ceramists

"I believe that freedom must be accompanied by a sense of responsibility. If I can he considered famous because I have succeeded in my life goals, which were different from most other Chinese Americans, I achieved because of my unique combination : American freedom of choice, Chinese discipline in responsibility, my integrity, and willingness to work."

"For my whole life I had been bound by the tenets of Chinese culture. To be an artist was the option which would enable me ... to be free of Chinese culture’s relentless subjugation of women."

"My parents never complimented me; they never even said, "Thank you." If I reported any accomplishment to them, they would say disapprovingly, "If a flower is fragrant, people would naturally know it." Instead, I was constantly reminded to do my best to bring credit to my family and the name of "Wong". A disgraceful deed would downgrade my family, not just myself."

"So I always tried my best, but I chose a path different from my parents' Chinese expectations. My parents wanted me to marry a rich and educated man from their ancestral village. Not one of my high school girl classmates went on to college. But marriage was not the satisfying fulfillment that I desired for life. Neither was being famous part of my plan. I just wanted to follow where my passion led me. As long as I was not breaking the law, I was willing to depart from cultural norms in my drive for self-determination."

"I did pottery well because of the disciplined work habits instilled by my parents. Pottery as it was taught to me at that time required a student to know clay compositions , glaze chemistry and proportions of mineral oxides, the ability to throw pottery on the wheel, then trim and decorate it, the ability to apply glazes, to stack and unstack a kiln, the ability to tend to firing it to maturity-all this by myself."

"At Mills College, I felt favorable interest in me because I represented the Chinese culture to fellow students and my teachers. I also wrote about being informed upon graduation that there would be prejudice against employing me in the business world. And it was awareness of prejudice that motivated me to write my book. I feel that prejudice springs from ignorance. So I wrote Fifth Chinese Daughter as one personal effort to create understanding."

"If I only thought in the traditional way Chinese expect young people to think, I would never have dared to write my story. Because American studies developed my individual critical thinking, I gained an objective point of view. But because of my love of Chinese culture, my point of view is always sensitive to my heritage. This heritage values males absolutely above their consideration of females. I was acutely aware of this injustice every day I was in my parents' home. Only after maturity did I recognize that my parents were observing values of Imperial China, which they left a hundred years ago. They knew no other standards."

"Today's critics are using their yardstick of today to judge a past they did not know."

"But whether in the majority or the minority, young people will be growing up to find new values and activities different from their parents'. You may find that your meaning in life is so different because of your new experiences; you decide to break from your parents' demands. Each person must make his/her decision between his newly found values and his parents' established formula. Each must carefully strike a balance. Be considerate of your parents, for they nurtured you and think they know best. If you must break from them, do so as gently as you can."

"‘Don’t you think those netsuke should stay in Japan?’ said a stern neighbour of mine in London. And I find I am shaking as I answer, because this matters…. No I answer. Objects have always been carried, sold, bartered, stolen, retrieved and lost. People have always given gifts. It is how you tell their stories that matters."

"Melancholy, I think, is a sort of default vagueness, a get-out clause, a smothering lack of focus."

"I have been working long enough as a potter to know that being commissioned is an extremely delicate business. You are grateful, of course, but gratitude is different from feeling indebted. It is an interesting question for any artist: how long must you go on feeling grateful once someone has bought your work?"

"‘All quite openly, publicly and legally’ were words that Elisabeth was to hear repeated back to her. She discovered that on the list of priorities in a shattered society, the restitution of property to those from whom it had been sequestered came near the bottom. Many of those who had appropriated Jewish property were now respected citizens of the new Austrian Republic. This was also a government that rejected reparations, because in their view Austria had been an occupied country between 1938 and 1945; Austria had become the ‘first victim’, rather than an agent in the war."

