Searching for the Exceptional Page: 12
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outside of the pot the appearance of a very tight skin. The finger marks made while
stretching the pot cannot be erased with a rib without erasing the faceting, so the mark of
the maker's hands remain in the piece. The faceting has a slightly spiraling motion,
improving movement of line along the surface of the pot and embellishing the rounded
shoulders and full belly of the jar. In the lid, the faceting is repeated along the top. The
foot of the piece is strong and made more dramatic by the indentions. These indentions
help to elevate the piece above the surface on which it sits. The glazes are ash glaze
sprayed over a rich brown/red matt glaze. Ash glaze was sprayed along the shoulder of
the pot , but not on the neck. In addition, on the lid of the pot the ash was sprayed on the
top faceted area and not on the rim. The glaze treatment of the lid and the body
coordinate a relationship between the lid and the body of the pot. In addition, these
glazes develop a strong visual relationship and help define the faceting in both areas. As
the ash glaze melts and flows nicely into the matt glaze, vertical arrows form that point
both up and down along the pot. The glaze also pools and flows into the curved faceting
on the body of the pot. Finally, the handle on the top of the pot repeats the form of the
indentions made in the foot of the pot. Each element considered in one stage was added
to or enhanced during the next stage as the piece was developed through the process into
an exceptional pot.12
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Sydnor, James R. Searching for the Exceptional, thesis, May 2001; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc5823/m1/16/: accessed April 30, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .