Pottery In Australia Vol 35 No 2 Winter 1996

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Contents
$13rrp
Graduate Student Issue
d PlctoriaJ survey and description of tertiary ceramic courses from Colleges and UnIVersities
around Australia
Education
New Product Update
Perfect Match
Bendigo Pottery and T AFE; education
and industJy cooperate. Article by Geoff
Maddams
Deco Colours
A new range of underglaze colours
developed by ceramist, Marc Sauvage.
Article by Jess Gibson
Interlock at Artspace
An end of year exhibitIOn of graduate
students and teachers past and present
by East Sydney Technical College.
Review by Virginia Hollister.
Cyber Clay
fa A comparison of available glaze
programmes for computers. Research
and article by Leonard Smith
Education and Industry
A practical projeGt designed to give
ceramics' studenls valuable work
experience. Article by Kerry Punton &
Geoff Maddams.
Tools of the Trade
II Safety Clothing - Part 1
Respiratory masks. Research and article
by Karen We

Editorial
I
fs hard to believe we are nearly
in July already. This year has
been a frantic one for everyone
at the Poners' Society of Australia
and here at the office. What ,with
exhibitions in Canberra for the
Conference and in Sydney at the
Manly Art Gallery and Museum
(August-September), workshops
with Greg Daly and Pippin
Drysdale (late July) and of course
the massive job of producing the
1996 Australian Poners' Directory,
there has been lillie time for
musing on the broader issues of
an and life'
This Graduate Student issue is always a joy to produce
and an importa nt part of POllery in Australia 's
committment to promoting the excellence of Australian
ceramics.
However it would seem that no conversation about an
education in general, or ceramics education in panicular,
is without some sense of, at least, uncenainly, from those
involved in it these days. Across many of the States we are
faced with a time of great change in education priorities
and policies and the ceramics courses in both Universities
and TAFE Colleges are feeling pressure from their
bureaucracies.
Even a quick glance through the pages of this Issue of
PIA could not help but impress the viewer. The serious
com mittment of both students and teachers to the
development of the skil ls of their chosen an foml, clay, is
evidenced everywhere. ConcepUIally and technically it is
obvious that sUIdems have gained skills that will suppon
their individual development long after they have fmished
the course.
The work in these pages represents the beginning, for
many, of a life of creative expression using clay as the
primary medium. The variety of approaches available to
the clay anist are seemingly endless, powered by the
creative juices of eJch individual. However this process is
meaningless unless fuelled by information given in a
supportive environment that
includes both theoretical and
practical exposure to the widest
possible range of experiences.
Committment to do this needs to
come not only from students and
teaching staff but from the
framework of the wider
bureaucracy that oversees maners
realting to 'education' and
'training'. This comminment needs
ultimately to empower teachers
and students so their time is used
as productively as possible. What
we need is less rationalising and
more celebrating of creative expression.
Speaking of celebration, that's what the 8th National
Ce ramics Conference is all about. It is a chance to
celebrate being a part of a very creative community of
clay artists - to share information, to increase infonnation
and to debate information through masterclasses,
workshop demonstrations, exhibi tions, panel discussions
and the presentation of papers - and most importantly
over a good coffee, wine, beer or meal! I hope to see
many of you there and for those who ca n't be, the
magazine will try to present some of the papers in future
issues.
By the way, for all you cyber surfers, Pottery in
Australia has an internet address and a World Wide Web
page (see the addresses on page73) - do visit us! JUSt to
show it's not all serious - here is a little gem from the
Clayan page, from Michelle - subject "Dead Fish" - Just a
shon note to say that someone uied one of my Under the
Sea Raku pieces in their aquarium, and it killed the fish
within hours so I hear . (I never recommended them for
that. purpose, and warned people of the possible
consequences if they uied. NOW [ know for sure)'. Talk
about 'Buyer Beware'!! G\9
2 POTTERY IN AUSTRAlIA + ISSUE 3sn WINTER 1996

Above: Teffany Thiedeman Earthenware, slips, pigments and textiles. Below left: Nei-Kiewa Close Porcelain with
ceramic colourants, pigments and shellac. Below right: Sue Mattayas Stoneware, dry glaze
ISSUE 35/2 WINTER 19'16 + Ponmv N AusTIWJA 3

Left: Joanne Moffit
'Cyrano' Porcelain & mixed
media surface. 45cm high
Bottom Left: Erica
Dowding
Low fired soda and oxide
surface. 35cm high
Bottom right: Joan Fisher
Mid fired under glaze
painting. 40cm high
Below: Ann-Louise
Franklin
E.W glaze, terracotta and
engobe
4 POTIERY IN A USTRALIA + ISSUE ]512 WINTER 1996

Right: Jo O'Donnell
'Uving Desert' Koori
Art and Design
Bottom Left: Jo
O'Donnell
'Kangaroo Bowl'
Koori Art and Design
Bottom right:
Carina Card
'Woman' Ceramics
Certificate
ISSUE 3512 WINTeR 1996 + Pon£RY '" i'I.JsTRAUA 5

ANU CANBERRA SCHOOL OF ART
rrtJe Canberra School of Art offers both graduate-
1 Master of Arts (Visual Arts) and Graduate Diploma
(of Art) and undergraduate - Bachelor of Arts (Visual)
and Diploma of An, courses.
The Ceramics Workshop provides for students
wishing to explore all aspects of the ceramic medium,
from fu nctional pottery to exploratory and innovative
figurative and sculptural ceramics. Courses aim to
prepare students for a career in the visual arts, and at the
tmdergraduate level expose students to a wide range of
firing possibilities (gas, electriC, raku , black, salt and
wood), provide formal instruction in glazes and
technical skills, and assist in the development of
conceptual skills through weekly critiques of work.
Classes take place in well-equipped studios and the
regular staff (Alan Watt, Hiroe Swen, Anita McIntyre,
Greg Daly, Tony Flyn n and Janet DeBoos) are
complemented by a wide range of part-time lecturers
and visiting artists. Students can undertake cross
disciplinary practices and are encouraged to access the
resources of the School's other Workshops.
In July 1996 the Workshop will host the 8th National
Ceramic Conference and International Master classes.
Alali Wall
BROKEN HILL COLLEGE,
WESTERN INSTITUTE OF TAFE
Broken Hill College in outback NSW has a unique
location and student profile, serv ing the
communities of Broken Hill, Menindee, Wilcannia and
CobaT. It's a 5 hour drive through an incredibly beautiful
and empty landscape between campuses.
The rapidly growing tourism industry in the outback
has created a strong market for artworks with regional
associations and a need for Arts training to meet this
demand. The college offers full-time and part-time
Certificate courses in CeramiCS, fme Arts and Koori An
and Design.
A key feature of the college is its innovative Koori Art
programs, where courses are taught both at the College
and off campus in Aboriginal community facilities. Arts &
Media and local Aboriginal community teachers cooperate
to develop culturally appropriate content and
delivery of the courses. Graduating students have
established the highly successful artist's co-operative
gallery, "Wiimpatji Wana' in association with the Broken
Hill Lands Council, to provide a vital retail outlet.
Robert Linigen
---------------------------------- . ----------------------------------
CASEY INSTITUTE OF TAFE
Casey Institute of T AFE had another excellent year in
1995, with a group of 12 completing the cou rse.
Their end of year exhibition at the AMP Building in
Melboume met with great success.
The Associate Diploma of Arts-Ceramics course this
College offered in 1995 could be completed either
through full-time or part-time study.
Though it embraces a more traditional approach to
techniques and skills there was great emphasis on
diversiry and individualism, with particular attention
given to developing in our students the 'Complete Potter'
combining both pot making and marketing skills.
Colin Clarke
CURTIN UNI
rrtJe Clay & Glass Studio offers a program designed to
1 facilitate an experimental leaming approach to the
clay and glass media. The introduction of the glass
media is a recent development in the Studio and Curtin
University offers the only tertiary glass art program in
Westem Australia.
Our Studio is currently piloting an interesting,
integrated clay and glass curriculum. Students are
introduced to both tlle clay and the glass media in the
First Year program but they may choose to specialise in
either tlle clay or the glass media or continue to work
across both media as the program continues. This intermedia
curriculum is helping equip students to engage
successfully with an increaSingly interdiSciplinary
contemporary art world.
The course is designed to highlight the shared nature
of the two silica based art media and, at the same time,
preserve the integrity of each media's separate and
distinct identity. The dialogue between the two media is
creating a dynamic research based leaming environment
which allows students the opportunity to develop
exciting new directions within these two fields.
Kerry Williams
6 POTTERY IN AUSTRAUA + ISSUE 3512 WlNTER 1996

Right: Oi Morfey
'Teapot'
White stoneware. 13cm diameter.
Top left: Charmaine Spanninga
'Place Setting'
Porcelain celadon glaze. 27cm wide.
Above: Grissel Anastasia
'Kitsch'
Thrown. 45cm high.
Top right: Ingrid Van Loon
'Vessel'
Stoneware matt glaze. 31cm high.
ISSUE J5n WINTER 1996 + Ponmv N /oi.JsTRAUII 7

.------ ~--~~~
~ ~
Top left: Peter Williamson
White stoneware clay, applied clay and stamps,
Manganese dioxide, fired to stoneware.
Top right: Gayl Sullivan
White raku clay-Barium Glaze
Left: Serge Shatrov
'Egyptian Harp'
BRT clay-Barium glaze.
8 POTTERY IN A USTRAUA + ISSUE 3512 WINTER 1996

Left: Jessica Spaven
'Serge Looks Again'
Earthenware, fabric, metal figures.
177cm and 27cm high.
Bottom left: Graham Hay
'From the Mountain'
Paperclay.
117 x 130 x 60cm.
Bottom right: lzabel Love
'Baci'
Pate de Verre.
30cm x 30cm.
ISSUE Jsn WINTER 1996 + PoTIER'! IN AuSTIWJA 9

Above: Kim Wright
Raku and glass. 59cm.
Left: Kim Wright
Mid-fire, dry glaze. 36cm.
10 POTTERY IN A USTRAUA + ISSUE 3S12 WINTER 1996

Top left: Elizabeth
Ellison-Jones
'Rock Figures'.
Top right: Karina
Desarmia
Right: Cazz Ogden
'Cactus Family'.
ISSUE J5n WINTER 1996 + PolTERY N AusrnAuA 11

