Emily Murphy

I get lost in each piece that I make.  When I’m throwing a piece nothing is more important than the gesture of the form.  When I’m decorating the form, the mark of the brush carries the weight of the world.  While the world fades away, I think about someone using the piece over time and continuously discovering different nuanced aspects of the form and surface. The movement of the throwing line, the boldness of a brushstroke or the juxtaposition of the raw clay and the gloss of the glaze.  When a kiln is unloaded and rows of pots are lined up, it might look like they are simply multiples of a form.  But when I am making them, the curve and movement of each piece is obsessed over.  And after they are fired, each piece is completely one of a kind to me.  The flow of the flame on the surface of the pot and the way that the subtitles of the form are enhanced by the firing process always inspires me.