Native American and African coiling techniques as well as the techniques we use in class are different yet similar. The Native Americans after they gathered their clay and kneaded it for several days, almost pound the clay into a flattened tortilla like shape and then it is placed carefully into a puki. I found it amazing to see how they make their coils with just their hands as they clay hangs down. As each thick coil is attached to the bowl it appears that is is mostly pinched on to connect the two pieces. Lastly, it is polished by a polishing stone. In class, we use a puki and make each coil to add on, but they are made using a table and not made as thick. African techniques, I think are more similar to what we do in class. Although a chunk of clay is taken and placed on the bowl (instead of using coils). They use their fingers to scrape diagonally away the lines that the binding together makes (which is what we do with a tool). They also use a plastic sheet for fine smoothing like we do in class, like we use a S4 scraper to smooth.
After looking at the powerpoint I feel like I have gotten a better understand of what Chinese potter looks like. Also when I was looking at the Victoria and Albert Museum website I found myself more attracted to tall and skinny forms. The forms that really bow out and come back in. It almost seems as though I enjoy the "contrast" of each in and out dramatic motion. I chose no textured pieces, however, I do not have anything against them.
Merrian-Webster describes aesthetic as
"concerned with beauty or the appreciation of beauty."
I would say that my aesthetic is smooth, tall, and has dramatic movement (to simplify it). I define my beauty not my normal simple forms, but forms that "challenge" itself (and look challenging to make). All that interests me has an upward directional force as well, which I find interesting.