So I very quickly stopped almost all decoration. I was interested in the three-dimensional form of the pots, but my decoration was nonexistent.
[My pots ] are not like [Hans] Coper's at all, but the idea came from seeing catalogue of his work, although at the time we knew Hans, his work was nothing like that.
[Shoji] Hamada seldom drew an exact drawing of a pot that he was going to make.
I found out later on that was not true, that life drawing tells you a great deal about rhythm, about the structure of a human being or any animate object, and this could be directly translated into thinking about proportion and accent, rhythm in a pot form.
Every pot is not going to be a masterpiece.
