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When we finished training with my wife we came to St. Paul, because St. Paul was the first place where we got a job offer and we needed some sort of a job to earn some money in order to set up our own studio. It's rather ironic that this job offer came originally through the Walker Art Center.
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Bernard Leach was making pots which were duplicates of his drawing, and that was a difference of approach, which I think is quite critical to these two men Leach and Shoji Hamada.
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There was a school in Chicago called the School of Design. This was started by Laszló Moholy-Nagy, and it was a wonderful school, but we with Alix MacKenzie didn't go to that school. We did have friends who went to that school and we would visit there often, and I'm sure it pushed me in my painting direction very strongly just by association.
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We never had a catalogue; we never said we were going to duplicate these pots this year and next year and the year after that and so forth. We did make many pots which were repeated, but we allowed them to change and to grow as we changed and grew, and I think that was the big difference. And that's all right; we were working for ourselves. We didn't have anybody we had to pay.
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When Bernard Leach wrote his book, he wrote about the fact that even when pots are made in a series, there is a personality to each pot and that the person who made it reflects their personality into the clay.