both of the person and the clay.

 

In pottery we talk about a "breathing" vessel as we are throwing on the wheel, as a process, it is like inspiration filling the lungs in tidal breathing with air. We know when the pot is breathing space. When we've caught its breath with our finger tips, of the clay being "pulled" up, into a wall; and through the centrifugal force and our steady still direction it breathes, with each revolution upon the wheel (the rotation does all the work; our still but strong pressure and presence guides the gestures which relieve a form).

I speak of peaceful pottery, though it is more of a state embodied the pot hopefully transmits a placidity, but also a brilliance. The pot has its own character, relieved by its contour and that, relieving the perceivable space within- though it can be filled in however way, or set upon a choosen place. Recently I observed a pot placed high within a recessed shelf outside a house, an outside pot; it was appreciated.

As a pot born of the five elements, it might offer to hold the perfection of a phenomenal being, body and mind met within the heart. Symbolic of being.

 

The pot can open the way. Aspiration for throwing starts freshly at the wheel, to see if you might feel the clay breathing, and reveal a form which might stay. It is like partaking of eternity, just the moment, through complete presence.

I am likewise inspired by the interaction of the elements, by the phenomena of nature, by our five senses and perceptions, outward and withdrawn (potting is a combination of both outward and inward attention). A pot is tender indeed, as is the human being forming it.

 

In this life, also as observer and participant in the phenomenal world, synaesthetic indeed, I tend to allude with the void and a steady constancy of emanating and dissolving so to speak within this place of being and space, from a creative force which moves in mystery but seems palpable on the threshold. Palpable on the nerve endings, Palpable with the heart, in clear stead.

 

To bear all of this experience it is my hope and premise, a belief that one may be grounded and connected in the world, from reception and protection of the heart and reception of being. This area might be felt in the respectful space coming from oneself, in front of oneself, yet on and upon the wheel when centering the clay.

 

The studio in this sense of a most visceral and pacifying humanity is a protected space, and a refuge.  To work with clay is naturally grounding, so as experience of body and mind, and world, and perhaps others can arise with ease in balance to the analytical mind constantly at work alongside our basic biological rhythm, also so very diligent in its armoring. It is a way to relate meaningfully without being too out there, it is very much here but so connective elsewhere by the virtue of activity, and it is a safe place. It is a place to experiment and make mistakes; clay forgives always ( you can let it rest on some plaster, and throw it [on the wheel] again in a few hours).

 

It is a good lesson when learning to throw, the application of too much force results in a weakening of the forming vessel, not enough renders a rough form, but the balance between strong and light application yields a well formed wall. An ebb and flow if you will as you 'catch' the clay while sensing still, through the wheel revolving the area of the clay pot, and at which spot you may apply pressure of the throwing gesture, and where to yield and support; often these spots are adjacent, and we are always performing, or supporting. It is also a wonder that throwing clay on the potters wheel relaxes and balances the breath, as the throwing gestures have a rhythm much like resting tidal breathing, but also lengthens it as if preparing for speech.

 

So after all, there is a dynamic quality of suchness in life to be felt possibly through our experience of life, nature, the universe; its mystery; and, I feel a pot is the result of this experience, and a balanced pressure, like lungs moving between equilibrium; a result of complete movement with the way, perhaps. When the potter knows the clay has achieved its pot, there it is! Or else we smush the clay to join the claybody of the studio, and that's alright too; in fact it is fun and decisive to smush a practice pot back to clay, or throw it across the room unto a plaster bat from the wheel (score!). This is the process, clay took forever to make its present plate-like, hydroxyl-bond form; so much time being weathered or pressurized in nature, in our holy elements!

It opens to receive heaven, foot upon the earth, yielding. Or, having taken a long deep breath it bears an aperture.

A pot can be full of anything. In my synaesthesia I'd fill it with sound and wind, sometimes with the wishes of my heart in aspiration, reverence and dedication to be there for all.

Find me at asienka.sosna@gmail.com!

with infinite love, space, understanding, respect and protection