1
00:00:00,934 --> 00:00:03,336
[sparse piano chords]

2
00:00:03,436 --> 00:00:05,905
♪

3
00:00:06,006 --> 00:00:08,208
[oboe leads 
calm orchestration]

4
00:00:08,308 --> 00:00:10,577
[scraping noise]

5
00:00:10,677 --> 00:00:22,489
♪

6
00:00:22,589 --> 00:00:24,090
(man) 
People always say, oh,

7
00:00:24,190 --> 00:00:27,894
it must be just like Christmas 
opening a kiln...

8
00:00:27,994 --> 00:00:29,963
♪

9
00:00:30,063 --> 00:00:32,866
but it's not, really.

10
00:00:32,966 --> 00:00:35,769
There's a lot more anxiety

11
00:00:35,869 --> 00:00:38,004
because there's 
so much work that--

12
00:00:38,104 --> 00:00:41,207
that goes into each firing, 
each load of pots.

13
00:00:41,307 --> 00:00:44,044
♪

14
00:00:44,144 --> 00:00:47,614
It's a really private, 
personal time

15
00:00:47,714 --> 00:00:49,649
and can be really wonderful,

16
00:00:49,749 --> 00:00:53,820
but it can also be 
really pretty difficult.

17
00:00:53,920 --> 00:00:57,190
And I can't even really 
objectively see the pots

18
00:00:57,290 --> 00:01:00,593
for...about two weeks.

19
00:01:00,693 --> 00:01:04,697
♪

20
00:01:04,798 --> 00:01:08,802
Once you can let 
your expectations melt away...

21
00:01:08,902 --> 00:01:10,804
♪

22
00:01:10,904 --> 00:01:15,241
then you can actually 
look at the pot and see it.

23
00:01:15,341 --> 00:01:16,609
They, um--

24
00:01:16,709 --> 00:01:19,712
they really reveal themselves 
very slowly to you.

25
00:01:19,813 --> 00:01:30,657
♪

26
00:01:30,757 --> 00:01:34,494
The cold never bothers me...

27
00:01:34,594 --> 00:01:37,230
'cause I-- 
I grew up in New England.

28
00:01:37,330 --> 00:01:40,333
I like the cold; 
I like a real winter.

29
00:01:40,433 --> 00:01:42,735
[soft piano melody resonates]

30
00:01:42,836 --> 00:01:45,004
♪

31
00:01:45,105 --> 00:01:48,074
There are days, certainly, 
when I wake up out here

32
00:01:48,174 --> 00:01:50,810
and I wonder and I question,

33
00:01:50,910 --> 00:01:53,613
what motivated me 
to be out here?

34
00:01:53,713 --> 00:01:56,015
[strings support piano]

35
00:01:56,116 --> 00:01:58,418
♪

36
00:01:58,518 --> 00:02:01,754
And I think 
that maybe there was a--

37
00:02:01,855 --> 00:02:03,356
a small percentage

38
00:02:03,456 --> 00:02:05,925
that was running away 
from something.

39
00:02:06,025 --> 00:02:10,430
♪

40
00:02:10,530 --> 00:02:12,465
And there's days when, 
very clearly,

41
00:02:12,565 --> 00:02:16,436
I feel like I needed 
to put this space here.

42
00:02:16,536 --> 00:02:18,738
♪

43
00:02:18,838 --> 00:02:20,206
[quick whistled note]

44
00:02:20,306 --> 00:02:22,308
[animal footfalls]

45
00:02:25,645 --> 00:02:27,547
Came down to North Carolina

46
00:02:27,647 --> 00:02:30,283
to go to college 
at Guilford in Greensboro,

47
00:02:30,383 --> 00:02:33,086
talked my way into a class 
with Charlie Tefft,

48
00:02:33,186 --> 00:02:35,088
who runs the ceramic program.

49
00:02:35,188 --> 00:02:37,724
It was there that my eyes 
were really opened

50
00:02:37,824 --> 00:02:42,195
to this huge world of clay 
that exists in North Carolina.