EASTERN TAFE
In the 10 years that Ceramics has been olTered at the
Eastern TAFE (formerly Outer Eastern College of
TAFE) many changes have occurred within course
structures and titles. One constant has been the high
standard of ceramics education offered and directed
towards the handcraft ceramics industry which many
now-practising poners have benefited from.
Eastern TAPE has a number of campuses, all servicing
the outer eastern communities of Melbourne and the
Yarra Valley, Lilydale and Healesville. Ceramics is
offered from the Art and Design centre at the Wantima
South campus. The Healesville Koori community are
currently studying ceramic units offered from the
Advanced Certificate in Koori Art and DeSign at
Healesville. The new state-wide Diploma of Arts­
Ceramics is now in place having been developed at
Eastern TAPE in 1995 by Kevin Boyd and John Seargent
with input from the ceramics handcraft industry and
mher TAFE providers. This is catering for full and parttime
students aiming to work as independent studio
potters or seeking employment in the industry and is
staffed by Kevin Boyd, Dawna Richardson-Hyde, Fiona
Murphy and Rosemary Owen.
Kevin Boyd
EAST SYDNEY TECHNICAL
COLLEGE
' t-rhe East Sydney Technical College Ceramics
1 Department would like to acknowledge the
support of all p'dst and present students in their efforts to
keep the Ceramics Department within TAFE.
We wish all the graduates well in their futures and
wait [0 see what the new autonomous National Art
School has to offer the broader field of Ceramics.
An exhibition of graduate students of the College will
be held, opening on the 18th November, until 21st
November, 1996.
An exhibition of undergraduate student work will
open on 11th November, until 14th November. Both are
to be held in the Cell Block Theatre on the ESTC
campus, Darlinghurst.'
Marion Howell, Acting Head Teacher
----------------------------------------. ---------------------------------------
EDITH COWAN UNIVERSITY
GOULBURN COLLEGE OF TAFE
~e Ceramics course encourages students to embark
1 on an artistic journey that explores contemporary
ceramic practice. Students are also encouraged to
explore other media such as glass, fibre, metal and
wood, as well as investigating performance and
installation. As part of an Academy of Performing Arts,
collaboration is encouraged.
The BA course is supported by a lively Foundation
Studies programme which enables students to engage in
the fundamentals of thinking and practice across a
variety of studio areas.
The University offers a BA in Visual Arts, BA Visual
Arts (Honours) an MA in Visual Arts and an MA in Art
Therapy.
Jf you want to be a passive observer of the visual arts
rather than an active participant in them, then this is not
the course for you. The chOice of journeys is yours, we
provide the expertise, the faCilities, the technical support
and a strong contemporary theory programme which
encourages creative imagination. If a career or an
interest in the Visual Arts is your journey's destination,
engage the itinerary offered by the ceramics department
at Edith Cowan University.
Paul CoullSel
~e Arts & Media campus of the College is unique in
1 that it is located in a large historical building. We
have an established tradition of offering ceramics as a
visual arts study alongside drawing, painting,
printmaking and photography. Our studio is light-filled
and spacious and would rival any other in the State.
We offer Certificate, Associate Diploma and Diploma
Courses in Visual Arts, Ceramics and studies in one of
these disciplines will provide basic skills to start out on
your own as an artisrJpotter, or as a pre-reqUisite for post
graduate qualifications. Students enrolled in the
Associate & Diploma courses are able to 'double' major,
for example in ceramics and printmaking, or ceramics
and painting. So for those who are either undecided
about a medium or those wanting to integrate or 'cross
fertilise' Goulbum College offers this rare opportunity.
Ceramic discipline has an ancient tradition, but is also
affected by modern technology and contemporary
practices, and can be taken in many different directions
depending on the interests and skills of the practitioners.
This diversity is supported through the employment of
part time staff, guest lecturers and visits to artist studios,
and public and private galleries.
Elizabeth Charles
12 POTTERY IN A USTRAUA + ISSUE 35/2 WINTER 1996

Top: Robert Charlebois
Bathroom.
Left: Andy Goodfellow
Woodfired vessel.
Above: Helen Lemke
'Walking in Circles'
ISSUE 3sn WINTER 1996 + Pol1ERY N AI.JsrnAu6. 13

Top left: John Willis Untitled Sculpture, wood, metal,
earthenware. 1.5m high.
Top right: Ross Thomas 'The Meeting' Wheelthrown
altered stoneware. Clay, copper riso screen. 45cm high.
Middle left: Karen Cameron Earthenware. Found
objects, wool. 1.2m high.
Above: Terry Shiosaki 'Identity'. Slipcast, projected
images . Installation.
Bottom left: Gary Oito Wheelthrown stoneware.
Reduction fired. 25cm diameter.
14 POTIERY IN AUSTRAUA + ISSUE )Sn WINTER 19'16

Above right: Kn Crankshaw
Below Right: Denise Johnson
Below: Denise Johnson
ISSUE lSI2 WINTER 1996 + PonmY N AI.JsTiw.lA 15

Right: Michelle Sprat
'Horsepower'
Stoneware and metal. 35cm x 30cm.
Below: Louise Sherratt
'Sea Growth'
Stoneware. 30cm x 15cm.
Bottom: Debi Grice
'Woven Platter'
Stoneware with applied oxides. 35cm.
16 POTTERY IN A USTRAUA + ISSUE 35/2 WINTER 1996

Above: l ea Douglas
Porcelain with gemstones.
26cm high.
Top right: lesley Burrows
Underglaze on earthenware.
13cm high.
Middle right: lea Douglas
Multiple slips on stoneware.
25cm high.
Bottom right: Julia laybutt
Thrown and carved porcelain.
7cm high.
ISSUE 3sn WINTER 1996 oj. F'on£Ry N Au$'TRt\UA 17

Above: Delma Gilder
Slab forms.
Porcelain and lustre.
Right: Elizabeth Robson
Slab vase.
Earthenware. Underglaze decoration.
Below: Glenda Corbett
Slab form.
Stoneware/slips. gold lustre.
18 POTIERY IN AUSTRAUA + ISSUE 3512 WINTER 1996

Top: Vesna Majchrzak
EfW. 830 x 430cm.
Above: Judith Webber
Porcelain. 24cm diameter.
Right: Stacey Anderson
'Primal Forest'.
EfW dry glazes. 55cm.
ISSUE 35/2 WINTER 1996 + PoTTERY N Aus1RAuA 19

ALL PHOTOGRAPHS: R.AULSEBROOK
Top left: Jodie Entwistle 'White Dancers'
Coil built stoneware, satin/matt feldspathic glaze,
h40/26cm.
Top right: Jacinta Ivory Wall panel 'Walking to the
seventies'. Slab modelled relief, coloured slip/clear glaze,
earthenware.
Middle left: Joanne O'Loughlin Lidded boxes 'Modules of
the Macro/Micro World'. Slab built, carved relief decoration,
copper blue glaze, 1280· C.
Bottom left: Suzette Levette Teapots 'Bull Mastiff with
Afghan pup'. Wheelthrown white stoneware, underglaze
brushWOrk, feldspathic clear.
Above: Sarahjane Clarke Vases. Wheelthrown, stoneware
carved decoration, celadon.
20 POTIERY IN AUSTRALIA + ISSUE 35/2 WINTER 1996

Above: Ji Sun Lee
Stage 2.
Top right: Craig Hines
Stage 3.
Bottom right: Ann Hughes
Stage 3.
Below: Angelika Lantos
Stage 3.
ISSUE 3sn WINTER 1996 -I- PoTTERY N AusrRAuA 21

GYMEA COLLEGE OF TAFE
ymea College of T AFE is situated in the heart of the
GSutherland Shire. A short walk from the business
disuia and train sration. The Campus is easily accessible
with ample public transport and off street parking.
The CoUege offers Certificate and Post Certificate level
courses and is well equipped to accommodate throwing,
handbuilding, deSign, glaze technology and industrial
applications.
The Graduates continue to display a self sufficient and
professional level of attainment, many of whom gain
employment in the Industry and articulate to Diploma
and Degree Programs.
Resident full time teachers are Ross Webb, Lynda
Draper and Bumy Mitchell. The pan time staff are
praaising artists who bring to the college valuable links
with the artistic community and industry. A visiting Artist
Program is well established and known.
The College has an integrated Student Exhibition
Program, offering opportunities for the emerging artist.
Ross Webb
HUNTER INSTITUTE OF
TECHNOLOGY
The ceramics section of the Hunter Institute of
Technology has now joined the rest of the Art School on
Hunter Street, ewcastle. We now have close views of
the harbour and a newly renovated building.
A large industrial techniques room is fitted with the
latest equipment for mould making and slip ca~ting.
We nm the Diploma in Ceramics (3 days per week),
Certificate in Ceramics (1 day per week) and the
Certificate in Studio Techniques (J evening per week).
Helen \Vbittle
----------------------------------. ----------------------------------
LA TROBE UNIVERSITY
The ceramics course at La Trobe University Bendigo is
1 acknowledged as one of the best in Australia with
many of its graduates playing leading roles in the
national ceramics industry. Whilst the course emlxxlies a
respect for the historical foundations of ceramics,
students are encouraged to engage contemporary issues
within an environment that values individual thought
and expression.
The impressive arsenal of wood-rued kilns ensures a
focus unique to this regional institution. The visiting
artist programmes and workshops maintain the links
with the contemporary concerns of professional praaice.
The course is offered as a three year undergraduate
bachelor of Visual Arts (Ceramics) and postgraduate
offerings within ceramics include Bachelor of Ans
Honours and Master of Arts programmes.
Gany8isb
LIVERPOOL COLLEGE OF TAFE
A
t Liverpool T AFE students are able to study Ceramics
on a full time or pan time program. Students can
study the Certificate through to the Ceramics Diploma.
The courses are modular with specific projeas linking
technology and practical outcomes.
The 1995 graduating students produced a diversity of
fonns. Each individual Ixxly of work was the result of
self motivation and high quality teaching.
The course is not only about the abil ity to produce a
product by the learning of practical skills related to
domestic ware or sculptural forms, but encourages
students to promote future development and interest in
their own potential and cultural identity.
Amanda Hawthorn
22 POTIERY IN A USTRAUA + ISSUE 3sn WINTER 1996

Above: Anita Buggy
Intergrated form and surface. Mythology series.
'Pandora and Prometheus'. Buff raku clay, white slip,
copper carbonate wash, ceramic shards. 65cm high.
Right: Leonie Battisti
'The Bees' Knees Table'.
Extruded sections. 49cm high.
Below: Anna Choi
Sculptural piece. Extruded sections. Raku clay fired to
stoneware temperature. 62cm high.
ISSUE 3512 WINTER 1996 + Po1TERY N AusTRAlJA 23

Left: Andrew Wells
Below: Duncan Humme
24 POTIERY IN A USTRALIA + ISSUE 35/2 WINTER 1996

Above; Jennifer Mullet
Installation.
Landscape, memory, culture.
Bottom left; Peter Ries
Lustre vessel.
Gas fired lustre, 30cm high.
Below; Graham King
Soothsayer.
Fired in anagama kiln, 45cm high.
ISSUE 3512 W1NnR 1996 + PolTERY N AusmAuA 25

