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of continued learning's import
"I can call myself a 'green' artist; I had no
art background when I began working in clay in
1068.".
But Mike Hershey is aware of the
importance of continual learning-something he
tries to stimulate in his students-and he utilizes
It in his pottery.
Hershey' work is distinctive. A good
example is the spatial def initiveness of his large
plates. His sculpture also is highly distinctive in
its planar surfaces, in contrast to its sensual,
fluid aspects. '
Hershey is now finishing work on his last
dinnerwsre sst.
"There are other things I hold more
Important than making functional sorts of
things. It takes many, many hours to make a
good dinnerware set, and they are no longer
. worth it to me," he said.
"By now, I can see what one must consider
in making quality dinnerware: the functioning
shapes of the different items and just the
physical part of glazing each item, cleaning it,
firing it, and more.
"I know some potters who wouSd say that
making functional pottery is not making art.
That's Jive. I would agree that functional
pottery is more a craft than an art now, simply
because man has been doing it so long, he's
exhausted most of the ideas," he said.
"But you can still appreciate a really good,
strong shape and a good, strong functional idea,
or a contemporary useful shape that is more
inclined to be strong because of its shape, and
not because it's functional."
In regard to his large plates, some of which
are pictured here, Hershey says: !
M've finished with them. Those plates
represent the termination of some ideas I was
working with. They are object-oriented and
deal with spatial relationships; I didn't spend
enough time developing tho colors I was using,
in-fcference to eselptural, three-dimensional
"Right now I am going to work on my
sculpture. J will go back and work on my large
plates; and they will be stronger and more
painterly in their orientation, but there are too
- i . .. .
many man hours between me ana mem wnn
nothing new right now
"If you can put something new between
you, a working energy is spawned in your mind
and things start to churn. Then you can go back
and critique your older material more rationally
and with less emotion."
This working energy and consequent
churning is like searching and discovery for
Hershey. .
"I'm finding that art is more and more a '
very personal thing," he said. "It's not
something that can be thought of as the
'international school', or the 'Blank Style.'
Much of wh? is being done today is butchery,,
emotional b u.hery.
"It's like a deep searching for something
new, and it seems to be a common
phenomenon of man to go through these
epochs in history. There was one at the turn of
the century, and now it's the end of this
century and there is searching and exploitation.
Some of it is good."
Hershey said he's trying to counteract
ignorance through his teaching. Through
patience, helping them to experience things and
giving them tools to work with, Hershey hopes
he is benefitting them. He explained his.
emphasis on knowing the technical aspects:
"It's necessary for a good motorcyclist, or a
good diver to really know his equipment and
how it ticks even though his apparent
performance is not directly related to that
medium.
"When you go see a diver, you don't say,
'Hey, that's an oak veneer laminated fiberglass
steel core board with teflon embroidered steel
springs!' You don't know that. But, hell, he
does, and. he knows it quite well. It's like
knowing your business; If you know it, you're
going to be good.
"in pottery, you must understand ail the
apparent factors, il-th technical aspects, bu
there are more variables involved. "
"Through patience, repetition and throwing
experiences at them, I'm trying to benefit my
students. I hope that with time, they will make
the discovery. That's what it's all about,"
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But there is a way to make it somewhat easier.
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page 8
daily nebraskan
Pottersculptor Mike Hershey
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