"In the 1960s, my grandmother Elisabeth, so assiduous in her letter-writing, such an advocate for the letter (‘write again, write more fully’), burnt the hundreds of letters and notes she had received from her poetic grandmother Evelina. Not ‘Who would be interested?’ But ‘Don’t come near this. This is private.’… There is something about that burning of all those letters that gives me pause: why should everything be made clear and be brought into the light? Why keep things, archive your intimacies? Why not let thirty years of shared conversation go spiralling in ash up into the air of Tunbridge Wells? Just because you have it does not mean you have to pass it on. Losing things can sometimes gain you a space in which to live…. The problem is that I am in the wrong century to burn things. I am the wrong generation to let it go. I think of a library carefully sorted into boxes. I think of all those careful burnings by others, the systematic erasing of stories, the separations between people and their possessions, and then of people from their families and families from their neighbourhoods. And then from their country."

"“There was something so soulless about it. For me, there wasn’t a justifiable rationale in advertising the merits of one soap against another.”"

"“The aim was to learn the skills I needed to go back to Kenya and maybe go into advertising, which was a growing business at the time.”"

"...of all making mediums, clay is the most versatile and pliable and naturally earthly, sympathetic and human."

"I’ve always equated clay with the humanity that’s within us, fragile like our bodies. It can tip over. You have it on its toes, but if you push just slightly on the wrong pivot, it will break your heart."

"Painting must be fertile. It must give birth to a world.. ..it must fertilize the imagination."

"I try to apply colors like words that shape poems, like notes that shape music."

"I begin my work under the effect of shock, which I can sense and which gets me on the run from reality.. .In any case, I need a starting point, even if it’s just a speck of dust or a gleam of light."

"To gain freedom is to gain simplicity."

"Thirty five years ago.. ..Sandy [Alexander Calder, and his wife] Louisa came to see me at Montroig, where I conceived the farm [Montroig in Spain, where Miro had a farm in the 1930s], where the trees, the mountains, the sky, the house, the vineyards, have remained the same. There where the mules have always eaten carobs, and where we have the same warming red wine. Well then, one day I invited all my neighbours, the farmers and workmen of the district to see the Circus that Calder had brought. Everyone was transfixed and totally overwhelmed by it."

"Quote of Miró on a visit of Calder who brought with him the small mechanical circus made from wire: a letter by Miro, 17 March 1964 / Correspondence 61; as cited in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 33"

"The plate that a peasant eats his soup out of is much more interesting to me than the ridiculously rich plates of rich people."

"Your face had become dark, and, upon the day's awakening, your ashes will disperse themselves throughout the garden."

"In the current struggle I see the antiquated forces of fascism on one side, and on the other, those of the people, whose immense creative resources will give Spain a drive that will amaze the world."

"Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land.. .A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction."

"..I've been touched, in the work of Miró and Pollock, by a Surrealist – by Surrealist I mean 'associative' – quality. It's what comes through in association after your eye has experienced the surface as a great picture; it is incidental but can be enriching."

"There's this book by Joan Miró, the artist, called I Work Like a Gardener. It's a very small book, it's very beautiful, and he says, "I work like a gardener. I'm never so happy as when I'm rich in Canvases." He says, "Then I get up in the morning and I prune one. I water another..." I had been working very much like that. It's such a nice corroboration from another art, that I'm grateful to it, and it's become a way that, with my bad habits and my natural disinclinations, I can work."

"When I first saw Calder's art very long ago [c. 1928 in Paris, Miro saw Calder performing his mechanical 'Circus' for the Paris' art scene, all puppets made from metal wire and wood] I thought it was good, but not art."

"Let's transplant the primitive soul to the ultramodern New York, inject his soul with the noise of the subway, of the 'el', and may his brain become a long street of buildings 224 stories high. [Barcelona - Dada, 1917]"

"Down with the Mediterranean!"

