A Conversation With Brad Pohlmann: Difference between revisions

'''BRAD''': That is a great question. Yes, it does happen and usually with those pipes with the best grain! It took me awhile to develop a sense for when it is happening, and it has paid off. My natural instinct is to keep on going with the work at hand, and that is a mistake, because the solution to making the piece as it could and should be is usually far simpler than anything that I could concieve when I am "forcing" it. I have changed my operating procedures so that I have three or four pieces in production at all times, and when a block occurs, I STOP, put the pipe down and start on a different pipe. I do try to bring all the pipes through to the same stage before moving on to the next step, but sometimes it is just not possible with the piece that is stumping me. I have had works-in-process sit on my bench for weeks; when this is the case what usually happens is I will be sitting at my bench later in the evening with a good beer or glass of wine, and I will look at that piece and the solution just pops up on its own, and I end up laughing at myself for not seeing it from the start!

'''BRAD''': There are some great makers out there and narrowing the field to a specific few would be difficult. Within the past two years I would have to say Todd Johnson, hands down. He has just been unbelievably generous to me with his time and hospitality. I had the pleasure of working with him at his shop on three occasions, and found it an invaluable experiece. I'm looking forward to a trip in July to visit Jody Davis at his shop, and Jeff Gracik will be there as well. I just know we are going to have a great time, and the best part of these visits is that the subtleties of influence never surface in my own work immediately, but will begin to happen several months later. I'll be making a pipe and all of a sudden I'll produce a pipe that departs in some ways from former work, and I think "Where did that come from?" Then delayed intelligence kicks in and I realize that it was something I saw while collaborating, but was unconscious of the observation. I consider S. Bang a benchmark pipe. There is something about their more elaborate shapes that just knock me out; the finish as well as the shaping and incorporation of grain pattern is spot-on. I am really taken with Gotoh and Tokutomi. I had a chance to spend a day and a half with Tokutomi while visiting Todd, and was knocked out with his bold shaping skills and the way his fingers danced around the stummel while it was in process. I think Paolo Becker has taken the classic shapes and really stretched the boundries with his current work. I really have done nothing that reflects his influence at the present time, but at some point I plan to play in that sandbox. I admire the work of Cornelius Manz. I'm attracted to his generally smaller sizes, finishes and use of material combinations. I'd love to get a chance to work with him at some point. I don't think any list would be complete without Tom Eltang's name. To me, Tom's influence is more towards attitude and approach, with process following close behind. Tom's sense of humor and sometimes skewed perspective that he brings to his work is refreshing and keeps me from taking myself too seriously.