John Dix is an American potter who has lived in Japan for 20 years and has a studio in Tamba, Sasayama, one of the 6 ancient kiln sites of Japan. I worked as John Dix's assistant from 2007-2008 and have been helping him with all his firings to the present. John Dix only uses a wood-fired anagama kiln, a labor-intensive and difficult method that when successful produces pots unlike any other. As John describes it, “It is a physically draining process which takes years of firing to wrest control of and truly understand what is happening in the kiln. The pots go in either unglazed or with a simple glaze that is receptive to the ash and flame. Over the course of the week's firing ash is deposited on each piece giving them their unique character.”

Working with John has broadened my visual vocabulary in both sculptural and 2-dimensional art. I use ceramics as an exploratory media, a comparative tool to challenge and further develop themes in my drawings. I borrow mainly from one ceramic characteristic; a requirement of efficient material use.

The physical properties of clay have a much clearer influence on the media than in drawing. Understanding the strengths of each media and how to use them efficiently benefits both. All potters know that good work is less about forcing the materials to the will of the artist than using the artist’s skill to show what the materials are capable of making. Some potters go as far as to say the clay wants to be made into a certain form. This strong relationship between efficiency and beauty is apparent to anyone who holds a well thrown pot. It has a balance and shape that just feels right in the hand. While a rendered image can create an illusion of an object without much conflict, ceramic media will not allow itself to be simply decorated over. Ceramics demands a disciplined balance between the clay body’s texture, form and thickness. As a painter I find this approach to material use gives me a richer understanding of each media.