MEADOWBANK COLLEGE OF TAFE
In December 1995 Meadowbank TAFE Ceramics
Department ceased to operate and 1997 will see the
amalgamation of that department with Hornsby TAPE in
the proposed new ceramics building at Hornsby campus.
A fina l exhibition was held at Meadowbank in
November - December 1995.
MONASH UNIVERSITY,CAULFIELD
Monash University provides the largest and most
diverse range of studies in Clay and Glass in
Australia, as well as studies in Jewellery and
Metalsmithing.
Clay studies include traditional production techniques,
functiona l ware, sculptural ceramics, slip casting,
architectural ceramics, kiln building and decorative
techniques.
TIle Glass major offers Studies in hot, kilnfonned, cast
and flat or armitectural glass.
Metal studies provide a variety of techniques including
anodising of aluminium and titanium, contemporary
jewellery design and large hollow ware.
The Undergraduate degrees have a basis in technical
skill built around a strong conceptual emphasis and the
development of personal expression. Support studies
include Drawing Design, Art History and Materials
Technology.
Studio based research for Masters and Ph.D degrees
can be undertaken in a broad range of technical and
theoretical aspects of all disciplines.
Bernard Holert
---------------------------------- . ----------------------------------
MONASH UNIVERSITY,
GIPPSLAND
The Gippsland School of Art offers courses in BA
(Visual Arts), Graduate Diploma in Visual Arts, MA
by research and Ph.D.
The B.A is a 3 year course offering speCialisation in
ceramics as weU as sculpture, painting, ptintmaking and
photography. A feature of the course is the availability of
minor studies from this range in addition to the major
specialisation.
The Graduate Diploma is offered externally so
Students may enrol but continue to work from their own
studios. This professional qualification is ideaUy suited to
those wishing to take further sllldy with minimum
disruption to their lifestyle, over the two years part-time
Study. Some of the better known ceramicists in Australia
have undertaken rllis course.
The MA and Ph.D are suited to in-

Top Jeft: Judi Singleton
'Bird Dog'
Slab construction, engobes,
unglazed, 40cm high
Above: Bianca Morrison
'Tenements'
Slab construction, underglaze
colours and oxides, 52cm high.
Left: Nancy Taylor
'Llamas'
Slab construction, rubbed
engobes and enamels, 45cm high
ISSUE 3sn WINTER 1996 + f'onmy '" AusmAuA 27

Top: Amanda Durney
Three cups. White earthenware,
underglaze colours painted
under clear glaze.
Above: Maree Anderson
Thrown porcelain,
lustre and enamel.
Left: Jenny Lloyd
'Sheil'. Handbuilt terracotta.
28 POTIERY IN A USTRAUA -I- ISSUE 35n WlNTffi 1996

Top left: Jeanette Daffin
Udded containers. slip cast porcelain
Top right: Hilary Jones
Wood fired bottles
Below: Jeanette Daffin
Tableware stoneware
ISSUE 3512 WINTER 1996 + f'onERv N AusmAuA 29

Right: Erika Saffi
Frangipanni platter.
Terracotta EJW fired, underglazes.
Below: Debbie Abbott
Cylinder Ned
'Empty Armour'
Raku fired, 35cm high.
30 POTIERY IN A USTRAUA + ISSUE 3512 WINTER 1996

Top left: Carta Jackett
Plates made from a flop mould.
Earthenware with slip decoration.
Bottom left: Tamara Tuckley
Reduction stoneware.
Teadust with chun and
copper red glaze on glaze.
Bottom right: Paula McVicker
Sculptural vase form .
Thrown with press moulded applications.
Red earthenware with dry matt glaze.
ISSUE 3S12 WINTER 1996 + PoTTERY '" Aus1RAuA 31

NORTHERN BEACHES COLLEGE
OF TAFE
The ceramics section has expanded over the years and
now boasts an industrial processes workshop as well
as workshops for handbuilding, throwing and glaze
technology.
Our latest equipment acquisition is a 55 cubic foot, gas
frred, trolley kiln which will make the packing and firing
of large scale works much easier, especially for the
Advanced Certificate in Ceramics - Visual Arts students.
As well as excellent eqUipment and facilities we have
a dedicated staff consisting of full time teachers Terry
Kirk, Bruce McWhinney and Dianne Mclean and part
time teachers Chris James, John Edye, Berty Riddington
and Gail Johns (drawing), Technical Assistant Bill Kelly
and General Assistant Danni Barrett.
The courses conducted at the college are the
Certificate in Ceramics Studio Techniques, Certificate in
CeramiCS, Advanced Certificates in Ceramics and the
Diploma in Ceramics.
Applicants are sought for the new Diploma of
Ceramics commencing in 1997.
Dianne McLean
N . T . UNIVERSITY
ffering the follOWing: The Bachelor of Fine Arts: a
OFine Art course - the main focus of the course is on
sculptural, aesthetic and creative use of clay, as a
personal expression. Postgraduate studies are available:
The Graduate Diploma is 1 year full-time; Master of Fine
Arts is a 2 year full-time or the equivalent part-time.
The Associate Diploma - Ceramics Major, introduces
four Modules of study - wheel, handbuilding, ceramic
sculpture and production, moulds and tiles.
I
The second year sees a consolidation of skills and
techniques in one or more of these modules according
to individual direction. Largely self-directed, there is still
some set project work. In the fmal semester the student
undertakes an exhibition proposal in consultation with
lecturers.
Students may graduate as either design based
functional potters, or as ceramic artists/sculptors. The
course articulates to the BFA with up to SO credit points
of exemptions.
From 1997 a Design based award will be introduced
as a separate course to the Associate Diploma in Fine
Art.
----------------------------------. ----------------------------------
NOWRA COLEGE OF TAFE
Nowra TAFE services a long coastal strip between
Wollongong and the southern border of NSW. This
year the college has run three of the new modular type
arts and media courses. These have been conducted on
a part time schedule.
Certificate in Cef'dmics: is a beginners course in clay
forming techniques with some technical instruction in
the areas of ceramic materials, kilns, glazing and firing.
Advanced Certificate in Ceramics Studio Production:
covers the above areas but has several design and
drawing modules. ThL~ enables students to develop an
individual and creative approach to their clay based
work, and to evolve as artist potters. Also attention is
given to promotion and marketing.
A Statement of Attainment in Surface Treatment: this
course is run one day a week for a year and offers an
excellent opportunity for ceramicists working in the
industry to return to the structure of a course and brush
up on contemporary ideas and techniques.
ORANA COMMUNITY COLLEGE OF
TAFE, DUBBO
The College offers a full time Certificate in Ceramics
1 and this year has piloted a full time Aboriginal Art
and Craft course. Dubbo is one of three major centres in
the Western Institute.
The availability of these courses of full time study as a
local alternative to metropolitan colleges has seen the
enrolments climb. The well equipped studio provides an
uncluttered facility and the college environment is
supportive and friendly.
Recent improvements in facilities has seen the
building of an outside kiln facility and modernisation of
interior storage spaces.
A lower cost of living in the country adds to the
attf'dction of country centres and general facilities of the
dty of Dubbo are well appointed.
The course provides an excellent opportunity to
develop basic ceramic skills and an excellent portfolio
for future applkations. Graduating students have in
recent years been accepted into several Universities.
Nearby Gulgong has world renowned clay and glaze
materials available and there is access to a growing
wood flfing fraternity close to Dubbo.
Duncan Ratcliffe
32 POTTERY IN AUSTRAlIA + ISSUE 3512 WINTER 1996

Right: Rozanne Costa
Stoneware teapot.
Below: Keith Davis
Sculptural hand built form,
45cm high
Below right: Donald
Saywell
Salt glazed jug, 50cm high.
ISSUE 3512 WINTER 1996 + PoTTERY N AusmAuA 33

Above: Rachael Hilton
'Messages of Hope'
Salt fired , slips and sgraffito, 89cm.
Top left: Karen Bell
'Water Series'
Porcelain, celadon glaze, 21 cm.
Middle left: Suzy Gorham
'Boat Form'
Black fired, 45cm.
Bottom left: Catherine Phillips
'Visions of Antarctica II'
Low fired, terrasigillata, 73 x 28cm.
34 POTIERY IN A USTRAUA + ISSUE 35/2 WINTER 1996

Above: Sylvia Buckman
Japanese inspired lantern, 77 x 38cm.
Smoke fired 1000' C
Top right: Connie Harding
Jomon inspired planter, 60 x 36crn.
Oxidised 1210' C
Middle right: Sue Beattie
New Guinea inspired platter, 60 x 18cm.
Smoke fired 1000' C
Below: Sue Beattie
New Guinea inspired slab plates.
Reduction fired 1260' C
ISSUE 3512 WINTER 1996 + Ponmv N Aus1RAuA 35

Above: Tom Justice
'Head of Christ'.
Top left: Darren Jones
'Landscape'
Sprayed matt black steel stand.
Glass plane.
Middle left: Seton Kean
lForms'
Silicon carbide.
Bottom left: Karen Laird
'Original Sin'
White raku. Clay. raku fire.
36 POTTERY IN A USTRAUA + ISSUE 3512 WINTER 1996

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Above left: David Potter M.A. (Research) Vessel-untitled. Above right: Souriana Boukhalife 3rd year. Two vessels.
Below: Prue Venables MA (Research) Two jugs. 7.5cm x 12.5cm
ISSUE 3512 WINTER 1996 + POTTERY N AusrfwJA 37

PENRITH COLLEGE OF TAFE
Penrith College offers sound courses in professional
pottery training. Traditional techniques are prdctised
based on historiC'JI and contemporary artefacts.
Students are motivated to search for straightfotward,
natural and honest aspects of beauty in pots for everyday
use.
1995 saw the last groups graduating with the Ceramic
Studio Certificate and the first graduates of the new
Ceramic Certificate. Both full-time and part-time study
patterns we re followed as well as postgraduate
enrolments in 1996 for advanced throwing and clay and
glaze technology.
Penrith College Ceramics Department continues in the
pursuit of excellence and beauty in the ongoing training
of traditional pottery craft students.
Maureen Williams
RMIT
t""[1he Ceramics course at RMIT has trained and
1 educated many of Australia's leading ceramic artists
and educators.
Whilst the course recognises the important foundation
of tradition, its teaching emphasis is innovative. It seeks
to provide a critical and supportive environment that
nurtures independent thought and expression. The
promotion of individual creative growth is encouraged
through the investigation of both traditional and
contemporary ceramic processes and aesthetics. The
acquisition of a broad range of skills and technical
knowledge are combined with the development of a
keen understanding of history and theory.
The course is offered as a three year undergraduate
degree leading to a Bachelor of Arts in Fine Art with a
fourth Honours year available to students of distinction.
RMIT also offers a one year accelerated Master of Pine
Art (by course work), a Master of Art~ by research (two
years full-time or four ye-drs part-time) and a three year
DOctor of Fine Art (part-time only). TIle PhD by thesis or
project is also available. This is a three year full-time or
six year part-time research program.
Kevin White
------------------------------------- .
QUEENSLAND COLLEGE OF ART -
GRIFFITH UNIVERSITY
'"J"1he Bachelor of Visual Arts is a three year course. The
1 first year is a foundation year in which students pass
through six different media areas.
For their second and third year of study, students
choose a Major area of study. A fourth year of study can
be taken as an Honours year or Grdduate Diploma. A
Masters Degree course is also offered.
Over recent years there has been a decline in the use
of the vessel as a vehicle for expression and an
increasing interest among students in using clay and
other materials in experimental ways.
1996 is the first year in which the Ceramic Department
has been combined with the Sculpture Department. This
new course allows for students to work with ceramic
technology whilst also offering broader possibilities with
other materials and innovative conceptual approaches.
Lynda/ Moore
Johanna DeMaine Post Graduate MA
Vessel. Oval form, porcelainous clay, fired to
1300·C in oxidation, multiple lustre firings.
38 POTTERY IN A USTRALIA + ISSUE JSI2 WINTER 1996

