A sense of Place

摘要

Where does pottery live? The answer must be wherever it happens to be at a given moment. By its nomadic nature, pottery is never permanently fixed in space, let alone time. It cruises from hand to lip and from table to sink to shelf with, as John Dewey writes, a 'complete interpenetration of self and the world of objects and events'. But the paradox of showing pottery in galleries is that this transience sits uncomfortably within a codified art world which requires site-specificity for its objects. The ubiquitous white plinth is a microcosm of the gallery itself, reliant on separation from the world outside.