Pottery In Australia Vol 30 No 2 1991

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Merran Esson, porcelain with coloured, inlaid clay 128(J>, combination mould, wheel eJ handbuilding (top left) Nicola Purcell, influence from ancient civilisations eJ marine life (above) Sandy Lockwood, salt glazed stoneware (top right) Barbara Swarbrick, "Murray River Boat Teapot ", slips, underg1aze 20 Pottery in Australia
Milestone for Hamilton TAFE Lesley Wickham Lesley Wickham On the eighth of December this year, five ceramics students from Hamilton TAFE will make history when they open an exhibition at the city's prestigious Cooks Hill Gallery to mark the completion of the first Associate Diploma course at the College. The exhibition has been conceived, planned, publicised and curated by the students as a final year project, preparing for the business as well as the practical side of ceramics. With success in the field depending so much these days on the potters' ability to promote and market their products, this is seen at Hamilton as being a vital element in the Associate Diploma course. Testing the students' capacity to make a professional approach to a gallery, they independently had to select and convince a gallery proprietor to take them on. That they have been accepted by one of Newcastle's foremost galleries is a testament to the staff at Hamilton as well as to the students' own initiative. The Students Lesley Wickham My love affair with ceramics revolves around the blend of science and art, the excitement of finding out why things happen and how to get the effects I want. It's a constant stimulation, the thinking person's art form. By compulsion, I'm a thrower. Big pots present a particular challenge. I start with an idea of what I want to make but as it grows, it begins to take on a life of its own. Subtle developments happening in the form may alter my ideas about it, suggesting a curve here, a twist there. By the time it is finished, I have a sense of collaborating with the pot in its final design. Each piece speaks to me about its decoration, the colours it needs. I build the designs in thick slips, layer after layer, looking for the complexities of mood, colour and texture I see everywhere around the lake-front at my door. The colours of the sunsets seem to fill my palattemore and more, extraordinary blends of sky, water and bush which fill and fade as I watch. Some of these colours could be said to "clash" but the sky acknowledges no such rules. Paula Coombs Pottery began as something to do after work. Then it took hold of me; I was hooked. After a few years I needed stimulation so I enrolled at Tech. This has been very rewarding, providing growth and direction. I am working on wheel-thrown, joined forms with thrown feet and with handbuilt and thrown additions. They may be very simple or quite complex. llike shapes that alter direction and the additions make the pieces more individual. The additions can be thrown and cut or altered, or sometimes hard or soft slabs or coils. Sometimes the pot is cut away and the clay rejoined to give a different dimension. Pottery in Australia 21
Page 1 and 2: Potte inAustra]ia ry Volume 30 no 2
Page 3 and 4: Contents Pottery in Australia Volum
Page 5 and 6: Pat Cahill T he work illustrated he
Page 7 and 8: which might have been just as threa
Page 9 and 10: studio partner Catherine Lane and m
Page 11 and 12: Christopher Tames, saggar fixed, te
Page 13 and 14: YOOD, Kwang-Cho Sue Buckle I f you
Page 15 and 16: -----------------------------------
Page 17 and 18: award went to Carl McConnell, of Au
Page 19 and 20: Jeff Mincham, Australia, 1989 (top)
Page 21: then wait for something to strike a
Page 25 and 26: part of the ordinary way of life. I
Page 27 and 28: Geoff Crispin, hexagonal form, wood
Page 29 and 30: Pip McManus, Todd River plate, eart
Page 31 and 32: Gallery Profile The Blaxland Galler
Page 33 and 34: Evolution of the Vessel Leonard Smi
Page 35 and 36: Egyption black-topped pottery Potte
Page 37 and 38: Dish , "Sealing Wax" Jericho, Tomb
Page 39 and 40: The Paper Kiln Hildegard Anstice Af
Page 41 and 42: ANew Gas Kiln Leonard Smith After s
Page 43 and 44: SIDE FRONT Pottery in Australia 41
Page 45 and 46: C anakkale (Hellespont in Classical
Page 47 and 48: The candy case called Lokumluk has
Page 49 and 50: Kate Leach A Celebration of Daily L
Page 51 and 52: 6th National Ceramic Conference Bri
Page 53 and 54: for sponsors for clay and mounting
Page 55 and 56: understand their origins through ne
Page 57 and 58: Getting Published for the Rest of U
Page 59 and 60: errors. The editorial committee's r
Page 61 and 62: Platter, wood fired salt glaze, iro
Page 63 and 64: Recent Student Work University of N
Page 65 and 66: Artists and Unions: The Issues Step
Page 67 and 68: • What is the effectiveness of su
Page 69 and 70: Nov 3-4 Nov 4 - Dec 1 Nov 5-30 Novl
Page 71 and 72: etards the agglomeration and so con
Page 73 and 74:
present they need to be in the coun
Page 75 and 76:
gain a measure of financial indepen
Page 77 and 78:
ecovery of the moneys I have so far
Page 79 and 80:
this idealism may sometimes seem to
Page 81 and 82:
Currently staff are working on an i
Page 83 and 84:
1st layer 1S00mm 2ndlayerl600rnrn 3
Page 85 and 86:
Pottery in Australia Back Issues Pu
Page 87 and 88:
Pottery in Australia Books Section
Page 89 and 90:
FOR HANDBUILT AND FUNCTIONAL POTTER
Page 91 and 92:
CLAYWORKS AUSTRALIA PrY LTD Origina
Page 93 and 94:
"Clever Cromartie. A complete range
Page 95 and 96:
* Presenting the best selection of
Page 97 and 98:
The Ceramic Bookseller THE SPECIALI
Page 100 and 101:
Exhibition by Julie Bartlwlomew Nov
Page 102 and 103:
Ceramics Artists/Galleries has been
Page 104 and 105:
nareD australia pty. ltd. REFRACTOR
Page 106 and 107:
NATIONAL ART SCHOOL East Sydney Tec
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Pottery In Australia Vol 30 No 2 1991

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