Above: James Lamond
'Pig on a Spit'
Saggar fired.
21cm high.
Top Right: Tazuru Sakai
T easet. Slab inlay.
h30cm x 25cm.
Middle Right: Jane Gamble
Last porcelain forms.
Unglazed.
Bottom Right: David Scott
Faceted, wood fired.
12cm high.
Right: Hong Yoke Beng
Handbuilt drawers with
underglaze decoration.
50cm high.
ISSUE 3512 WINTER 1996 + Ponmv N AI.JsrnAut\ 39

Top Left: Nicky Oi Marco
Torso. 45cm high.
Pressmoulded earthenware, underglazes.
Top Right: Rosita Ramirez
Sculptural vessel. 50cm high.
Earthenware clay, terrasigiliata and oxides.
Below: Wendy Meeson
Mermaid jug and beakers.
Oxidised stoneware.
40 POTIERY IN A USTf\AUA + ISSUE lSI2 WINTER 1996

Top Left: Miltiades Kyriakides
150cm high.
Top right: Vanessa Walsh
34cm high.
Left: Prue Homidge
18cm high.
Above: Julie Bartholomew
110cm wide.
ISSUE 3512 WINTER 1996 + PoTTERY N AusTIwJA 41

Top: Marion Byass
Ovenware. 3Dem.
Above: Barry Norman
Jug and beaker.
Woodfired Shino, 25em high.
Left: Helen Knowles
Stoneware vessel. 5Dem.
42 POlTERY IN AUSTRAlJA + ISSUE 3Sn WlNTER 1996

Top left: Rachel Blythe
Island Vessel
Earthenware, slips and dry glaze.
Top right: Matilda Rooney
'My Daddy Lives in a Castle'
Dry glaze, earthenware.
Right: Kame McGregor
Celadon teapot.
ISSUE 3512 WINTER 1996 + PoTTffiY N AuslIwJA 43

ST GEORGE COLLEGE OF TAFE
t"f1he ceramics department is one of the longest
1 established in the State and currently offers 4 levels
of courses - from beginners through to advanced
(Diploma of Ceramics).
At all levels the courses are designed to encourage
and nurture srudents towards critical and independent
creative thought and expression. This is achieved
through a balance of both traditional and technique
based projects, and an exploration of contempora ry
ceramic processes, concepts and aesthetics. A strong
emphasiS is placed on sound workshop practice.
Srudents leam to develop surface treatments through the
theory and practice of glaze and clay technology. There
is also a strong emphasis on students packing and firing
their own kilns. Other complementary subjects include
drawing, design and ail aspect of professional pr;lClice.
In recent yea rs we have had a number of past
graduates from this and other technical colleges rerum to
upgrade qualifications or work towards improving
current work ancVor evolving new directions.
Terry W'ight
THE SCHOOL OF MINES AND
INDUSTRIES LTD - BALLARAT
Established in 1870 it has a long history in quality
education.
The ceramics facilities and equipment are new and
extensive and provide students with an ideal work
environment. The diploma of Arts-Ceramics course is
offered as a 2 year full-time program or can be
undertaken on a part-time basis. This program provides
graduates with the required skills and knowledge to
work in their own studios or within the ceramics
industry. Emphasis in the course is on high quality and
innovative applied ceramics.
Neville French
SYDNEY COLLEGE OF THE ARTS
t"f1his year Sydney College of the Arts has moved into
1 beautiful refurbished facilities on the site of the old
Rozelle Hospital. The historical sandstone buildings
provide an apt and spacious selling for the wide range of
studio options available to students.
For the ceramics srudent this means airy and bright
individual studio spaces, excellent workshop facilities,
plenty of room for kilns and easy acess to the many
va ried activities of the art College. The philosophy of the
College is that it encourages interdisciplinary studies
through a foundation program and access for srudents to
the full range of facilities, including new computer
technologies.
The principal aim is to develop the creative abilities
and confidence of the srudent and to encourage [he
development of individual practice. This is underpinned
with continuous development of skills as well as
thorough understanding of theoretical issues relevant to
the practice.
Students in ceramics learn a variety of skills
depending on their personal interests. This includes
handbuilding, th rowing and slip casting, firing
technology, including raku, black fire, low temperarure
salt, electric kiln technologies as well as high
temperature stoneware. Clay and glaze technology as
. -------------------------------------
well as kiln design and construction is also taught.
In addition ceramic srudents srudy the history of clay
work and contemporary developments, including critical
and theoretical issues. A dmwing program aims to help
students develop observational and 2 dinlensional skills.
A program of visiting artists and additional activities
assure a varied and stimulating program.
Studio staff in ceramics in clude Gudrun Klix,
Coordinator of Ceramics, MilsUo Shoji and Richard Tarrant.
GudnmKlix
New ceramics building with kiln shed
at right and courtyard.
44 POTTERY IN A USTRAUA + ISSUE 3512 WlNTER 1996

Top left: Delilah Van Wyk
T errasigillataloxides,
timber, 9Scm high.
Top right: Samantha Crosby
Underglazes, 17em high.
Above: Brenda Drurie
Terrasigillatalslips, SOem high.
Left: Andrew Shill am
Engobes, oxides,
glass, 68cm high.
ISSUE 3512 WINTER 1996 + Ponmv N Aus!RAuA 45

Top left: Sarah Evans
Egg Mugs
Slip cast, underglaze, 11 aaoc
Top right: Narelle Olm-Murillo
Jewellery box
Slip cast earthenware
Left: Belinda Bradley
Cone cups
Earthenware, slip cast, underglaze.
Below: Emma New
One Block Tea Set
Earthenware, slip cast and joined, underglaze.
46 POTTERY IN AuSTRAlIA + ISSUE 3sn WlNTER 1996

Top left: Joanne Phillips
'Vessel of the Soul '
Hebel blocks and cast glass, 60 x 40 cm.
Top right; Trevor Rodwell & Zofia Sieziak
Site-specific collaboration. Cement. glass
and light.
Right: Elizabeth Hill
'Childs play-down the beach'
Clay and glass. 40 x 85cm.
Below: Wendy A Hannam
Alter form • Future Ancient' .
Blown and cast glass.
ISSUE 35n WlNTER 1996 + PoTIERY N I\usTRAuo\ 47

UNIVERSITY OF BALLARAT
We have provided specialist art studies for decades
in which the degree and post graduate courses in
ceramics are widely recognised as areas of excellence.
We offer 'state of the art' facilities and an exciting,
diverse approach which is vocationally oriented. Equal
emphasis is placed on gaining technical competence and
on developing individual artistic vision.
In the first and second years students develop
technical and research skills. In the final year of the
degree, and at post-graduate level they engage in a selfdirected
program under the supervision of staff. We also
have a Visiting Artists Program which encourages and
allows students to work with renowned artists in a
diverse range of media, offering both practical and
theoretical art experience.
Our rural location allows students to construct and fire
kilns which are often restricted in urban areas.
We are proud that our specialist ceramics studies
course is designed to provide the skills, attitudes, habits
and insight essential for a career as a professional artist,
craftsperson or designer.
Peter Pilwn
UNIVERSITY OF NEWCASTLE
Ceramics is available as a major or minor area in
undergraduate study - Bachelor of Arts (Visual Arts)
or the new double degree - Bachelor of
Teaching/ Bachelor of Arts (Visua l Arls).Graduate
Diploma and now Master of Fine Art (by research) are
also offered.
The BAVA offers students a range of subjects to
choose from such as ceramics, sculpture, fibre art,
printmaking, draWing, painting, photography, Video, and
plant and wildlife illustration.
The ceramics area has extensive equipment allowing
for exploration of various forming and firing processes.
Students are guided through the maze of technical,
conceptual and aesthetic concerns by a body of
committed staff, all practising artists.
High levels of commitment and articulation are
expected from all students.
The University has its own on-campus gallery as well
as Watt Space, dle student art gallery located off campus
in the city offering students the opportunity to learn
exhibition skills, curating and gallery management.
---------------------------------- . ----------------------------------
UNIVERSITY OF NSW . COLLEGE
OF FINE ARTS
The College of Fine Arts came into being on January 1,
1990 following the amalgamation between the
former City Art Institute and the University of New South
Wales.
Building upon a proud reputation and operating from
its picturesque campus in the inner-city subu rb of
Paddington, the CoUege offers opportunity for study at
both undergraduate and postgraduate levels within four
Schools: the School of Art, the School of Art, History and
Theory, the School of Art Education and the School of
Design Studies.
At undergrdduate level students may enrol in either
the Bachelor of fine Arts, Bachelor of Art Education,
Bachelor of Design or Bachelor of Art Theory courses.
At the postgraduate level st udents may enrol in
masters degrees by course work or research or
undertake study at PhD level.
Grant Lu.scombe
UN I VERSITY OF SOUTH
AUSTRALIA
'"rile current four year undergraduate degree will be
1 replaced in 1997 by a three year undergraduate
Applied Arts degree and a one year Applied Arts
Honours degree.
The new course and its placement in dle School of Art
will allow greater flexibility and movement across
courses within the Faculty of Art, Architecture and
Design. The course will marty a strong craft ethos to a
sound theory base and new advances in technology, and
emphasise student centred and life long leaming skills in
an environment conducive to criticaUy reflective practice.
The body of work produced by the 1995 graduates
reflects the ongOing committment by the staff and
students of the Ceramics and Glass course to the
development of the creative individual with the ability to
critically reflect on their work, coupled with quality of
content, concepts and making.
Helen Herde
48 POTTERY IN AUSTRAUA + ISSUE )5/2 WINTER 1996

Above: Maria Keyes
Clock
Applied slips, saw dust, fired.
Top right: Jasmin Jacobson
Untitiled
Terracotta.
Bottom right: Wendy Schoenfisch­
Young
'Organic Forms'
Ceramic slipcast. Wood fired.
ISSUE 3sn WINTER 1996 + f'amRy 1'1 AuslRAuA 49

Left: Helen Williams
Porcelain raku, 13 x 9cm.
Bottom: Helen Williams
Raku fired , white crackle,
42 x 21cm.
50 POTTERY IN A USTRAlIA + ISSUE 3512 WINTER 1996

Top left: Ambra Perry Untititled, 70cm.
Top right: Belinda Stanko 'Remains 1', 70cm
Below : Jodie Calcina 'Joan of Arc at the Stake', 1.1 m.
ISSUE 3512 WlNTER 1996 + PoITERY N AI.JsTRAuA 51