51
00:02:42,295 --> 00:02:46,199
[oboe leads wandering piano]

52
00:02:46,299 --> 00:02:48,635
There was a potter 
named Matt Jones,

53
00:02:48,735 --> 00:02:50,937
and I started 
helping Matt fire.

54
00:02:51,037 --> 00:02:53,072
The first time 
I went into his workshop,

55
00:02:53,173 --> 00:02:56,709
there was a smell about it, 
and it has a dirt floor,

56
00:02:56,809 --> 00:02:58,378
and it was very dark,

57
00:02:58,478 --> 00:03:00,747
and something felt 
really right about it.

58
00:03:00,847 --> 00:03:02,048
[sloshing]

59
00:03:02,148 --> 00:03:04,817
I felt, and I could really 
put my head down

60
00:03:04,918 --> 00:03:06,953
and learn something.

61
00:03:07,053 --> 00:03:08,821
The apprenticeship 
at Matt Jones's

62
00:03:08,922 --> 00:03:10,957
was structured 
in the same way

63
00:03:11,057 --> 00:03:12,825
that his apprenticeships 
were structured.

64
00:03:12,926 --> 00:03:14,694
I would do chores 
like chop wood,

65
00:03:14,794 --> 00:03:16,296
mix glazes, mix clay.

66
00:03:16,396 --> 00:03:19,599
As long as I had those things 
taken care of,

67
00:03:19,699 --> 00:03:21,701
I could also make pots.

68
00:03:21,801 --> 00:03:25,705
[off-screen] 
Corey, these 
are little coffee mugs.

69
00:03:25,805 --> 00:03:27,340
They're sort of 
a variation

70
00:03:27,440 --> 00:03:29,209
of that Cole mug 
that I love

71
00:03:29,309 --> 00:03:30,643
from Sanford, 
North Carolina.

72
00:03:30,743 --> 00:03:33,012
[voice-over] 
He would throw a pot.

73
00:03:33,112 --> 00:03:35,882
That was the sort of 
small piece of perfection

74
00:03:35,982 --> 00:03:37,617
that I was striving for.

75
00:03:37,717 --> 00:03:40,019
I actually think 
that somewhere in between--

76
00:03:40,119 --> 00:03:43,556
[voice-over] 
And the rest of the day, 
I would look at that pot,

77
00:03:43,656 --> 00:03:45,925
and I would try to mimic it.

78
00:03:46,025 --> 00:03:47,927
♪

79
00:03:48,027 --> 00:03:50,597
And you need to sorta 
sacrifice your ego.

80
00:03:50,697 --> 00:03:53,967
If you can't do that, 
this type of apprenticeship

81
00:03:54,067 --> 00:03:56,769
will prove 
to be very difficult.

82
00:03:56,869 --> 00:03:59,105
Keep it a little 
wider at the top.

83
00:03:59,205 --> 00:04:01,441
[voice-over] 
It's bigger than just you.

84
00:04:01,541 --> 00:04:03,543
You're part of a whole arc.

85
00:04:03,643 --> 00:04:07,647
I worked with Matt; 
Matt worked with Mark Hewitt.

86
00:04:07,747 --> 00:04:10,083
Mark Hewitt 
was with Todd Piker.

87
00:04:10,183 --> 00:04:12,485
They were with Michael Cardew 
in England.

88
00:04:12,585 --> 00:04:14,654
Cardew was Bernard Leach's 
first apprentice.

89
00:04:14,754 --> 00:04:17,190
We're all sort of 
in it together

90
00:04:17,290 --> 00:04:19,092
and pushing 
each other forward.

91
00:04:19,192 --> 00:04:21,261
[rustling]

92
00:04:22,528 --> 00:04:27,233
North Carolina's really a-- 
a land made of clay.

93
00:04:27,333 --> 00:04:29,836
It's everywhere.

94
00:04:29,936 --> 00:04:31,271
[machine whirring]

95
00:04:31,371 --> 00:04:35,241
I can number the first time 
that I used a local clay,

96
00:04:35,341 --> 00:04:38,478
and it was 
a huge amount of work,

97
00:04:38,578 --> 00:04:40,480
and it's incredibly 
labor-intensive

98
00:04:40,580 --> 00:04:43,483
to refine it and process it.

