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In a world where most of the things we buy are mass produced somewhere else, it is quite an experience to view something that was created with just two hands. There is a feeling attached to each piece, a reason each item came to be. When you look at the work of potter Todd Piker, the passion he has for his craft is apparent in every ripple, every smooth curve, and every shiny bit of glaze. After discovering that he enjoyed pottery in high school, Todd's family encouraged him to find an apprenticeship. His mom was especially enthusiastic; she searched the database of the World Crafts Council and sent out letters. One of those letters found its way to Cornwall, England, and an apprenticeship with Michael Cardew, one of the most renowned craftsmen in the industry. Cardew himself had an apprenticeship with Bernard Leach, who is viewed as the father of British studio pottery. Together they had worked to re-establish the cottage industry in England. Todd worked hard during his time in England; an apprenticeship in Europe is different than the American version. He explains, "The European system is tiered—a beginner will enter as an Apprentice, then moved to Journeyman, and finally, after testing, will become a part of the Guild and considered a Professional worthy of the Master designation. In the US, this system is generally reserved for vocational trades and requires strict OSHA oversight, so it becomes extremely expensive...the European model is much more realistic and seems to be respectful of the arts as settings for opportunity, albeit a challenging career path." Working with Cardew was challenging at times, though it is an experience Todd does not take lightly. As he speaks of him, it is apparent that time has not dulled his regard and admiration for him, despite the 35 years that have gone by, and he is just as passionate about his craft as he was back then. After he returned form Cornwall, Todd worked with his father for a number of years, until a prodigious potter helped him set up his own business, for which, he says, "I was woefully unprepared. I actually view the first 10 years of my working as another apprenticeship." |
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| He has come a long way since then with a workshop that sits on 4 acres of land that used to be a maple syrup farm. He also has a storefront in the village of West Cornwall, and Beverly and I were fortunate enough to visit both: We pull up to the workshop, and Todd comes out to greet us, wiping water and clay from his hands. He escorts us into the studio, walking us past shelves full of lumps of clay and pots in various stages of completeness. He tells us he has one more pot to throw; "Would you mind watching?" Mind watching a master potter at work? How could he even ask?
He bends carefully over the clay, and as he treads the pedal and the wheel starts spinning, Todd wets his hands and begins to form the pot. It seems effortless, and each run of his hands brings the pot to a different shape. He stands to reach inside the pot, pushing the insides out. "It's physics," he says, "symmetry, defying of gravity, everything moving up." He's right—thanks to the rules of Earth, gravity should pull that lump of clay down, but instead, it builds higher and higher, moving up towards the sky. We are fascinated; I know I could stand there all day and watch this somewhat ethereal process. As if reading my mind, Todd looks over and says, "It's funny; children are able to watch me do this for so long; adults, not so much." I laugh, not surprised that I have a mind like a child. When asked how long it generally takes him to finish a piece, Todd replies simply, "When is something finished?"
Cornwall Bridge Pottery |
After Todd cleans up, he takes us outside his workshop to show us the kilns. There are two—one wood burning and one propane. The wood burning tube kiln is an impressive, 35-foot-long sight (it looks a bit like the front part of a plane stuck in the ground). What is even more impressive is that Todd built it with his own hands (and some help, of course) in 1974. Based on a design that dates back to 10th century China, it took a year to complete, and holds up to 6,000 pounds of clay. Todd prefers to fire with wood, and the yield of pots to fuel is good. He invites us to actually go inside the kiln, but we're content with just a peek. (Personally, I've read Hansel and Gretel one too many times and just couldn't bring myself to walk willingly into what is, essentially, a giant oven.) The store, Cornwall Bridge Pottery, is a two-story building just steps from the covered bridge the town is known for. It is one of those buildings that bears a certain peacefulness, full of natural light and a reassuringly creaky wood floor. Downstairs holds items available for purchase; upstairs is a sort of gallery, displaying photos and show pieces, including beautiful chess sets and pots well over 5' tall. We ask if he has a favorite, and Todd refers to his clay creations this way: "It's hard to choose—it's like asking a parent to pick a favorite child. I love them all equally. Really, I do." He remembers creating each piece, and as he shows us pie plates, butter bowls, and pitchers, he twists them in his hands to show every detail. Strangely, it is somewhat like watching a proud parent hold their child, and it is easy to see that he means what he says. Todd is active within the community, creating goblets and baptismal fonts for the local church, and he is quick to acknowledge how supportive everyone has been— nurturing even.  Todd has also created tagines that were featured in The James Beard Cookbook and mixing bowls for Mario Batali, as well as items for Dean & Deluca, Green Mountain Coffee, and Shaker Workshops. Todd has taken apprentices of his own, and their work may also be purchased at the store. He has also worked with painter David Bean for 30 years; his pieces often feature fish, birds, and dragonfly patterns.With life moving so quickly, and with products being produced just as quickly to keep up with demands, it is important to support those individuals trying to keep handmade alive. Once you hold a piece crafted by Todd, or any other artisan for that matter, you will find it difficult to return to pieces purchased at discount retail stores. Find a local artisan in your area, and show them you appreciate their craftsmanship. Then pass the word along and keep handmade a mainstay.  |
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