#5 05 Lindsay Scott and Morgan Kunhardt | A trip away from the city & the discovery of the necessity of beauty
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In this episode, I share with you why I travel with art in my car to Howick, a quite remote place in KwaZulu-Natal, South Africa. I meet with internationally renowned, 82-year-old master ceramicist Lindsay Scott. Lindsay Scott is the owner of Hillford Pottery and he is one of the founders of the Midlands Meander: a famous initiative to support local artists.
Lindsay shows me his gallery and workspaces. We sit down in his gallery to have a conversation about art. I did not get a chance to prepare our conversation with him based on a shared experience, because of the physical distance between us. But I brought two interesting art books with me:
The first is a thesis: Wild Life - The lived experience of Artistic Creativity, written by Australian performer Angela Clarke (Monash University, 2017). And the other is the latest publication on South African pottery, called Clay Formes (edited by Olivia Barrel, Cape Town 2024).
An idea from Clarke's thesis on touch and performance becomes the basis for my first question to Lindsay. Two reflections from Clay Formes, one by well-known South African art critic Ashraf Jamal, and another reflection on master ceramicist Fani Madoda, serve as stepping stones into Lindsay Scott’s thoughts and ideas about art and his own practice.
After our conversation, my host Morgan Kunhardt, a fine artist herself, takes me to see the future site of her art studio at The Old Mushroom Farm in Howick. I discover that the place that I visited 14 years ago, and that my memory had preserved as a representation of a lonely and dark cabin in the woods, has transformed into something else entirely.
Lindsay shows me his gallery and workspaces. We sit down in his gallery to have a conversation about art. I did not get a chance to prepare our conversation with him based on a shared experience, because of the physical distance between us. But I brought two interesting art books with me:
The first is a thesis: Wild Life - The lived experience of Artistic Creativity, written by Australian performer Angela Clarke (Monash University, 2017). And the other is the latest publication on South African pottery, called Clay Formes (edited by Olivia Barrel, Cape Town 2024).
An idea from Clarke's thesis on touch and performance becomes the basis for my first question to Lindsay. Two reflections from Clay Formes, one by well-known South African art critic Ashraf Jamal, and another reflection on master ceramicist Fani Madoda, serve as stepping stones into Lindsay Scott’s thoughts and ideas about art and his own practice.
After our conversation, my host Morgan Kunhardt, a fine artist herself, takes me to see the future site of her art studio at The Old Mushroom Farm in Howick. I discover that the place that I visited 14 years ago, and that my memory had preserved as a representation of a lonely and dark cabin in the woods, has transformed into something else entirely.