99
00:04:43,583 --> 00:04:48,021
But it threw beautifully,

100
00:04:48,121 --> 00:04:50,556
and the color was beautiful,

101
00:04:50,657 --> 00:04:54,193
and it had all this character.

102
00:04:54,294 --> 00:04:57,030
[slapping]

103
00:04:57,130 --> 00:05:00,700
But the throwing, 
I struggle with it.

104
00:05:00,800 --> 00:05:03,102
[strings support piano melody]

105
00:05:03,202 --> 00:05:05,104
♪

106
00:05:05,204 --> 00:05:06,839
I think 
that's a funny illusion,

107
00:05:06,939 --> 00:05:10,343
that art is joy 
'cause it's not always joy.

108
00:05:11,611 --> 00:05:15,782
And I think a lot of good art 
comes from struggle...

109
00:05:15,882 --> 00:05:19,118
and there's good days, 
and there's bad days.

110
00:05:19,218 --> 00:05:22,689
♪

111
00:05:22,789 --> 00:05:26,359
The way that I throw is-- 
it's looking at older pots,

112
00:05:26,459 --> 00:05:28,461
especially older pots 
from North Carolina,

113
00:05:28,561 --> 00:05:31,230
and looking at characteristics 
of those pots.

114
00:05:31,331 --> 00:05:33,766
Since most of those pots 
were made for function,

115
00:05:33,866 --> 00:05:35,635
it was important 
that they were light,

116
00:05:35,735 --> 00:05:37,270
and so there's certain things

117
00:05:37,370 --> 00:05:39,138
that I really 
beat myself up about,

118
00:05:39,238 --> 00:05:41,741
trying to make them 
as light as possible.

119
00:05:41,841 --> 00:05:43,743
♪

120
00:05:43,843 --> 00:05:46,112
But they have to look good 
sitting--

121
00:05:46,212 --> 00:05:48,614
a nice, midcentury home 
or a modern home.

122
00:05:48,715 --> 00:05:50,350
I mean, 
that's the real challenge

123
00:05:50,450 --> 00:05:52,819
for me now, I feel, 
is the pots

124
00:05:52,919 --> 00:05:55,254
fit into a broader context 
of the world,

125
00:05:55,355 --> 00:05:58,324
not just be suited 
for a country cottage.

126
00:05:58,424 --> 00:06:01,227
[orchestration thickens]

127
00:06:01,327 --> 00:06:02,895
♪

128
00:06:02,995 --> 00:06:04,731
But every once in a while,

129
00:06:04,831 --> 00:06:08,368
it's kind of nice 
to come back to an older form.

130
00:06:08,468 --> 00:06:10,370
♪

131
00:06:10,470 --> 00:06:12,405
There's an elegance 
to a pitcher

132
00:06:12,505 --> 00:06:14,874
that I don't really 
wanna mess with.

133
00:06:14,974 --> 00:06:18,177
Instead, it's just a slow 
refinement of the form.

134
00:06:18,277 --> 00:06:20,246
[oboe leads piano]

135
00:06:20,346 --> 00:06:22,715
♪

136
00:06:22,815 --> 00:06:25,284
I mean, they had to make 
a lot of these.

137
00:06:25,385 --> 00:06:27,019
They had to be 
very proficient,

138
00:06:27,120 --> 00:06:29,589
but they still added 
a little bit of themselves

139
00:06:29,689 --> 00:06:31,324
into each one.

140
00:06:31,424 --> 00:06:34,894
They still had the touch 
of the maker.

141
00:06:34,994 --> 00:06:45,505
♪

142
00:06:45,605 --> 00:06:47,974
The technique 
that I use to decorate pots

143
00:06:48,074 --> 00:06:50,810
is called slip trailing, 
and it's an old technique.

144
00:06:50,910 --> 00:06:52,879
You can see it 
all over the world

145
00:06:52,979 --> 00:06:54,480
in all different 
pottery traditions,

146
00:06:54,580 --> 00:06:58,284
and it's something I express 
a little of myself in that,

147
00:06:58,384 --> 00:07:00,420
and that's certainly 
what people

148
00:07:00,520 --> 00:07:04,390
seem to recognize me for 
is my slip trailing.