UNIVERSITY OF SOUTHERN
QUEENSLAND
The Bachelor of Visual Arts course is a three year full
time course offering majors in ceramics, sculpture,
textiles, painting, printmaking and drawing. Students
enrol in Visual Arts Practice, Visual Arts Theory, Studio
Project and Cu ratorial Studies units. They are
encouraged to explore the inter-relationships of mixed
media across the discrete studio areas.
Ceramic students learn clay and glaze technology,
forming processes, kiln designs and firing methods,
history of ceramics and aesthetics. The study is
underpinned by visual arts theory and regular studio
critiques. Through development of concepts students are
encouraged to be innovative and self motivated. An
exciting curatorial programme allows students to curate
exhibitions on and off campus. The studio has a variety
of kilns including wood, electriC, gas, raku, and salt
fired . In 1997 students will embark on a major wood
frred kiln building project.
Upon completion of the course, students are able to
continue with the BA (Honours) with a visual arts major
and a degree of Master of Philosophy or other post
graduate studies in the arts.
Alexis Tacey
UNIVERSITY OF WESTERN
SYDNEY,MACARTHUR
Ceramics is offered within the Faculty of Arts and
Social Sciences on the Bankstown campus. The BA
(VA) is a general arts degree designed to develop the
expertise and creativity essential for visual arts
professional practice.
Ceramics may be studied at the Foundation level (for
1 year), as a minor study (for 2 years), or as a major
study (for 3 years). The ceramics area is new and
comprises three studios (one for each year), a kiln area,
glazing room, clay and dry materials storage, and a
laboratory. The area is well equipped with modern
computer controlled gas and electric kilns and a range of
equipment to assist students.
The philosophy of the staff emphasises the need for
students to undertake a structured and systematic study
so as to develop skills and knowledge in the craft,
science, technology and aesthetics of ceramic materials
and forms of expression.
The ceramic studios host a Graduate in Residence
which allows for a graduate from the previous year to
establish a studio within the ceramics facility. In return,
the graduate in residence undertakes to contribute to the
undergraduate program formally and informally.
Dr Denis Whitfield
---------------------------------- . ----------------------------------
WESTERN AUSTRALIAN SCHOOL
OF ART AND DESIGN
r-phe Diploma of Art and Design (Studio Ceramics)
1 provides students with all the essential skills and
design experience required to establish themselves in
professional practice.
This comprehensive course involves the development
of advanced throwing and hand building ski lls
accompanied by mouldmaking and slipcasting
techniques. Units of design and drawing contribute to
the expansion of ideas whi le ceramic technology
provides extensive knowledge of day, glazes and kiln
construction and operation. TIle study of art history and
Ule history of ceramics as well as craft business practice
complete the course.
The ceramic studios are spacious and well equipped.
Final year students are provided with a home room and
personal working space. A wide variety of kilns provide
students with a broad experience of firing practices and
the opportunity for experimentation.
Apart from further tertiary studies, graduates from this
course have successfully established themselves as self
sufficient studio potters and many are prominent ceramic
artists.
Helen Manson
Above: Marie Granquist
Dry gtazed bowl, 15cm
52 POTTERY IN AUSTRAUA + ISSUE 3512 WINTER 1996

Top left: Adrian Martin
Lustred trifoil bowl, 2Ocm.
Top right: David Shaw
'Entwine'
Dry copper glaze, 55cm.
Middle left: Lauren Officer
Textured low fired platter, 43cm.
Bottom left: Nick Webster
Raku fired teapot, 30cm.
Above: Nathan Bray
Salt glazed textured vessel, 55cm.
ISSUE 35(1 VVNTIR 1996 + PoTTERY N AusrnAuA 53

Perfect Match
A unique opportunity for vocational ceramics training has been established in the Bendigo area.
Article by GEOFF MADDAMS.
Bendigo is a region steeped in
pottery history and renowned for
conremporary ceramics training.
A partnership has been developed between the Bendigo
Regional Institute of TAFE's (BRIT) Diploma of Arts -
Cemmics programme and the Bendigo Pottery.
TAPE training has always been associated with industry
needs and directions, however, this direct marriage of
College and Industry; particularly in a Vocational Arts
progmm, is seen as very special indeed.
Having 'outgrown' our city site block and seeking a source
of more meaningful industry links, I approached &>r1digo
Pottery's management, Peter Faulkner and Russ
Porter, in September 1995. My proposal was to
deliver our Diploma of Arts-Ceramics and
Ceramic Sculpture programmes from the
Bendigo Pottery site. Their encouragement
was instant, we are now delivering our
programs from Bendigo Pottery.
Moving a 15 year old program some lOkms to
the new site encased the project in a
'pioneering spirit', cementing and impowering
rhe student and staff body with newfound
energy and excitement. 'i11is is akin to the
spirit we aU have as poners of trialing anomer
glaze, altering a firing parrem, e}'1cnding a flue
or distoning a form in order to experiment and
explore new ground. This new found sense of
space and freedom has been profound.
Operating the prograrrune amongst Bendigo
Porrery's produaion offers immense benefits to
both partners. Students are able to view and
use such mechanical forming equipment as Ram
Presses, Jigger;Jolly's and slipC'd5ting trains enabling
large numbers of pieces to be produced.
In our Design/ Drawing modules for example, we
envisage students will be able to decorate/deSign many
vessels, ioste'ad of the few that have ix.>en manufactured in
the past. This will no doubt improve all associated skills
and knowledge of these areas. Large kiln capaciry will
ensure rapid turn over of all pieces; thus encouraging a
realistic production atmosphere.
The on site nature of the College will have cross
flow benefits to Bendigo Pottery's employees
and management. Peter and Russ are keen
to encourage/ support the idea of a
resident design team. With College
support we are envisaging student
designed work taking pride of place in the
Pottery's showroom ill future.
One hundred and tlliny eight years of kiln
history, on site from tile first wood fired borrIe
kilns to the latest teclmology in gas fired, fibre
trolley kilns, allow students rare
opportunities. The kiln studies group has just
completed a small gas fired down draught
brick kiln of sptung arch design. A 1911
wood fired Circular Kiln will be the heart of
the outdoor kiln facility with plans for a John
Neely type wood fired 'trdin kiln' and a
wood fired muffle kiln to explore and
develop lustre approaches.
54 POTTERY IN A USTRAUA + ISSUE 3sn WlNTER 1996

The move to the Pottery has also addressed another
concern. Governments/State Training Boards whilst
demanding quality outcomes are pushing for greater
economies in Vocational An training. These economies are
being met by cutting total course hours. Modules have
been cut and in my view this is disadvantaging students.A11
past graduates seeking employment gained positions in the
industry via the Work Experience Module. Delivering the
program from the Bendigo Pottery gives the students a
'work experience' atmosphere every day. We are also
envisaging the prospea of students being employed by the
Pottery. Pottery management believes in the potential of
trained personnel and sees employment opportunitites
both during the course and on completion.
The facility space and layout is ideal to create 'Anist in
Residence' studios and to develp a workshop program.
I'm reminded of Bill Derham, Managing Director at
Bendigo Pottery in the 19705. He stated when prefacing
Paul Scholes book Bendigo Potte/y, 'Being employed at the
Pottery is not just a job, but a complete involvement in the
expansion of a tradition, which, I'm sure, will be carried on
by many people to come and perhaps Guthrie's dre-dm of
an Australian ETRURlA, may be fulfilled, to match the
efforts of that magnificent band of staff and employees of
the past, the present, and we expect, in the future'.
BR1T's involvement in Ceramics training and Bendigo
Pottery's progressive, positive, future planning will see this
relationship blossom for many years. 00
Above: Geoff Maddams (staff) Spherical form with
applied decoration. post fire reduced . 30 em.
Below: Kerry Punton (staff) Music box and clock.
maiolica. 2Ocm.
Opposite below: Angus Robb (student, 1 st year)
F'9urative form (handformedl· Midrange:
cone 6 oxid. firing. 60 em.
Opposite top: Neil Patterson
(student, 2nd year)
Thrown. carved
teapot. Cone 10:
reduction firing.
celdon glaze.
Geoffrey Maddams,
Head of Ceramics, Bendigo Regional InsUtule of T AFE.
ISSUE lSI2 WlNTER 1996 + POTTERY IN AUSTRAUA 55

REVIEW
This short exhibition followed the graduating student
exhibition at the campus Cell Block , and was
distinguished from it by the inclusion of work of
sixteen staff members and selected pieces of first and
second year students.
The exhibition included irtSrallatiortS, floor pieces, wall
pieces, rabies, extravagant bathroom fittings, as well as a
broad range of domestic ware. Every genre of ceramic
practice was represented. It is clear that individual creative
expressions, ambitious exploration, and craft skills are
underlying principles of the teaching programme. The
impact on the students of the respected and renowned
practitioners of wood, salt and soda firing , of truly
extraordinary casting, the exponents of luscious rich/ or
dry matte glaze surfaces and of cross media conceptual
exploration could easily be felt. The exhibition showed
their committment to high standards of creative and
technical practice and the free flow of ideas.
Of the graduating student work Karen Smith's Shards I
and II won her the Sydney [rtStitute of Tedmology East
Sydney Campus Award of Excellence, the top student prize
from the school. She exhibited massive clay and glass
objects reminiscent of giant industrial tools, highly
weathered and of such a hybrid nature that their purpose is
unfathomable. The award included materials and an
exhibition at the Mura Clay Gallery in ewtown. This will
56 POTTERY IN AUSTRAlIA + ISSUE 3512 WINTER 19'i6

occur June 14-20 1996 and should be interesting viewing.
Mira Waidelich's installation playfully integrates plastic,
synthetiC fur, wire frames and brighuy coloured fused
ceramic, actually a low temperature paste ftrst used by the
Egyptians. Mira has taken it to extremes by melting it
through wire frames to create delightful but enigmantic
objects such as blue footprints melted into a wire man and
clay candy love heans sewn into a clear plastic towel: all
images of joyful entrapment.
Helen Lemke exhibited large wall mounted clay
mandalas one of which consisted of radiating terracOlta
tiles bearing the footprints of a rhythmic circular dance or
the time honoured foot wedging ritual. This piece had a
strong kinaesthetic resonance.
Robert Charlebois showed parr of an
exuberant bathroom setting consisting of
an energetic.1l1y decorated pedestal basin,
toilet and matching floor tiles, all ripe for
industrial application.
Andy Goodfellow's work won him the
TAFE Diploma of Fine Arts (Ceramics)
State Medal. His shino glazed tea pots
were elegant, finely balanced and
beautifully executed constructions of
altered thrown forms, sprigged decoration
and unusual but inviting wooden or
copper wrapped handles.
Stephanie Hayball's installation
resembled hanging spinal cords with
delicate traceries of texture.
Christine Wallace's monumental
construction titled "Portal of Dreams" was a
disturbing vision.
Imagery in tiles was explored by
Elizabeth Daun with wall hung mosaics
and Jane Calthorpe working with paper
clay in the furniture genre.
Annette Abolins exhibited large loosley
decorated plates and Andre Quintan,
interesting vases.
As it should, the student work challenged
all the boundaries of material and
presentation. Much of it was adventurous
in conception, if not always in resolution.
The presentation strategy of the exhibition
was an invigorating alternative away from
the ubiquitous plinth onto the floor and in
the air, literally for some of the work.
Working with a professional gallery director to install the
work at Artspace would have been an important
professional practice experience for all the students.
This was a positive show of strength from a school
sorely stressed by the debate over the National Art School
and the place of ceramics in it. The recent announcement
by the SW Government to initiate the process for the
creation of an independent National Art School, with
ceramics, means one chapter of an important history is
coming to a close and a new chapter beginning. in the face
of this challenge, students and staff have energetically
assened uleir conunittrnent to clay. 00
ISSUE 3512 WINTER 1996 + POITERY IN AusTRAUA 57