"..wherever you are, you find the sun, a blade of grass, the spirals of the dragonfly. Courage consists of staying at home, close to nature, which could not care less about our disasters. Each grain of dust contains the soul of something marvellous. [Miró admonished art-critic w:Georges Duthuit ]"

"..something as sensational as [a] heavy weight prize fight.. ..a rain of swings, uppercuts, and straight right and lefts to the stomach and everywhere throughout the entire event – a round lasting about twenty minutes. [remark on a ballet Miro planned to, c. 1930]"

"We see ourselves confronted with pure abstraction. Small problems and highly obscure subjects are, if you will, always grand in intention, and the layman would casually and quite undisparagingly trample on them if they were to serve as carpet motifs."

"I have thought a lot about the question of titles. I must confess that I find any for works that take off from an arbitrary starting point and end with something real.. ..[Miro allowed Pierre Matisse to make titles, based on the] real things.. ..[if they do] not evoke some tendency or other, something I want to avoid completely [very probably Miro meant here: the Surrealists ]. [advising Pierre Matisse; who showed then several modern European painters in New York]."

"Childhood and magic are married in this poem inscribed in infinity, like traces on walls or cracks in venerable walls, superimposed posters lacerated by wind, rain and poetry; calligraphy and ideograph intermerge in this equation.. ..in this sign."

"Have you ever heard of anything more stupid than 'abstraction-abstraction'? and they ask me into their deserted house [probably Miro meant the group 'Abstraction-Création', founded by a. o. Jean Arp and André Breton; both coined Miro's art in 1931 as 'mobile' and 'stabile'] as if the marks I put on a canvas did not correspond to a concrete representation of my mind, did not possess a profound reality, were not a part of the real itself."

"And then, as you can see, I give greater and greater importance to the materials I use in my work [c. 1936]. A rich and vigorous material seems necessary to me in order to give the viewer that smack in the face that must happen before reflection intervenes. In this way, poetry is expressed through a plastic medium, and it speaks its own language."

"Picasso was wild about it and said it was one of the best things I have ever made. [on Miro's exhibition in Paris, 1938 where he showed a big frieze, made for a children's room; commissioned by art-dealer Pierre Matisse in New York]"

"to try also, inasmuch as possible, to go beyond easel painting, which in my opinion has a narrow goal, and to bring myself closer, through painting, to the human masses I have never stopped thinking about."

"How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling.."

"[to] think, in a certain way, of the power and severity of Romanesque paintings.. .Go to the beach and make graphic signs in the sand, draw by pissing on the dry ground, design in space by recording the songs of the birds, the sounds of water and wind.. ..and the chant of insects."

"[the canvas..] rubbing in with a handful of straw, with a rag, a scrubbing brush, a Majorcan brush for applying white, with the hand, etc.. .. [a drawing in a] gigantic rhythm like that of a waterfall cascading down a mountainside.. ..[works based on] pure signs begun in Varensgeville and finished in Palma.. ..[with a picture ground of] blue vitriol [a pesticide] that they use for the vines and that splashes against the walls of the farmhouse.. [Miro describes his 'attacks' on the canvas]."

"Decoration. Very rapidly executed, at one go, spontaneously [reflection of making a mural on the site for the terrace plaza hotel in Cincinnati]. What takes a long time in my case is the work of silent reflection; it is impossible for me to predict the duration of this preparatory period. You have to keep in mind that it is by no means a matter of just doing a large picture, and though it will not be possible to paint a true mural by attacking the wall directly, in fresco, to do so will require persistence while maintaining, as much as possible, the spirit of the great tradition of mural painting. I shall have to go to Cincinnati in advance as soon as I can, to view the architecture and its environs, because otherwise I would only create an easel painting in large format."

"I was very interested in the reproductions of your [ Calder's ] sculptures. I have looked at them many times [Calder sent him], and they are something completely unexpected. You are taking a path full of great possibilities. Bravo! Sculpture is of enormous interest to me right now. For the last two years [1944-46], during summer vacation, that's all I have been doing and it's very good for a painter to get away from the old story of canvas and frame every now and again."

"The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains - everything which is bare has always greatly impressed me."