outdoor

Ceramics

Feature: Tom Marsh Legacy


“By practicing a potentially usable art and by insisting on its usability, and the commonness and local peculiarity of his materials, he points it toward the older, finer, healthier sort of artistic success: that such excellent workmanship, such beauty and distinction, might again become ordinary.“ — Wendell Berry on Tom Marsh*


Artists, Ginny & Tom Marsh.

Artists, Ginny & Tom Marsh.

If past is indeed prologue, then perhaps we live in the present only by the leave of our ancestors; formative influences, and most especially our teachers. Tom Marsh was a teaching artist in the Greater Louisville area for more than 25 years, first at Silver Creek High School in his native Indiana during the 1960’s, and then as the founder of the Ceramics program at the University of Louisville’s Hite Institute for Art, where he taught until his death, in 1991.

It is also said, by those who loved and admired him the most, that he was demanding. Surely this is a requisite quality for any worthwhile mentor, and, from all accounts, Marsh set expectations as high for his own work as he did for anyone else, and the program he developed for U of L was unorthodox, moving beyond traditional studio parameters. Certainly experience has taught us that innovation often translates for some as ‘difficult’.

Marsh was raised by missionaries, and studied painting with Mary Spencer Nay at the University of Louisville. A missionary trip took him to Mashiko, Japan, where he ended up staying for several years, studying pottery with Sakuma Totaro (1900-1976), and learning various strands of Buddhism, most notably Rinzai. Once he returned to the U.S. he eventually resettled in Borden, Indiana, living his later years in adherence to ethical and spiritual practices born of his time in Japan, building an aesthetically spare house in the secluded woods that featured multi-functional space - the bed was raised on pulleys to make room for working.

Works by Marsh Pottery,   Install Image from UofL Faculty show (1984) . Photograph courtesy of the Hite Art Institute.

Works by Marsh Pottery, Install Image from UofL Faculty show (1984) . Photograph courtesy of the Hite Art Institute.

This holistic approach was indicative of what University of Louisville colleague and current faculty Jim Grubola calls the, “potter-philosopher” ideal that Marsh strived to embody. He brought it into his teaching, breaking out of the confines of the studio to instruct students in building outdoor kilns as a part of curriculum, a practice that brought many conflicts with both the Louisville Fire Department and University officials.

"  Approaching" by Marsh Pottery,   conjunction in situ (1992). Photograph courtesy of the Hite Art Institute.

"Approaching" by Marsh Pottery, conjunction in situ (1992). Photograph courtesy of the Hite Art Institute.

As for the work, Marsh’s ceramic pottery follows the Japanese aesthetic that finds beauty – “art,” in the strictly functional: large scale vessels for storage (because smaller pieces for daily use were commonly made from lacquer or wood), and tea pots. The full, earthen physicality might seem to contradict the western (mis) perception of delicacy as a defining characteristic of Japanese art; these are full, solid forms of visual and tactile weight. Their functionality never feels in question.

Another U of L associate, retired Print Faculty John Whitesell, describes how Marsh developed his techniques for the “expanded form jar,” in which the walls of the vessel are pushed to their limits and the outer surface begins to “crack”: “He would go beyond what you would imagine was possible… he would just keep working it, and working it.” The resulting complex, “fractured” surface texture became a trademark of Marsh’s work, a careful balance between structural integrity and creative aesthetic. However much the artist valued function, the rustic, earthy beauty of the work was always astonishing.

Whitesell also talks of “the anonymous potter,” which is a term that evolved when Marsh worked alongside his wife, Ginny Marsh. In the images of work shown here, from a 1984 sabbatical exhibit at U of L’s Schneider Galleries, all of the work is identified as simply Marsh Pottery, with no distinction given as to which Marsh created which piece. While there may be some who felt they could detect differences, Grubola, for one, could not be certain, because the nature of the vessels had gone in such an elemental direction: “Particularly towards the end,” says Grubola, “the work became more intuitive and less refined.”

"Mark" by Tom Marsh. Photo Courtesy of Hite Art Institute.

"Mark" by Tom Marsh. Photo Courtesy of Hite Art Institute.

Students came to U of L to study with Marsh specifically tolearn the Japanese-based techniques and life philosophy he expounded. Laura Ross, Wayne Ferguson, Sarah Frederick, Fong Choo, Pam Korte, Bran Hazelet, and Gwen Heffner are but a few notable potters for whom Marsh was a mentor, and many of them still live, work and teach in the area.

"Teapot" by Ginny and Tom Marsh

"Teapot" by Ginny and Tom Marsh

All of the concentration suggests that Marsh never did anything halfway. One of his teaching tools were sophisticated, multi-media presentations that he also took all around the U.S. at a time when such things were not common. “For someone so dedicated to a simple agrarian lifestyle,” remembers Whitesell, ”Tom was well-versed in technology, and had multiple projections fading in and out… synched to a pre-recorded soundtrack. It was very impressive.”

"These pots and cups and bowls are not busy calling attention to themselves as 'art objects.' Their preferred habitat is a kitchen, not a museum. They invite use. They are not just viewed. Viewing, by itself, will misunderstand them--just as, by itself, it
will misunderstand the food." — Wendell Berry

Examples of Marsh pottery are in permanent collections of museums worldwide, including the Museum of Modern Art in Kamajura, Japan.