Education & Industry
The second year students of the Associate Diploma of Arts - Ceramics course at the
Loddon Campaspe College of TAFE in Bendigo, took part in a Working Craft Fair and exhibition
in Daylesford during 1995. Repcrt by KERRY PUNTON and GEOFF MADDAMS.
With staff instruction and assistance the group of
students designed, produced and marketed their
product. The project involved the course subject
areas of Small Business Practice, Design, Clay & Glaze
Technology, Studio Practice and Kiln Studies. The method
of production was jigger/ jolly and a Co-operative was
fomled called the 11 Jolly Jiggers.
Using existing College moulds, three forms were
concentrated on, pasta bowls, small rice bowls and dinner
plates. After experimentation, three designs were selected.
Students experienced all areas of production. In eight
weeks they bad researched, experimented and produced a
professional product.
A working Co-operative has its difficulties but these
students were not forming a Co-operative from any
ideological standpOint, but rather as a pan of their
curriculum. Considering the task, comitlmenr was good
with many of the part time stlldents being involved more
than their normal hours. A further incentive was that
students would receive a dividend of ule overall profit.
The bowls and plates were made from Bennetts terracotta
clay. The outsides were coated with Bennetts terrasigillata
slip and decorated inside with coloured slips and clear
glaze. For efficiency they were rJW fired to 1100°(,
A Rotary organised annual Working Craft Fair and
Exhibition provided the venue. Staff and studenl~ worked
on the stall and demonstrated uleir skills. The T AFE College
received good promotion but sales did not cover production
costs. Bad weather played its part in Ule poor attendance
and sales. However, the students were committed to their
product and SO organised another sale on Campus. This was
well advertised and was a great success. The Co-operative
was dissolved and a dividend paid to each member.
Remaining stock was shared out equally.
The process was considered successful, particularly in
terms of educational learning. The on going etfect is still being
seen in the quality of students work and their appreciation of
craftspeople making a living from uleir ware. 00
58 POrrERY IN AUSTRAlIA + ISSUE 3512 WINTER 1996

BOOK REVIEW
"Pottery, People and Time"
by Alan Caiger-Smith
Published by Richard Dennis
1995. RRP $68.
When I first heard that a new
book by Alan Caiger-Smith
was in progress, the time
could not come around soon enough
for its release. I had high expectations
based on his other books, including
the definitive text "Lustre Potte!)", and
'Tin Glaze Pottery in Europe and Ule
Islamic World", memorable for lines
such as "lustre has the same power as
jewels and women to awaken inmlOderate desire". Caiger­
Smith not only knows his subject matter, but conveys his
passion and intensity to the reader.
After acquiring this latest effort I was jubilant about what
I had just read. Caiger-Smith has just published one of the
most important books ever written in this field, with an
appeal well beyond the potting community. Its prose is
presented like a personal journal, chapter building on
chapter to provide a thorough and thought provoking
account of his life as a potter.
Caiger-Smith's experiences are set partly in that most
unique environment that was Alderrnaston Ponery, a Mecca
for potters from all over the world. Though the pottery
sadly finished production in '93, its influence has remained
with Caiger-Smith, who is still working as harrl as ever.
As r read this book I discover myself yelping with joy
and pondering over things just casually mentioned. Caiger­
Smith has put his heart and soul into this book, which he
apparently financed himself. The writing is managed in
such a way um we can hear his foot-steps and that of the
characters, from Madame Waffiya Izzi "in all respects the
largest laely I had ever met, and ... generous in equal
measure: to EI Sadr, whose "face was powerful and
deeply lined and his dark eyes glowed". We can smell and
feel Egypt, to the slightest details of "a small child and
some hen scratching in the dust," or feel the quiet terror of
being lost in a fog in Cornwall, with the cliffs and old
mines waiting to swallow us up.
The smell of Edgar Campden's pipe permeates the
pages, while we share the rhythm of cutting and stacking
willow for the wood kiln. But through all the settings and
characters, Caiger-Smith's love affair with day remains
POTTERY. PEOPLE AN D TIM E
Abn Ca'ier.Sm,th
central. In talking of the death of a
close friend and fellow potter,
Michael Cardew, he draws a poignant
analogy with clay spinning on a
whee l, where ' whatever form it
assumes, there is a central point that
does not move". Caiger-Sm ith
entertains the reader with the joy of
bringing his latest creations in ide
next to his bed "so that [ could touch
them before sleeping and see them
the moment I awoke". Most poners
would recognise this pride and
pleasure in one's own creations, but
few of us would express it so c1twly
or openly. This is the chann of the book; the attention to
detail so lacking in other publications which gives this
book its heart and pulse.
Caiger-Smith ta lks about the mistakes; the initial
blunders, the humiliation of being ripped off, the chance
casual comment that fires up the imagination and provides
the imperus that evenrually fills the coffers. An example of
this is the story of the 'Gipsy Pots' which makes one think
seriously about striving for that better product.
Straightforward practical matters such as how to correctly
price work and marketing yourself in a more professional
way are addressed in a highly readable way.
Unlike many texts by experts in the field, Caiger-Smith
manages to convey his wealth of knowledge with humility
and honesty. TIle book should appeal to anyone who is
interested in journeys of discovery; for there is a mystical
quality that makes it more than just an account of one man's
craft. This latest book is a small but important testimony to
a ere-dtive artist and the movement of which he was a part.
In looking back on his initial attempts to master lustre,
Caiger-Smith refers to classic Irish wisdom "If I'd told you
how far you had to go you'd never had the heart to go on -.
TIle same chapter concludes With Caiger- mith comparing
this slow growth towards understanding and mastery of a
skill to all other life experiences, where "no-one can see
tile whole distance in advance and we have to tackle it in a
kinder way, week by week and moment by moment". For
its gentle philosophy as much as for its wealth of
knowledge, this is a most remarkable work. 00
2t2 pages, colour and b/w. Available from Anisan Craft Books.
Review: Trevor AbrJham
ISSUE 3512 WlNrER 1996 + POITERY IN AUSTRAlIA 59

BOOK REVIEW
The Art of Peter Voulkos
by Rose Slivka and
Karen Tsujimoto
Kodansha International in
collaboration with The Oakland
Museum.
'A
Rrp $122.95
contemporary of the
mainstream artists of the
New York abstract
expressionist school, Peter Voulkos
emerged in the fifties as the first
ceramic artist ro move hi clay forms
from a functional context into the
world of deep personal expression.
Working intuitively widlin his medium,
Voulkos created an asrounding body
of heroic and precedent selling
ceramic sculpture rhar quickly gained
him national and international
recognition: (cover).
Unfortunately I did nor see Peter
Voulkos during his visir ro Australia
although I saw several of his pieces at
the Art Gallery of NSW last year. There
is no doubting the power and
spontenaiety of them. They re'dffirmed
a feeling I had when first seeing
pictures of Voulkos' work twenty years
ago - pktures that were a loud invitation to 'go for it' in an
uncomprinlising and fearless way. His style represented a
new frontier to explore, a challenge for both artist and
material.
This book is produced in conjunction with The Oakland
Museum's exhibition showcasing Voulkos' wood fired
ceramic sculpture of the last fifteen years.
It is a large format publication with an enormous
number of generolls colour and black and white plates
Ulat allow the viewer to almost feel the work.
Rose Slivka writes about the artist and his work, tracing
his development from the forties. There is a wonderful
composite description of a workshop - a piece of theatre
where the power of the material and the artist reign
supreme. This is not just a visual spectacle but a feast for
the mind with his ability to express feeling. 'I think
working in clay is very demanding ... The minute YOll tOllch
a piece of clay it responds. It's like music - you have to
know the structure of music and how ro make sound
before you can come up with anything' (p60).
'Technique is probably the most difficult tool ro master,
because it is necessity but can so easily become an
obsession. Nothing can drown out new ideas as fasr as an
obsession wirh technique. Technique is nothing if you
have nothing to say' (pIll)
Karen Tsujimoro writes about the wood fired work of
Voulkos. She describes his physical and metaphysical
journey through this technique. Both writers capture a very
StrOng sense of the man, his processes and his work.
This is a book that will satisfy art critics but also makers
of clayworks. It has a very 'hands on feel ' which is, of
course, absolutely appropriate when describing Peter
Voulkos and his work. Q9
Available through McGills Technical and Specialist Bookstores Brisbane
Review: Sue Buckle
60 POTTERY IN AUSTRAUA + ISSUE 3512 WINTER 1996

PRODUCT UPDATE
Deco Decorator Colours
A new range of underglaze colours developed by Marc Sauvage.
Report by JESS GIBSON
When Marc Sauvage
reluctantly put his surfboard in
the family shed and entered the Penh
Technical Coliege to concentrate on a career in the arts (he
graduated in 1980 with a Diploma of Advanced Ceramics),
he was not to know that he would be embarking on a
passionate affair with colour which would influence the
future direaion, not only of his attitude to the making of
clay objeas, but his professional studio pmctise.
The College curriculum did not satisfy his fascination
with colour and so
he continued his
own research.
Having completed
a third year project
researching American
stains, Marc continued
to rcad everything
available developing
the basic ground
work laid by his
'legendary' Chemistry
tcacher, Mike Kusnik.
He imported raw
materials, investigating,
testi ng and
recording. The out-
come was to establish
Marc as one of the foremost colourisl5
working in the ceramics industry in
Australia and an authority on the application and use of
colour on clay.
Since graduation Marc has been invited to exhibit cacll
ycar in New Zealand and every State in Australia. Major
surveys, group and solo shows have kept him busy and
his work colienable. His work has been acquired by every
public institution, induding the Parliament House,
Canberra, Colleaion.
A consummate
thrower with meticu
lous attention to
derail, Marc's desigflS
Top: Marc Sauvage. Cups SlilX8Sl assembled, glaze Cesco clear 85223.
1100 0 eIectic kiln. 11Ox13Om1.
Above: The Deco Decorative colours. EarthenNare ard store.vare fired.
are distinctly
Bauhaus but entirely
individual. He has
also perfected slip
casting undaunted by
the multiplicity of
moulds to achieve
crea ti ve vesse Is on
which to use his wide
palette of colour.
(n 1985 the
Queensland Potters'
ISSUE 3512 WINTER 1996 + POmRY IN AUSTRAlJA 61

