We play to feel the qualities of a foreign reality. On our skin we experience the heat of third parties, the pressure of a hug, the hardness of the things that surround us and the texture of surfaces that communicate with us. Knowing something without this sense becomes incomplete. We need touch and contact. The hands, the arms, the cheeks, the lips, the torso, the neck... Our whole body discovering sensations and messages that people and objects transmit to us. A warm bowl full of delicacies to enjoy, a kiss, a caress, the breeze and the sun both whispering on our face that it is a wonderful day and many more to come.

It is so important to our lives that it is wise to be surrounded by the best touches and contacts. Feeling the mud is one of the privileges of those who work with this material, who perceives it every day in its multiple states between its buds. Wet, hard, slippery, chamoted, soft, cold, hot... And finally, once the figure is cooked, it feels forceful when you go over its tangents with your fingers, feel its weight in your palms and enjoy the tactile result. But just as without touch it would be incomplete to enjoy it and even understand it, the potter enjoys and understands his work more by sharing it through contact with his family.

Top Image: Brewtnall, EF , circa 1890. Where Next? Watercolor on paper, Christopher Wood Gallery.