149
00:07:04,490 --> 00:07:09,095
♪

150
00:07:09,195 --> 00:07:11,597
I grew up with both 
my mother and father,

151
00:07:11,697 --> 00:07:12,999
practicing artists.

152
00:07:13,099 --> 00:07:15,001
As long as I can remember,

153
00:07:15,101 --> 00:07:17,270
they were 
in their studios working.

154
00:07:17,370 --> 00:07:20,540
That is what I saw, 
so to be an artist,

155
00:07:20,640 --> 00:07:22,675
nobody would raise 
an eyebrow at it.

156
00:07:22,775 --> 00:07:25,945
It was like the doctor's son 
going to med school.

157
00:07:26,045 --> 00:07:28,681
♪

158
00:07:28,781 --> 00:07:32,018
Being up here every day, 
it turns into a juggling act.

159
00:07:32,118 --> 00:07:34,020
♪

160
00:07:34,120 --> 00:07:36,689
[sloshing]

161
00:07:36,789 --> 00:07:39,759
Certain ones need to be 
attended to at certain times,

162
00:07:39,859 --> 00:07:41,494
and they need to be decorated.

163
00:07:41,594 --> 00:07:44,964
These need to be glazed, 
and these need to be trimmed.

164
00:07:45,064 --> 00:07:47,500
Watching the racks 
fill up with pots,

165
00:07:47,600 --> 00:07:49,702
it's really fantastic.

166
00:07:49,802 --> 00:07:51,704
♪

167
00:07:51,804 --> 00:07:52,972
Hah, hah!

168
00:07:53,072 --> 00:07:54,340
What'd you ruin?

169
00:07:54,440 --> 00:07:55,775
I erased it, and--

170
00:07:55,875 --> 00:07:58,177
Well, you can just 
turn this into a leaf.

171
00:07:58,277 --> 00:07:59,912
But I tried 
to do that,

172
00:08:00,012 --> 00:08:02,048
and then it looked 
ridiculous--heh!

173
00:08:02,148 --> 00:08:04,317
[sizzling]

174
00:08:05,585 --> 00:08:07,820
[indistinct talking]

175
00:08:07,920 --> 00:08:09,489
(man) 
Connie and I met

176
00:08:09,589 --> 00:08:12,124
in Madison County 
at a farmers' market

177
00:08:12,225 --> 00:08:14,994
in the bottom 
of the old roller rink

178
00:08:15,094 --> 00:08:16,996
in Mars Hill...

179
00:08:18,264 --> 00:08:20,633
and she worked 
for a goat dairy

180
00:08:20,733 --> 00:08:22,802
in northern Madison County.

181
00:08:22,902 --> 00:08:25,137
She was selling goat cheese.

182
00:08:25,238 --> 00:08:27,006
We spent that first winter

183
00:08:27,106 --> 00:08:29,509
driving back and forth 
on these snowy roads--

184
00:08:29,609 --> 00:08:32,979
it was the craziest winter 
that we've had in years--

185
00:08:33,079 --> 00:08:36,082
through two feet of snow.

186
00:08:36,182 --> 00:08:39,151
She's watched this go 
from an old tobacco field

187
00:08:39,252 --> 00:08:43,189
to what it is today 
and been part of that change.

188
00:08:43,289 --> 00:08:45,224
She's really hugely important.

189
00:08:45,324 --> 00:08:48,861
[horns and drums lead]

190
00:08:48,961 --> 00:08:50,997
Our year 
is broken into cycles,

191
00:08:51,097 --> 00:08:52,365
and right now,

192
00:08:52,465 --> 00:08:54,100
I've fired the kiln 
four times,

193
00:08:54,200 --> 00:08:56,168
so that's 
four different cycles.

194
00:08:56,269 --> 00:08:59,238
As I'm making the pots, 
I sort of have an idea of,

195
00:08:59,338 --> 00:09:01,874
in my head, where they're 
gonna go in the kiln.

196
00:09:01,974 --> 00:09:04,443
[off-screen] 
Let's come over 
towards me just a hair.

197
00:09:04,544 --> 00:09:05,711
That's good.

