Podcast: Play in new window | Download
Thuan Ton | Episode 1264
San Diego ceramicist Thuan Ton creates unique, handcrafted contemporary ceramics that blend artistic expression with thoughtful design. Inspired by form, texture, and the tactile nature of clay, Thuan’s work celebrates the beauty of handmade objects, offering distinctive pottery and art for collectors, enthusiasts, and anyone who appreciates exceptional craftsmanship.
Clay Call
Lets hear from YOU! Click HERE.
SPONSORS
You can help support the show!
GRPotteryForms.com
Number 1 brand in America for a reason. Skutt.com
For all your ceramic needs go to Georgies.com
With that precision that comes with architecture, how does that conflict or challenge the idea of working with clay that can be precise but can also have times have a mind of its own?
Oh, you’ve touched on a nerve point because that’s the challenge. I’m so used to the precision and the preciseness of certain things, measurements, lines being absolutely pristine. And then I get to the clay and controlling it is, really is no controlling it. It’s got a mind of its own. So that’s going to be an ongoing challenge for me, I think. Yeah.
Does that mean that you are more comfortable with imperfections?
I believe so, or at least I’m getting more comfortable with it. Although there is a certain sense of precision that I hold myself to. And when appropriately so, depending on the type of work I’m working on, that I think is absolutely necessary. Otherwise, I’m just going to have to bend in it.
Do you feel that having the background as an architect, do you feel that that helps you notice things in ceramics that another potter might simply overlook?
I believe so. I mean, I don’t have any specifics for you, but bringing any kind of experience into what you’re doing right now and making it what you would call it pertinent for the time, then it’s It’s always good to have that background because you are seeing something that maybe someone else isn’t. And seeing it will eventually make you react to it. And so that kind of informs the work.
Do you feel that ceramics has changed the way you look at buildings?
That’s a tough question. I actually, I haven’t thought about that. I’ve actually thought of it the other way around because obviously that’s my background coming from buildings into ceramics. But like I mentioned before, I just happened to come upon another artist, ceramic artist in the 80s that is starting has very architectural features to it, and I love it. And it’s starting to make me vision or see, what am I trying to say, how the material clay can speak to architecture as opposed to the other way around.
Is there something that you’re still struggling with, having been three years in, that you thought you would have had mastered by now?
Throwing on the pottery wheel. I’m still struggling with it. Although I think a lot of times I’m comfortable with doing what I need to do, I wish I could throw taller, bigger pieces. So yeah, I think there’s a lot of things that’s challenging me in this medium. But yeah, that’s one of the things. Not to mention glazing.
As an artist, as a designer, as an architect, you’re a designer. Can a pot be beautiful, but poorly or badly designed?
I think happy mistakes happen all the time. Unintentional things occur in my work a great deal of time. And sometimes when you look at it in hindsight, it’s like, hey, I kind of like that. And that’s actually kind of looking nice, right? And I think a lot of potters feel that way sometimes. A lot of things are unintentional, especially when you’re starting out, your first three years of touching the material. But yes, I would agree with that.
Book
The Recipient by Audrey Cole
Contact
Instagram: @tonceramics