Colleen Mansfield September 7, 2013 The article on Richard DeVores work written by Michael McTwigan had several effects

on me. It made me wish for color printing. McTwigan was using a plethora of colorful descriptions for the vessels, and the description on page five of the vessel with a cleft dividing it into two bodies, a grey one and a green one. The poetic language in describing them as two bodies at rest after coupling also really called to me, as it created such an intimate feeling and a vivid mental image. It struck me how all of his interpretations and comparisons are completely subjective, and I could look at a piece McTwigan compares to a couple dancing and see something entirely different. That being said, McTwigan often offered upwards of three possible visions in the piece, showing that he also saw many interpretations and that one piece could resonate with him in several ways. I also found the artists unique take on pottery intrigu ing, particularly how he intends the focus to be on the inner portion of the vessel instead of the outer and how he intends most of his pieces to be viewed from one side only. I like the idea of only focusing on basically half of the piece, in both cases. It seems almost lazy first from the artists standpoint only going for partial perfection and then from the audiences standpoint only seeing a portion of the piece. Lazy, but cool. It would be like a homeowner being so wrapped up in the creation of the interior of their house, the part they would live in and delight in, that they fail to give instructions to their builder regarding the exterior of their house, consequently winding up without siding or shingles. After all, no one needs their home to present well from the outside, as long as it remains livable on the inside.