Potter Mark Skudlarek is one of the founders of the annual Midwest Fire Fest held in Cambridge, Wis.
Passionate about tradition and authenticity, Mark Skudlarek employs ancient processes and designs in his pottery, setting himself apart from contemporary potters. Using a massive wood burning kiln, not electric or gas, he adheres to the ancient Asian and European traditions that inspire him most. Skudlarek helped start the Midwest Fire Fest, a weekend-long art festival celebrating all art made with fire. Pottery, glass blowing, iron pours, fire dancing, culinary art—you name it, Fire Fest has it. Off the Cuff visited Cambridge, Wis., the pottery capital of the state, to talk with Skudlarek about his pottery and Midwest Fire Fest.
What inspires you?
I took an Asian art history class and my professor handed us a little shard of pottery. We got a chance to pass it around and touch it. She said it was made by a potter approximately 12,000 years ago. I was really blown away by that—that someone actually, 12,000 years ago, dug up clay, made this pot, fired it in a pit and used it. It was like I was having a conversation with a 12,000-year-old potter. It really opened my eyes to different traditions.
Wood firing is ancient, correct?
Yes. Potters typically established themselves in a location with clay and fuel. Clay was really what was needed; but then again, you need to fire the pots, so most ancient traditions, up until about 2,000 years ago, would be pit firing. The result is hard to predict. Every firing is different, no two pots are the same. But that is really what I like about it, an inescapable randomness to the process.
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How do you limit imperfections?
Well, what do you define as an imperfection? We have been trained in our society to see everything the same and perfect. The Japanese call it a wabi-sabi, a happy accident; those are the things that really make the pots interesting—that randomness. When you unpack the kiln and you see something for the first time, that’s what I really enjoy. You put all this time and energy into making pots, and then to put it into an electric or gas kiln and walk away didn’t make any sense to me. So, I fired with wood. That’s when the entire cycle is complete. And I really like the fact that it’s usable art. On a daily basis, you develop a relationship with these objects. That is what is really kind of precious and special for me.
How does Fire Fest impact the Cambridge community?
That weekend brings a lot of people, so it has an economic impact. If you get artists to come to a community and produce, that’s basically a tourist draw. At one point in the ’90s, Cambridge was definitely a destination for pottery, shopping and restaurants. When that declined, there were some businesses that closed and storefronts that went empty. So, it’s trying to regain that excitement. The great thing is that people get a chance to actually see art being made. It’s not your typical art fair, where you come and see the finished product. Here, you really experience the full impact of seeing the work being made on a grand scale and in all different disciplines inspired by fire. People can even participate in it.
Because it is so niche, those artists, I would think, would want to be a part of a community they identify by.
Yes, right. Everybody works with the common language of fire. Whether it is welding, forging, pouring, sculpting. The whole aspect of fire brings everybody together. Like a campfire.
Why fire?
As long as we have had civilization, fire has been incredibly important to humanity. Preparing food, keeping warm, ceremonies; it was the first television. People gathered around campfires at night and told stories. As far as the arts are concerned, there are so many disciplines that need fire to achieve whatever it is that they are doing, whether it’s glass, iron or clay. To bring all those disciplines together in one location where people can witness the art being made, that is fantastic. It’s all inspired by passion.
For more information, visit midwestfirefest.com.