198
00:09:05,811 --> 00:09:07,213
It's OK; 
it's OK.

199
00:09:07,313 --> 00:09:09,815
[voice-over] 
It's a puzzle 
to fit them all in.

200
00:09:09,916 --> 00:09:11,551
[harp leads]

201
00:09:11,651 --> 00:09:13,853
[off-screen] 
I think the short, 
fat one, yeah--

202
00:09:13,953 --> 00:09:15,454
bring-- 
bring me that one.

203
00:09:15,555 --> 00:09:17,189
[voice-over] 
For the most part,

204
00:09:17,290 --> 00:09:18,925
pots farther back 
in the kiln

205
00:09:19,025 --> 00:09:21,127
have more decoration, 
more glaze.

206
00:09:21,227 --> 00:09:23,896
♪

207
00:09:23,996 --> 00:09:26,566
The farther you are 
in the front of the kiln,

208
00:09:26,666 --> 00:09:29,835
the more ash and salt the pots 
are gonna have on them

209
00:09:29,936 --> 00:09:32,905
because the hottest part 
of the kiln is in the front,

210
00:09:33,005 --> 00:09:35,708
so they don't need 
as much surface decoration,

211
00:09:35,808 --> 00:09:37,310
but the form is important,

212
00:09:37,410 --> 00:09:39,045
but then, 
the form will interact

213
00:09:39,145 --> 00:09:40,646
with the ash deposit

214
00:09:40,746 --> 00:09:42,715
that the flame 
will put on them.

215
00:09:42,815 --> 00:09:46,485
So that relies on the fire 
to do all of the work.

216
00:09:46,586 --> 00:09:48,554
♪

217
00:09:48,654 --> 00:09:51,691
Well, that's the most intense 
moment because you've got

218
00:09:51,791 --> 00:09:54,360
two or three months 
of work behind you,

219
00:09:54,460 --> 00:09:56,862
and you load it into the kiln,

220
00:09:56,963 --> 00:10:00,733
and then, you sorta 
step back away from it.

221
00:10:02,001 --> 00:10:04,136
[wood snapping]

222
00:10:04,236 --> 00:10:07,740
There is an element 
of serendipity and chance

223
00:10:07,840 --> 00:10:09,742
that you have in that process

224
00:10:09,842 --> 00:10:12,645
that doesn't exist in many 
other artistic processes.

225
00:10:12,745 --> 00:10:15,648
[strings hold high note]

226
00:10:15,748 --> 00:10:17,717
I still have control, 
but there's certainly

227
00:10:17,817 --> 00:10:20,386
a lotta things 
that are happening in the kiln

228
00:10:20,486 --> 00:10:22,722
that you don't have 
control over.

229
00:10:22,822 --> 00:10:24,757
[bells lead 
as arrangement swells]

230
00:10:24,857 --> 00:10:26,993
[fire crackling]

231
00:10:27,093 --> 00:10:31,864
♪

232
00:10:31,964 --> 00:10:34,600
[sustained violin chord]

233
00:10:34,700 --> 00:10:37,069
I think, 
in my situation,

234
00:10:37,169 --> 00:10:41,674
I had to kind of run away 
to find myself.

235
00:10:41,774 --> 00:10:44,410
[piano melody emerges]

236
00:10:44,510 --> 00:10:46,145
So, my family history,

237
00:10:46,245 --> 00:10:50,049
if we wanna talk 
about my family history...

238
00:10:50,149 --> 00:10:53,352
is Henri Matisse, um,

239
00:10:53,452 --> 00:10:57,556
the painter, 
who had some children,

240
00:10:57,657 --> 00:11:01,894
one of whom was Pierre, 
who's my grandfather.

241
00:11:01,994 --> 00:11:04,497
I grew up 
with this stuff around me.

242
00:11:04,597 --> 00:11:09,168
I mean, it was just 
an everyday part of our lives.

243
00:11:09,268 --> 00:11:12,872
We never talked about Henri.

244
00:11:12,972 --> 00:11:17,977
It was always sort of 
a great elephant in the room.