Above: Jess Gibson, 'Mad Hatter's Tea Party' Teapot siipcast, glaze details hand -painted, 1200" electric. 120 x 22O'nm.
Below: Raymond Park Community Project, facilitating artist Stephanie Outridge Field, Claypave Pty. Ltd.
Pavers handpainted and scrafitto, unglazed, 117lf gas kiln. 240 x 11 Omm x 500 tiles.
This was a Brisbane City Council initiative involving Jobskills, East Brisbane Primary and St. Josephs Primary Schools
Association offered Marc a year's residence, knowing he was
relOC'Jting to Brisbane. He tutored workshops in all aspects
of clay and the culmination of the year was a solo exhibition
of over one hundred pieces which sold out in 20 minutes of
the opening.
His influence on many of Queensland's
leading ceramic artists was evident, and in
1988 he joined the staff of South Brisbane
TAPE, now Southbank TAFE, where he
still tutors part-time.
Most recently Marc has been
formulating and producing his own
range of liquid underglaze colours -
'Deco Decorative Colours'.
To omlay large sums of bulk imported
materials was a big comminment and a cash
flow nightmare, however, this was achieved without
fmancial assistance. It has taken Marc one very intensive year
to reach the final bottling stage with the fmal rounds of tests.
A wheelbarrow load of test tiles and a very large notebook of
recipes is testament to the long hours perfecting the colours
now offered as the range, 'Deco DL"Corative Colours'.
Marc was himself fully responsible for the development
of the colours, his wife Elaine responsible for the
packaging and distribution. Currently the exclusive agents
for these stains are Pottery Supplies in NSW. The range
includes thirty colours with very Australian sounding
names such as wattle, bluegum etc, and a choice of sizes
from a trial kit to one litre.
Technical Notes
Deco Decorative Colours are a blend of
ceramic stains, clay, fluxes and medium,
milled to give good results in a range of
applications including wax and latex
resist, sponging, brushing, airbrushing,
trailing, inlay sgrafitto, and screen printing.
Temperature: The colours are designed
to give successful results over a wide range
of firing temperatures from earthenware to
stoneware. At lower temperatures the colours are
more opaque and pastel, changing in intensity as the
temperture increases. Whilst optimum results are achieved
in the 1150-1250°C owing to the fugitive nature of cllrometin
pink stains however, the colours containing this base
(DUOS Mauve through to DUl2 Flamingo) are the
exception and are not as reliable at this lemperature. faster
fIring to a slightly lower temperature with a half hour soak
62 POTTERY IN AUSTRAlJA + ISSUE 3S12 WINTER 1996

Above: Wendy Hatfield, Witt 'Red Berries'
Mugs thrown handpainted Cesco clear stoneware, 1280°c oxidation. 110 x 11Orrm.
Below: Beverley Butler, 'Banksias' (detail)
Plate jigger jollied, hanpainted and screen-printed, 1200° cone 5 gas kiln reduction.
can improve the survival rate of these colours. At all
temperatures a soak of half to one hour is recommended to
clarify the glaze, especially over the darker colours.
Aunosphere: Most ceramic stains require a clean, oxidised
atmosphere to achieve their full strength and brilliance.
It is therefore recommended that the Deco range
of colours are only fIred in oxidation as some
of the more sensitive yellow and pink based
colours are adversely affected by
reduction.
Glaze: Whilst underglazes can be left
unglazed for a dry malt effect, a clear
glossy covering glaze will greatly help to
develop full colour intensity. Most of the
colours will work well under any de-dr glaze
but the sensi tive chrome-tin pinks (DU08-12)
! prefer glazes which are zinc free and contain
'" approximately 10% whiting (or the equivalent
~ calcium substitute).
Mixabillty: The range has been developed in a clay base
fii
>- to provide opacity and properties of flow and adhesion.
~ Owing to the incompatability of some stains (again the
chrome-tin pinks and mauves) a flux base was developed
~~
to carry these colours. These pinks and mauves can be
mixed with each other but should not be mixed with other
colours as bum out or white sporring can occu r. All other
colours are intermixable.
Application: Deco colours can be applied using a wide
range of techniques. For a flat, opaque, streak free
effect, 3 coats should be brushed ont o
greenware, preferably in opposite directions
with the first coat wate red down to
increase the flow. The colours need to
be diluted for airbrushing (2: 1 colour to
water - approx) with several coats
applied for colour strength.
A well laden brush is necessary for
one stroke brush application to retain
colour intensity.
Many of the colours are su itable for
majolica or in-glaze work but need to be applied
thinly as the high clay base can cause a matting effect or
crusty build up. A 10-20% addition of a frit such as #4508
will help overcome this. 00
Jess Gibson divides her interests between her studio practise,
decorating low fired slipwdre and working as a freelance craft writer
and curator, presently for Savede G-Jllery, Brisbane. 073 262 2296
ISSUE 3S12 WINTER 1996 + POTIERY IN A USTRALIA 63

TECHNICAL UPDATE
Urban Anagama
A detailed plan of the building of Martin Beaver's wood fired kiln.
As they say 'where there is a will there is a way' and
the seemingly incongruous location of the anagama
kiln referred to in the first part of this article
certainly adheres to this proverb. Living in the Ceramics
and Sculpture courtyard of the University of Melbourne is a
seemingly out of place beast. The beast being 'Martin
Beaver's Urban Anagama' a fitting name for the kiln and
tenn of endearment coined by guest lecturer jack Troy the
noted American wood-fire potter.
Geographically the University of Melbourne is placed at
the northern edge of the CBD. Fitzroy, Carlton and
Parkville comprise it's adjoining boundaries. The Ceramics
and Sculpture courtyard opens straight omo busy Grattan
Street and from the courtyard it is quite common to look
out and see passing flotillas of international tourists in large
coaches taking in the sights. japanese tourists in particular
are surprised when they look into the courtyard and see a
living, breathing, contemporary version of a traditional
japanese anagama kiln, happily cohabiting with all the
higgledy-piggledy high tech trappings that constitute the
CBD.
The kiln has been the catalyst of many important
outcomes. For example there are recent success stories
such as those of Libby Packard and Kirk Winter. Both are
students of the anagama and have been winners of the
Walker Award. Pickard is currently living in japan and
working for a sensei in a Mashiko based pottery. Winter is
working for the potter Toshiaki akuma who is also based
in Mashiko.
TIle kiln has also been the genesis of some international
afftliations, for instance in ]995 the noted AmeriC'dn potter
jack Troy was guest lecturer and potter in residence for a
wood-fire workshop, 'Fireside with jack'. The workshop
was inspirational and educational, Jack's proverbs and
anecdotes were an added bonus.
Anagama traditionally means tunnel kiln and evolved
from very early kilns that were simply tunnels dug out of a
river bank with a verrical exit flu. There is no strict set of
defmitive rules or guidelines when building an anagama
and this is what Beaver initially found so appealing. Owen
Rye states ... "You build the kiln first and then figure out
how to fire it."
The courtyard anagama was built on a concrete slab as
opposed to the traditional format that involves digging
64 POTTERY IN AuSTRALIA + ISSUE 3512 WINTER 1996

Anagama Kiln An artist's impression
Dimensions
Chamber length 250 Door (intemal)
Firebox length 100 Rue
Steps 75 Chimney (internal)
50hx55w I Stokeholes 55h : 35 apart
35h x 40w x 60L
35x35
below ground level foundations that act as a natural
buttress for the walls. As this wasn't possible Martin's kiln
is fonned on a catenary arch instead of a round arch. The
whole kiln is a fire-box chamber and a flue, mles that are
applicable to more conventional kilns don't apply. For
example: the dimensions of the fire box in relation to the
setting space or chamber aren 't dramatically imponant,
even the height of the flue is really only dictated by
whimsy. The flue on the courtyard anagama had to be of a
height so as to be taller than the courtyard wall, a
precautionary consideration only. The shape of the kiln
and the height of the flue will affed the behaviour of the
flame but effectively any sufficiently insulated tube of
briCks that draws upward and has enough stoke holes in
the fire-box to supply fuel will give you a fired result.
Even the fuel doesn't have to be a panicular rype of
wood. The courtyard anagama is often fired on discarded
milled timber gathered from around the inner City. Each
piece of wood being gathered, begged and borrowed ['m
sure could tell its own story.
Traditionally the kiln should resemble a flame path, that
is being wider at the front and tapering towards the fl ue.
The whole atmosphere or environment in which the firing
will eventually take place should be conducive and part of
the whole process.
THE LAYERING TECHNIQUE
The dimensions of this particular kiln were based on the
courtyard anagama. The pictorial illustrations of the
anagama kilns illustrated in Jack Troy's book "Wood-Fired
Stoneware and Porcelain" were also helpful.
Jack Troy, Martin Beaver
ISSUE 3512 WINTER 1996 + POTIERY IN AUSTRAlIA 65

• Figure 3
The kiln bricks are then layered over the bamboo former.
Mortar was a mixture of fIreclay and local beach sand. Try
to avoid comers, comers obstruct the flame path .
• Figure 1
A basic premise of the anagama kiln design is that it mUSl
have a sloping floor, therefore this type of kiln is usually
built on a hill. This particular kiln was buill on very Ilat
land, consequently the foundation levels had to be
'stepped up' in order for dle kiln to draw properly. Apan
from the foundation level the whole kiln was made from
dense fire-hricks. The first floor layer need not be kiln
brick and in this instance red brick was used. The size of
this kiln was limited by the type and number of second
hand bricks the kiln builders could afford to buy.
• Figure 2
Once the floor was down an arch former was constructed
from gathered materials consisting of conifer branches and
bamboo tied together with string. Note: one piece of hamboo
gives a lopsided arch, to overcome this it is necessary to bind
• Figure 4
As was the case with this kiln, available arch bricks came in
handy, and helped create their own curve. Don't despair if
you can't access any, aU you need 10 do is make your layer
of mortar thicker on the outer extremities of your straight
bricks.
Bricks meet at the top of the kiln in a herringbone
pattern. The circular flue was based upon information from
a paper by Peter Thompson. Supposedly you get betler
66 POTIERY IN AUS11WJA + ISSUE 3512 WlNTER 1996

draft, also all the bricks being second hand were a mixture
of arch, standard and circle bricks and there was no where
else to use the circle bricks,
The speed of the dmw will affect the markings on the
pots, the slower the draw the more subde the marks, if you
have a fast draw, instead of marks being surrounded by
lazy halos you will have comet like marks streaking across
your pots, TIlUS the equation is : short flue = slow draw,
ta ll flue = fast draw,
mixing up a castable slurry, in this case of locally dug clay,
sand, straw, sawdust and a half a bag of builders cement,
This mLx is rendered to roughly the thickness of a brick.
• Figure 7
Lastly the door of the fire mouth does not have to be a
complex affair. After loading, the usual procedure is to
brick up the ftre mouth leaving a small stokinglbumer pon
at the bouom and a larger stoking area at the top,
• Figure 5
Don't forget to include side stoke holes, these ones were
made from thrown cylinders,
• Figure 6
The next step is to insulate the whole kiln, this is done by
• FigureS
TIle finished product, ready to be fired,
The whole process of building ale kiln is one of layering,
Each layer is completed and its beauty is to be appreciated,
Then anoaler layer with its own innate qualities is built
upon this, From foundation to floor, to arch fonn and flue,
each has its own beauty, It's not a purely functional
process, it is a rirualistic evem and all parts make up the
whole, Anistically and sculpolrally you don'l even have to
fire the thing, the whole process is enriching,
Manin Beaver's considerJble knowledge and inStrul1ion
has been invaluable to students wishing to extend their
technical and aesthetic potential within this area, He has
provided a training ground for potential anagama kiln
builders, In the words of Jack Troy "Keep reading the fire
itself - it's the only true authority", G\!l
ISSUE 3S12 WINTER 1996 + P01TERY IN AUSTRAUA 67

