(b. 1964– )
English ceramic artist, author, and professor
Edmund de Waal
I stand in the street and watch the house and take some photographs, apologetic Parisians ducking past me. House-watching is an art. You have to develop a way of seeing how a building sits in a landscape or streetscape. You have to discover how much room it takes up in the world, how much of the world it displaces.
The Hare with Amber Eyes (New York: Farrar, Straus and Giroux, 2010), 22.
Making something to hold out of a very hard material that feels so soft is a slow and rather good tactile pun.
The Hare with Amber Eyes (New York: Farrar, Straus and Giroux, 2010), [prologue] 13.
I have made many, many thousands of pots. I am very bad at names, I mumble and fudge, but I am good on pots. I can remember the weight and the balance of a pot, and how its surface works with its volume. I can read how an edge creates tension or loses it. I can feel if it has been made at speed or with diligence. If it has warmth.
The Hare with Amber Eyes (New York: Farrar, Straus and Giroux, 2010), [prologue] 16.