Conclusion
In conclusion, deconstructing Voulkos’ Abstract Expressionist hero reputation is a crucial step towards resisting the perpetuation of an overly simplistic narrative that obscures other key influences, such as avant-garde dance and music. It also has the detrimental effect of marginalizing Eastern cultural influences like Japanese Zen Buddhism. Deemed as too “foreign,” Zen Buddhism posed a threat to the perpetuation of a particular image of American identity that was promoted in the 1960s, as well as Voulkos’ image as an all-American artist.
By re-framing Voulkos as a revolutionary figure engaged with failure, deconstruction and Japanese Zen philosophy, I aim to open up new ways of critically engaging with his work, as well as understanding how they can potentially provide viewers with a different perception of failure. Rather than being a dead end, failure can be implemented as a strategic means of making inroads into deeper and more complex ways of viewing the medium of clay. This approach, in turn, can also be applied to any other subject of interest.
Firstly, as I have demonstrated from the many ways that Voulkos challenged traditional Western ceramic practices and its corresponding ideas towards beauty, failure is not an idea that is set in stone. Instead, it can stem from restrictive, culturally specific expectations that we impose upon ourselves, as well as upon others. In other words, failure, like beauty, is a concept that is based on an ever changing, subjective set of ideas.
Secondly, failure need not be regarded with fear. This idea is reflected in a quote from Voulkos: “if you are working for an audience they like to see you goof up. It makes them feel good…and you accept failure because it’s a positive failure.” Despite the fact that he failed to execute his throwing skills perfectly in front of a large crowd, the ceramist was able to look upon his own failure with positivity, openness and humor.
Thirdly, Voulkos’ stacked forms, which are cracked and warped, can be seen as an effective way of uprooting old ways of making and thinking about ceramics. This radical approach, where an artist seeks inspiration from binary oppositions that are traditionally disregarded, can be applied to many other forms of art.
In the specific context of the clay medium, Voulkos’ ceramic work encourages us, as viewers, to realize that what we consider to be signs of “failure” are actually reflections of clay’s natural qualities. Rather than aiming to achieve the “heroic” quality of bronze sculpture, the ceramist’s work invites his viewers to appreciate clay for its more humble qualities and thus, opens up new pathways for other ceramists to follow.
