When I was scraping the outside of my first coil pot with an old veneer saw blade to break up the surface before smoothing it I liked the texture so much that I kept it as a feature of the pot and tried to contrast it with other burnishd smooth areas. Then, in the glaze firing the coiled origins of the pot became more visible, like ancient field patterns showing up though frozen winter ground.

I look back with fondness on this first pot with its earthy allusions.