DINNER PARTY ONE POTATO TWO

DINNER PARTY TWO- 
This Inspiration came from Jessye's favorite Dutch food, called, "Stamppot", made from boiled potatoes and uncooked endives mashed together. My "Stamppot Potato Bowl", with lid, was created thinking about an unconventional way of serving food. I chose to make my potato bowl with "eyes", so that when the lid has pressure applied to it, the mashed potatoes will seep out the eyes into small potato bowls. I also made actual potatoe eyes also, to be used to block the holes if you so choose.

Recipe 

2-lbs potatoes (slightly mealy)

1 pound endives cut in strips
1 stock cube (meat or vegetable)black pepper1 onion3.5 oz streaky baconOr, for vegetarians, no bacon but 3.5 oz. Gouda cheese, freshly grated or cut into small cubes
7 Tbsp. milk

RESEARCH-

GLEN WILD- "I work intuitively and from the gut. Feelings, instincts and unconscious impulses are an important part of the vocabulary I draw on."

It is interesting that he grew up - and has traveled widely - in Africa. He has absorbed something of the African soul, and this is evident in the spirit and vitality of his work without being superimposed, consciously applied or derivative. In fact, he continually rejects thoughts, plans and prescriptions and accepts only a feeling of innate rightness, when it spontaneously emerges. This anti-intellectual approach is aided by his focus on the process of working with clay.

The work I make highlights the process and the handmade. Blemishes, imperfections and the reality of the making process are integral to my approach. I work intuitively.

As such, each piece stands on its own as a creative engagement – with the working process laid bare. And ultimately it is not an African or European soul which shines through – it is his soul. The best of his work has an intensity of personal vision which is ruggedly symbolic and almost terrifyingly iconic.

Doug Herren- creates over-sized vessel forms....teapots, vases, platters, etc....that are infused with an industrial sensibility. These are sectional forms that must be pieced together because of their scale. "While the sources I use are utilitarian pottery forms, I have recast them to resemble industrial detritus." Rather than the use of traditional pottery glazes for finishing, he strives to replicate the surfaces of abandoned machinery.