What if value was not placed on objects but, instead, on investment in social restoration? Through discursive thinking, critical inquiry, and the functions of a cup, Hughes and Ginsburg have done just that.
Green asks essential questions – both before and after their death – how do we care for fragile, shifting, and complex archives? And more so, how do we best care for the people, narratives, and ideas these archives represent?
Vessels made heavy by encrusted layers of gritted slip, balance like monoliths en pointe, defying gravity. Yet there is no question of teetering. They hold themselves, as the title implies, in perfect equilibrium.
. . . To work with a plan that is pre-set is one way of avoiding subjectivity. . . . The plan would design the work. . . . the artist would select the basic form and rules that would govern the solution of the problem.
“A work of art is a thesis. Every decision that the artist makes supports their thesis. In order to discover that thesis, it is the job of the critic to interpret the visual language used by the artist."
Their ceramic objects serve as repositories of technique, mobility, potential, and function, enhancing our understanding and appreciation of situations afforded by domestic environments. Creating meaningful relationships with objects enables us to envision more sustainable worlds with fewer, but, better, things.
Haas doesn’t create traditional crockery or Asian ceramics, but he is informed by them. He isn’t making radical ephemeral sculpture, but he is informed by it. In the collide lies Haas and his evolution.
The world is facing a crisis. I don’t know what the situation will be when this gets published, but somehow the issues I raise might get lost in the shuffle. There is a reason bottom-line thinking is so highly regarded: it solves problems.