245
00:11:18,077 --> 00:11:22,515
There's a-- 
a power behind it that, um--

246
00:11:22,615 --> 00:11:25,184
that certainly 
doesn't go away,

247
00:11:25,284 --> 00:11:29,321
and every time 
you walk through an exhibit,

248
00:11:29,422 --> 00:11:31,891
it always kinda 
leaves me speechless

249
00:11:31,991 --> 00:11:35,528
because what-- 
what do you do in that wake

250
00:11:35,628 --> 00:11:38,497
when that's always behind you?

251
00:11:38,597 --> 00:11:40,332
[fire crackling]

252
00:11:40,433 --> 00:11:42,368
There are times when it feels

253
00:11:42,468 --> 00:11:45,104
like the shadow 
that's cast by those figures

254
00:11:45,204 --> 00:11:49,475
is kind of too broad to ever 
get out from underneath...

255
00:11:49,575 --> 00:11:51,577
[oboe leads]

256
00:11:51,677 --> 00:11:54,847
but nothing that, I think, 
putting your head down

257
00:11:54,947 --> 00:11:57,616
and getting to work 
won't resolve.

258
00:11:57,717 --> 00:12:01,554
♪

259
00:12:01,654 --> 00:12:05,458
And being here 
sort of pushed me forward

260
00:12:05,558 --> 00:12:09,662
to make the best work 
that I can make.

261
00:12:10,930 --> 00:12:14,200
It didn't really matter 
what my last name was

262
00:12:14,300 --> 00:12:16,535
because people 
started to recognize me

263
00:12:16,635 --> 00:12:18,537
for what I was doing.

264
00:12:18,637 --> 00:12:25,411
♪

265
00:12:25,511 --> 00:12:28,013
[fire roaring]

266
00:12:29,648 --> 00:12:32,918
So this is the third 
and final day of the firing.

267
00:12:33,018 --> 00:12:35,354
[machine humming]

268
00:12:35,454 --> 00:12:37,223
[off-screen] 
It's good.

269
00:12:37,323 --> 00:12:39,391
Enough.

270
00:12:39,492 --> 00:12:40,760
[machine ceases]

271
00:12:40,860 --> 00:12:43,896
Right now, we're at top 
temperature in the front.

272
00:12:43,996 --> 00:12:45,631
The clay is mature; 
it's done.

273
00:12:45,731 --> 00:12:47,933
We're just building up 
ash deposits on the clay,

274
00:12:48,033 --> 00:12:50,369
building up the character 
of the clay body.

275
00:12:50,469 --> 00:12:52,972
Right now, Josh is stoking, 
and the door's open,

276
00:12:53,072 --> 00:12:54,540
so the temperature's dropping.

277
00:12:54,640 --> 00:12:56,675
As he stokes, 
it'll take a minute.

278
00:12:56,776 --> 00:12:58,978
There's always a lag.

279
00:13:02,081 --> 00:13:04,083
And as it's catching, 
right in the beginning,

280
00:13:04,183 --> 00:13:05,851
the kiln 
will go into reduction,

281
00:13:05,951 --> 00:13:08,754
meaning there's too much fuel 
and not enough oxygen,

282
00:13:08,854 --> 00:13:11,023
but as that fuel 
starts to burn,

283
00:13:11,123 --> 00:13:12,925
then we'll see 
the temperature

284
00:13:13,025 --> 00:13:15,795
start to go up, 
as it is.

285
00:13:15,895 --> 00:13:17,663
And this kiln 
is very responsive.

286
00:13:17,763 --> 00:13:19,932
It also depends 
on the wood you're burning.

287
00:13:20,032 --> 00:13:22,134
This wood is mostly pine 
and poplar,

288
00:13:22,234 --> 00:13:24,370
and it's been drying 
for about three months,

289
00:13:24,470 --> 00:13:26,405
so it's really dry.

290
00:13:26,505 --> 00:13:28,607
It's ready to burn.

291
00:13:30,543 --> 00:13:32,545
So after a stoke 
in the front,

292
00:13:32,645 --> 00:13:35,881
you'll see a huge flame 
coming out the chimney.