Name: Tom Marsh (1934 -1991)
Hometown: Sellersburg, Indiana

The Marsh's 30 cubic foot cross draft salt kiln (c.1979). Photograph courtesy of the Hite Art Institute.

The Marsh's 30 cubic foot cross draft salt kiln (c.1979). Photograph courtesy of the Hite Art Institute.

"  Approaching Conjunction"   by Marsh Pottery,   stoneware   (1984). Photograph courtesy of the Hite Art Institute.

"Approaching Conjunction" by Marsh Pottery, stoneware (1984). Photograph courtesy of the Hite Art Institute.

"Vase with Brass Rings" by Marsh Pottery, 14in H, coarse stoneware   (1973). Photograph courtesy of the Hite Art Institute.

"Vase with Brass Rings" by Marsh Pottery, 14in H, coarse stoneware (1973). Photograph courtesy of the Hite Art Institute.

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

*From “Tom Marsh/Potter: Twenty Three Years of Clay”, published by University of Louisville, 1979.

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Photography

Vignette: Patricia Brock

“Bathed in Sunlight” by Patricia Brock, 20x20in, photography on brushed aluminum, $320 |  BUY NOW

“Bathed in Sunlight” by Patricia Brock, 20x20in, photography on brushed aluminum, $320 | BUY NOW

In the work of Patricia Brock we see how versatile the camera can be as a creative tool. Brock shoots a broad range of images, including work of a distinctly commercial sensibility. The intimate close-ups of flora capture the grace and delicacy of nature in representational terms, yet “Bathed in Sunlight” also allows the recognizable forms of flower petals to begin a shift into abstraction. The overwhelming light of the sun subtly blinding the detail at the very moment it clarifies it.

And then the high contrast of her recent exploration of the newly opened Lincoln suspension bridge stands apart from the flowers; expansive in their composition, Brock pushes the color into extremes through digital manipulation, now emphasizing the geometric abstraction of the vertical cables through deliberate choice. The older bridge we see through those dissecting vertical elements establishing context and even further contrast.

Patricia Brock taking a photo with her camera.

Patricia Brock taking a photo with her camera.

Brock had used her mother’s box camera as a child, and returned to photography after retiring from teaching elementary school 18 years ago, embarking on a new career and opening her own photography business. She has printed on various materials such as photo paper, metallic papers, canvas and brushed aluminum recently introduced a new creative line for the home or garden with her photographs printed on brushed aluminum or acrylic, which can be used in outdoor spaces. 

Brock is a juried participant of the Kentucky Arts Council’s Kentucky Crafted Program, The Architectural Artists Directory, and a juried exhibiting member of The Louisville Artisans Guild. Her work is represented by KORE Gallery in Louisville, KY. Currently her work is on exhibit as a part of At the Rivers Bend: Our Place on the Ohio, at the Evansville Museum in Evansville, IN. It runs through November 27.

“Riveted (Big 4 Pedway Bridge)” by Patricia Brock, 16x20in, photography on brushed aluminum, $275 |  BUY NOW

“Riveted (Big 4 Pedway Bridge)” by Patricia Brock, 16x20in, photography on brushed aluminum, $275 | BUY NOW

PUBLISHED WORKS
2015 BLINK, Art Design Consultants, Cincinnati, OH
2008 Kentucky Quilt Trails
2007 Saint Paul’s Art on The Parish Green, New Albany, IN, advertising material
2006 The Delta Kappa Gamma Bulletin, Vol. 72-4
2006 The Delta Kappa Gamma Bulletin, Vol. 72-3
2006 Promotional Materials, KY Crafted: The Market, KY
2004 Botanica Fleur de Lis Poster, Louisville, KY

COLLECTIONS
Owensboro Health Regional Hospital, KY
Saint Joseph Hospital, KY
Private collections, Louisville, KY
Private collections, The Villages, FL

Hometown: Louisville, Kentucky
Age: 68
Education: BS in Education, MA in Education from Eastern Kentucky University 
Gallery Representation:
KORE Gallery (Louisville)
Website: http://www.PatriciaBrockPhotography.com

“Suspension I (Lincoln Bridge)” by Patricia Brock, 36x22in, photography, triptych on acrylic, $575 |  BUY NOW

“Suspension I (Lincoln Bridge)” by Patricia Brock, 36x22in, photography, triptych on acrylic, $575 | BUY NOW

“Bermuda Hibiscus” by Patricia Brock, 36x24in, photography on brushed aluminum, $454 |  BUY NOW

“Bermuda Hibiscus” by Patricia Brock, 36x24in, photography on brushed aluminum, $454 | BUY NOW

“Suspension V (Lincoln Bridge)” by Patricia Brock, 16x20in, photography on archival photo paper (matted and framed), $225 |  BUY NOW

“Suspension V (Lincoln Bridge)” by Patricia Brock, 16x20in, photography on archival photo paper (matted and framed), $225 | BUY NOW

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Written by Keith Waits. Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

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