While counter hypothesizing a set of craft prejudices, (1994, s.8) Dormer got me pondering following aspects on craft knowledge consuming: what is already adapted, to be considered only as an narrow area of the knowledge, and is important and needed to be seen what is yet to be learned, or gathered from all ceramic knowledge, by study or research. Paraphrasing that, what is already learned is to be an only field of all of the knowledge, since finding knowledge comes from a need of a solution - body of knowledge/knowledge as more consuming kind than what would be kept. The knowledge needs form the seeker the understanding of specific subject matter and engaging to the discipline specific knowledge as a topic. (Brown and Duguid, 2000, s.120)
What I’m trying to state here is, that body of knowledge, as in an artist’s personal body of knowledge can be ever expandable. It will require a personal survey on the material also an point of view for all the information, given by other artists.
“It is assumed that absorbing craft knowledge - - forces your thinking through a filter of one set of rules.” (Dormer, 1994, s.8) In ceramics this might hold true. Tutorials and demonstration considering subjects as leather hard greenware for mishima purposes, or drying the clay all the way before bisque firing, but then using mod podge or realising you can program a magical firing to use all the energy you can. It all about bending the given rules so you can be an beginner first and a professional at last. Rules in ceramic material knowledge is based on how the clay and the glaze work, form drying slowly under a fabric and plastic, to paper clay fix*, to adding some glycerin into your glaze. It is about problem solving by gathering tips and how-tos for your own studio practice.
Owning an oeuvre; you start to consume specific areas of ceramics knowledge which serves your body of work, gathering bits of information on published pieces or tiny bits of information from comment sections, documentaries, museums, research articles, and artist tutorials. Material based problem solving mentality for the need of the craft knowledge, that is forwarding to the material aesthetics or an art work, and to be an professional in the material and of discipline specific knowledge.
When studying, study is a meaningful thing, first of course basics on clay, glaze, and surface techniques, but forwarding to your own oeuvre; not everything should be tried hands on the material, but a lot needs to be understood. If an invention happens in theory, practical knowledge will aim the craft to happen, a craft professional is a professional both in theory and in action. (know how, Dormer, 1994 s.10)
How much hands on knowledge you will need until you can be professional in theory?
*vinegar, bits of kitchen towel, and bone dry clay