293
00:13:35,981 --> 00:13:38,217
Once that flame 
comes back into the chimney,

294
00:13:38,317 --> 00:13:39,819
then, you know, 
the atmosphere--

295
00:13:39,919 --> 00:13:41,687
it's kind of cleared up 
in there--

296
00:13:41,787 --> 00:13:43,556
the back is ready for a stoke.

297
00:13:43,656 --> 00:13:44,924
OK, go ahead?

298
00:13:45,024 --> 00:13:46,192
(Matisse) 
Yup.

299
00:13:46,292 --> 00:13:47,927
[voice-over] 
It's important in the back

300
00:13:48,027 --> 00:13:49,995
because that's where 
all the glazed ware is.

301
00:13:50,095 --> 00:13:51,597
It's important 
to get temperature

302
00:13:51,697 --> 00:13:53,199
so the glazes will melt,

303
00:13:53,299 --> 00:13:55,768
and I formulate my glazes 
to be a little stiffer

304
00:13:55,868 --> 00:13:57,503
because this kiln gets so hot,

305
00:13:57,603 --> 00:13:59,572
and you need it 
to be really hot

306
00:13:59,672 --> 00:14:01,907
to get that temperature 
in the back.

307
00:14:02,007 --> 00:14:03,943
[piano leads 
calm orchestration]

308
00:14:04,043 --> 00:14:05,911
♪

309
00:14:06,011 --> 00:14:08,547
Once in a while, 
towards the end of a firing,

310
00:14:08,647 --> 00:14:11,450
I'll pull out a cup or 
something small from the front.

311
00:14:11,550 --> 00:14:13,485
♪

312
00:14:13,586 --> 00:14:15,554
I'm never actually 
in love with the pots

313
00:14:15,654 --> 00:14:17,623
that I pull out 
because a lot happens

314
00:14:17,723 --> 00:14:19,358
from the time you stop firing

315
00:14:19,458 --> 00:14:21,660
to the time 
they come out of the kiln.

316
00:14:21,760 --> 00:14:24,763
What it does give me 
is a sense of how much ash

317
00:14:24,864 --> 00:14:27,066
and how much salt 
I have on the pots.

318
00:14:27,166 --> 00:14:29,368
This has 
a pretty thin shino on it,

319
00:14:29,468 --> 00:14:31,871
which has gotten a little 
darker in the reduction--

320
00:14:31,971 --> 00:14:33,606
the heat in the front,

321
00:14:33,706 --> 00:14:36,408
that I would like 
a little more ash on this pot,

322
00:14:36,508 --> 00:14:38,143
so I'll probably 
just keep goin'

323
00:14:38,244 --> 00:14:39,879
for another hour or two.

324
00:14:39,979 --> 00:14:42,381
[oboe leads]

325
00:14:42,481 --> 00:14:50,956
♪

326
00:14:51,056 --> 00:14:53,259
I had this sort of notion

327
00:14:53,359 --> 00:14:55,995
of wanting 
to go into the woods

328
00:14:56,095 --> 00:14:57,997
and come out and--

329
00:14:58,097 --> 00:15:00,266
and have this skill...

330
00:15:00,366 --> 00:15:02,468
♪

331
00:15:02,568 --> 00:15:05,771
and have something to-- 
to offer the world.

332
00:15:05,871 --> 00:15:09,808
I wanted to create a place 
that would eventually

333
00:15:09,909 --> 00:15:12,011
have its own energy

334
00:15:12,111 --> 00:15:14,947
and attract other people.

335
00:15:15,047 --> 00:15:16,815
It is doing that.

336
00:15:16,916 --> 00:15:19,585
It is opening itself up.

337
00:15:19,685 --> 00:15:22,288
The evolution is very slow.

338
00:15:22,388 --> 00:15:24,456
♪

339
00:15:24,556 --> 00:15:26,725
You're not gonna 
hit a point one day

340
00:15:26,825 --> 00:15:28,594
and wake up, 
and suddenly,

341
00:15:28,694 --> 00:15:30,696
you're there; 
you've arrived.

342
00:15:30,796 --> 00:15:32,932
I have to work at it.

343
00:15:33,032 --> 00:15:34,934
[bells and piano lead]

344
00:15:35,034 --> 00:15:40,105
♪