DANIEL JOHNSTON, raised on a farm in Randolph County, returned from
Thailand with a new way to make monumental pots. Back home in North
Carolina, he built a log shop and a whale of a kiln for
wood-firing. Then he set out to create beautiful pots, grand in
scale, graceful in form, and burned bright in a blend of ash and
salt. With mastery achieved and apprentices to teach, Daniel
Johnston turned his brain to massive installations. First, he made
a hundred large jars and lined them along the rough road that runs
past his shop and kiln. Next, he arranged curving clusters of big
pots inside pine frames, slatted like corn cribs, to separate them
from the slick interiors of four fine galleries in succession.
Then, in concluding the second phase of his professional career,
Daniel Johnston built an open-air installation on the grounds
around the North Carolina Museum of Art, where 178 handmade,
wood-fired columns march across a slope in a straight line, 350
feet in length, that dips and lifts with the heave while the tops
of the pots maintain a level horizon. In 2000, when he was still
Mark Hewitt's apprentice, Daniel Johnston met Henry Glassie, who
has done fieldwork on ceramic traditions in the United States,
Brazil, Italy, Turkey, Bangladesh, China, and Japan. Over the
years, during a steady stream of intimate interviews, Glassie
gathered the understanding that enabled him to compose this
portrait of Daniel Johnston, a young artist who makes great pots in
the eastern Piedmont of North Carolina.
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