I draw lines by dissecting and immediately reassembling each pot. The result is a surface decoration with structural implications. Lines on the exterior coincide with lines found inside, as each line is in fact a seam, a scar where it was once severed. Though these seams imply fragility, pooling glazes seal and strengthen the ware. The fault lines that decorate the surface threaten to, but do not actually undermine the vessel’s ability to contain, display or deliver.
This method of making is sustained by my desire to develop a virtuosic touch in clay. When pieces are dissected for decoration, cross-sections are examined, critiqued, noted, and refined. I literally know my pots inside and out. It is my preference for conspicuous labor and skill that drives me to these intensive and challenging, and often risky processes.
Certain line patterns lend themselves to certain forms. I try to listen to the material when determining this. Structural failures in the drying and firing tell me to find new solutions. Working in an almost scientific way, new pots are made in a search for truth, accuracy in expressing my aesthetic ideals, which cannot be known until they are found. A work is successful when it makes me smile just to look at it. This is the tuning fork for my aesthetic calibrations.
— Jeff Campana