...For Whose Sake?

FOR ALMOST a year Harvard has housed a pottery studio. Many people are still surprised to hear of its existence. And yet once they learn of it, they quite easily assume that it is the best studio on the East Coast. By use of a simple syllogism, the pottery studio, a part of Harvard, which has excellent facilities, must also have excellent facilities.

In fact, it is the best studio. It is also the product of the devotion of a handful of people. Yet because it is at Harvard, it is taken for granted, that the studio is outstanding. Association assumes superiority: Harvard is Harvard, home of every tub on its own bottom, and of the Radcliffe Pottery Studio (The Radcliffe Studio of Harvard University). One would think that it would be better able to handle that motto than most Harvard dependents--that its autonomy would be insured. That is not the case.

Joey Ferrugia is an instructor/sculptor at the studio, currently having a show at Passim coffee house. Her works are all fired clay--some utilitarian crowd-pleasing bowls and vases, others more aesthetic and esoteric. Her work is centered on the idea that geometric shapes can grow into organic bodies. One piece looks like a horse's head resting on a three dimensional triangle; another resembles a pyramid changing into a flamingo. Though these creations were assembled especially for this presentation--most have been made since September--they nevertheless lack the group coherence and consistency that should characterize a professional show. Her pieces reflect a young hard-working artist who has not yet found a definite style.

Ferrugia teaches at the Radcliffe studio in exchange for the use of it. To Harvard that seems a fair exchange. But it is economically unreasonable.

By putting in more time at her vocation, both teaching and sculpting, Ferrugia loses time to make a living. So she lives on fifty dollars a week. Her work might be first class but her living conditions can't be. Other potters face similar problems.

HARVARD SEEMS to be quite willing to welcome promising young artists like Ferrugia, and yet does not support them. It will take all of the credit, but refuses to assume the responsibility.

Ferrugia shows her work at Passim's, Jim Rippe, another Radcliffe craftsman, shows his at Hilles--each tries to drum up both economic and emotional support from a community that seems all too willing to accept superior work, but none to eager to provide for it. Teachers at the Radcliffe Pottery Studio should be recompensed for their time. Artistic exhibitions are important but artisans should not have to feel it necessary to give a show in order to peddle their wares.

Every tub on its own bottom is a fine philosophy--as long as the potters have the means to continue making their own tubs.