The work of Peter Accadia, in its development over five decades, exhibits a wide range of approaches to the making of functional ceramic wares. This almost exclusive restriction to what could be seen as humble domestic utensils, allows the artist to concentrate his attention on the articulation of extremely subtle variations of both form and surface.
The intimate connection between the artist/potter and the materials and processes that give rise to the finished work, are usually thought of as containing a strong previsioning of the desired outcomes. In this model, the artist is seen as “stamping” his design or idea onto the relatively unformed materials. He controls the outcome in terms of external form, texture and colour. He makes choices at every point in the process of production, from throwing or other methods of shaping, to glazing and eventually the firing of the works. However, it is possible, and for some potters highly desirable to “complicate” this process by deliberately loosening his relationship with his materials. The effect of this will be to alter the connection between work process and anticipated outcome.
This “loosening” of control is something that Peter Accadia employs with a surprising range of results. Although very much aware of the rich array of pottery to have emerged from the ancient kiln sites of Japan, Peter’s work is in no way a mere reiteration of those traditions.
– Alan Pose, Philosopher