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From: Susan Mosse
Date: 03 Jul 1998
Time: 09:01:09
Remote Name: eagle.rmplc.co.uk
I shall answer your questions using your own numbers.
1. We first met James Turrell in about 1991, when we were trying to get him to do a show for the Butler Gallery in Kilkenny (a public gallery in Kilkenny Castle).
2. His light works are pure and brilliant, combining public accessibility, shocking beauty and spiritual vision all in one.
3. Nick is born and brought up in the Quaker community, as is Jim. An important point in this collaboration. A key issue.
4. Although Nick has worked with clay since age 7, he needed to do a lot of work to develop the materials and techniques used in LQW.
5. Research must have begun in 1992, when the idea of a collaboration first was mooted. First there was historical research purely on a visual basis, i.e., what is there from the past that applies, what does it look like, what's good about it, etc.. Then there is the link to the Quaker potters of 18th century onwards, finding out about them and their work. Then there is the concept for today to be decided, designed,--and then research into how to implement and create what is required. The techniques of the 18th century were far and away superior to what people are capable of today; in those days, hands, eyes and judgement were still supremely important in making objects. Today we are rather spoiled with machinery and mass produced materials. Both clay body and lathe processes had to be reinvented.
6. Nick does like working with artists and finds their work more inspiring than that of other potters. He doesn't have a lot of time to do it though.
7. This piece was a true collaboration in that it would not have happened without the input of both Jim and Nick. Jim may eventually have done a similar basic concept, but it would have been very different from what you see in Ackworth.
8. Nick would offer technical support and if he didn't like what he was helping with, he probably wouldn't be doing it in the first place. For this collaborative process to be successful, you have to start off with like minds and build the thing together.
9. The lack of glaze on the LQW ware is derived from historical context.
10. Nick does think the thing works really well and that the original concept has been realized. There are always little niggling bits that could and will be altered slightly.
11. No.
12. Nick would have no problem with this, as an artist's vision is the most important consideration. Sometimes that means branching out and pulling in other skills to assist in creating this vision.
13. The work has been exhilaratingly difficult and will no doubt influence him in some way in the future. The fact that so much time and effort (and even money) went into this one little room in Ackworth may seem strange, but the fact that it worked was a true reward. In the sense that this did work, Nick may be tempted to do another such herculean undertaking in future. He also intends to play around a lot more with the techniques he has learned.