Claydown
In January the native sclerophyll forest of Reedy Marsh, Tasmania,
was the venue for the first 'Claydown'. Report by ANDY GOODFELLOW.
ClaYdown is a unique
summer school workshop
aimed at allowing shared
experiences in the interactions of
salt and woodfire. Conducting the
event were guest tutors Dennis and
Melina Monks, coaxed from
northern NSW by the chance of
sighting a Tasmanian Tiger. The
Pottery of clayworker Neil
Hoffmann was where eighteen
participants camped and actively
shared time widl prevalent wildlife,
in a stress free environment.
Participants arrived, having travelled from areas of
Tasmania and interstate, bringing with them bisc fired pots
and samples of found clay and ash. Brief imroductions
were made before learning of dle plans for the next four
days. The 'hands on' workshop, included such topiCS as
slip/glaze formulation, throWing, handbuilding and the
flring of two woodfired kilns (one to be salted).
TIle creation of a slip/ glaze suirable for wood and salt
firing was demonstrated by Malina using the triaxial
medlOd. All particip'Jnts had the chance to carry out this
same procedure, blending their found materials with
bolins and feldspars.
A challenge set by Dennis named 'Building Bridges'
encouraged everyone to build a bridge of literal and
conceptual inpsiration. Attentions were focussed as Dennis
demonstrated his foot wedging of the clay. Ideas flowed
from participants as they were alerted to building
techniques, surface treatments and dle use of slips. Clay
for this exercise was formula ted from scrap clay and
sawdust, creatulg an open body.
The first kiln to be fired (a bourry box with a thineen
Dennis introducing 'Building Bridges"
foot extended throat and eighteen
foot chimney) was packed with
bisc ware that participants had
brought along. Glazes used were
of shino style and fired with
pine/eucalypt waste wood from
the local sawmill, the firing
continuing for twenty-four hours.
One felt priviledged to fire the
kiln throughout the night,
becoming more aware of
surroundings, of process and of
sharing experiences with new
aquaintances.
Malina's "Reading of the Mug" workshop proved
especially invigorating with everyone eager to throw after
demonstrations. She inspired all with her happy and free
style of mug making, soft and loose yet controlled, with
freshly formed handles. Mugs became more man mugs for
many, as each participant worked to include something of
their own personality into the clay.
A busy schedule meant packing the salt kiln (3 stepped
grate bourry box with a seven foot extended throat and
twelve foot chimney) with wet work, mugs and 'bridges'
making up most of the ware. Firing was slow at first raking
twenty-two hours to reach bisc temperature. Stoneware
temperature was reached in the next five hours after which
salt was introduced into the kiln.
Dennis opened many tired eyes at the stan of day three
with a throwing and decorJting demonstration. In making
his well known 'kookaburra' style of jugs, surface qualities
were generated by ripping, tearing and pushing the soft
clay. Dennis's personality added wit and humour to the
atmosphere of the demonstration.
The final day focussed on the unpacking of the kilns
68 POffiRY IN AusTRAlJA + ISSUE 35/2 WlNTER 1996

with the salt kiln having been crash cooled from 1300°C in
six hours. Both kilns created eXciting resu ll5, everyone able
to see the varied effects of the interaction between wood
and salt on thei r own work. These results provided a
stimulus for further interest and investigation.
lllOse who anended 'Claydown %' remember it as an
event where an exchange of ideas, methods and
philosophies lOok place, whe re participants were
stimulated. Integral 10 its success were the energy,
generosity and humour of both Dennis and Malina. LAter in
the day this area of Reedy Marsh would again become
quiet as participants of 'Claydown 96' returned home,
taking with them their experiences and works of the wrxxi
and salt fire. Only the sounds of the forest remained, of the
screeching possum, the rustling benong and the endemic
native hen. 00
'Claydown %' was organised by Neil Hoffmann of 'Reedy Marsh
Pottery'. Plans are being made to run further workshops. Por further
infonnation conlllct, Neil Hoffmann or Denise Coyne, Reedy Marsh
Ponery, RSD 85, Delordine. Tasm.1nia. 7304. Telephone , (003) 622646.
Andy Goodfellow is a praclising ceramic artist Ih'ing in Deloraine,
Tasmania.
Top: Participants feed on the results of the first woodfiring Above: Prevalent wildlife of Reedy Marsh
~SUE 35/2 WINTER 1996 + POITERY IN AUSTRAUA 69

Ceramic Sculptures
with Paper Clay
If you can do it with paper mache, you can do it with paper clay.
M icle by Al£X.tINDRA FINNERTY.
The inspiration for my work is derived from my
surroundings ... the landscape, sea, sky and flora. I
believe we are as one with the landscape and that our
surroundings nunure our sense of place and feelings of
who we are. I have always enjoyed interpreting my
environment in the painting medium and this passion
continues in my ceramic work. My work is also influenced
on a more inruitive level by my New Zealand heritage and
bicultural upbringing.
After deciding to embark on the challenging journey of
creating large scale ceramic sculptures I was faced with the
technical problems and considerations involved in the
making and firing processes. I had a desire to create each
form in one piece, rather than breaking each into smaller
units, creating visual breaks in the forms.
In my search for a suitable method of construction [
couldn't help recalling an early childhood experience:
when only six years old, for a school Dinosaur project, my
dad helped me make a Dinosaur framework out of chicken
mesh, to which we applied paper-mache.
My decision to use paper day evolved as the result of
extensive reading and observation of its propenies. Its
great versatiliry and strength, minimal shrinkage during
drying and weight when fired , seemed to be definite
advantages in using this clay body with the nature of the
forms I had in mind.
I decided to build my forms using the same method as
Dad and I had used all those years ago, applying paper
clay (instead of paper-mache) to a chicken mesh
framework! I did severdl experimental pieces, which fired
successfully to 1100, before embarking on the production
of my larger forms.
Like a demented sculptor I began creating my forms,
from I metre to 1.7 metres in height, using my new found
technique. The versatile narure of paper clay became more
evident as I worked with it. This exciting and revolutionary
method of construction was much quicker to orchestrate
than more traditional methods of building, with instant
re'dlisation of form and scale.
The paper day recipe I've adopted was one devised by
70 POTTERY IN AusTAAuA + ISSUE Jsn WINTER 19'16

students in our studio and differs to other recipes because
it uses dry paper pulp. The recipe consists of: eanhenware
slip and dry paper pulp in quantities of approx. [ bucket
slip to 1 bucket paper pulp. The consistency of the paper
clay should resemble thick lumpy porridge.
Before applying th e paper clay to the wi re mesh
structure [ spread it quite thickly on plaster bats. This L~ left
for approx. 10-15 minutes, which crc-dtes a thick 'skin' on
the clay surface in contact with the plaster. Then, [ tear the
'sheets' of paper clay into smaller pieces, which are easier
to manipulate. These pieces are applied wet side down to
Ule wire mesh structure. The wet paper clay knits into the
mesh surface.
The construction process is a gradual one, with clay
application beginning at the base of the form. If too much
clay is applied the wire mesh structure collapses! I build
approx. 30cm at a time, before leaving it to firm up. To the
damp surface, which resembles a patchwork of paper clay
pieces, I sp read wet paper clay with my hands. This
enables me to create interesting textures. Tllis is a very
primal and tactile process and takes me back to finger
painting at kinderganen.
These fonns are from a current txxIy of work entitled:
Metaphoric Landscapes. It was my intention to interpret
aspects of the landscape that reflect human characteristics,
emotions, or actions, using the landscape as a metaphor.
The forms also have significant symbolic references.
The surface texture, after hisc, has been enhancetl with
a copper carbonate wash, refiring to l150°C, creating a
stone-like qualiry. I find it eXCiting that these sculptures
have the durability to last indefinitely, even when exposed
to the elements. This gives the clay forms a sense of
monumental permanence.
These forms are designed to be located in niches in the
natural environment, where their discovery comes as a
surprise to the viewer. The life size sculptures will be
positioned to enable human interaction with the forms.
My transition to ceramics is a recent one. Limited
experience in the field of ceramics has been as asset,
enabling me to experiment and explore the medium,
without any inhibitions created by preconceived ideas. The
boundaries of clay are constantly expanding and being
challenged. Contemporary cerdmics is an exciting field in
which to work.
Opposite: Alex Finnerty in Ceramic Studio,
University of Tasmania, surrounded by bisque and
unfired fonns, 1994.
Above: 'Innennost', 94. Paper clay, fired 1150°C, h1m.
Left: Close-up of construction process.
ISSUE 3511 WINTER 1996 + POTTERY tN AUSTRAlJA 71

Cyber Clay
Glaze Calculation Software, by LEONARD SMITH
Glaze calculation software can save you a lot of time
if this is your area of interest. They can also help
you to understand glazes more readily and to solve
glaze problems as they occur. They cannot test glazes for
you or substitute for close observation of the fired results.
They can help you to keep track of your tests to collate
them and to offer a logical systematiC method of fut1her
testing and development. That said, the Chinese, like all
potters of the past, used an empirical approach to develop
the superb Sung glazes. It can be accidents that are most
productive as was the case with me recently when I
developed a cone 10 reduction yellow malt glaze by
observing the action of an oxide on one of my matt glazes.
When, as a student, I saw the complexities of the
simultaneous equations necessary to calculate glazes from
molecular formulae I bought myself an electronic
calculator at an equivalent cost today of about $250. I saw
the investment as worthwhile taking the tedium of long
division out of the process. When I bought my first
computer I set out developing glaze calculation templates
in the spreadsheet programs then available and along tile
way learnt a lot about spre'ddsheets.
Today we have the benefit of a wide range of glaze
calculation software, generally developed by potters, and
available for quite reasonable prices that will simplify the
process of glaze development. Some of tllese work on both
PC OOS computers and Mac's, some are shareware (ie very
cheap), whilst there are some that are commercially available.
In general you get what you (J'Jy for and I have limited this
article to [\'10 commercial products with which I am familiar.
The first is Insight for PC OOS computers and Macs and the
second is HyperGlaze llx available only for the Mac.
Insight
USS149 + $10 shipping
!MC 134 Upland Drive Medicine Hat Albel1ll Canada TlA 3N7
Email thansen@mic.awinc.com
Distributed in Australia by Clayworks
6 Johnston Crt Dandenong Vic 3175 TELEPHONE (03) 9791 6749 for the current price
As primarily a Mac user, I have only tested Insight on a Mac but I am assured that it is very much the same on a DOS
machines. Insight has a sister product called Foresight which is a glaze database. I haven't used it but it has been rated
highly by others. If you only have access to a PC DOS computer then tllis is probably your best choice.
'*-llIlllt
>IIU ' ~
Il0l 111111
· IUICl!.!!
...
't1.~
,~ u
::; ~
-- ~
' _'lOJ - 'M
" ~ ~.

HyperGlaze 11x
US$60. Richard Burkett 6354 Lorca drive San Diego California 921 15 Ph 619-283-6059. Email HypetClaze@AOL.com
For a poner interested in glaze development HypetClaze alone is a good enough reason to buy a Macintosh computer.
Developed by potter and lecturer Richard Burkett, one of the coordinators of the LislServe ClayAn which I mentioned last
time, HypetClaze has a comfortable feel and you can be into glaze c-alculations straight away. Combined with dlat it is also
a very good clay, glaze and material database with immense power. As with Insight it comes loaded with over 150
materials, unforrunately none AuslrJlian. (Insight is distributed by Clayworks in Australia and I believe comes from them
pre-loaded with Australian Materials).
It only took me about one hour to enter all my Australian materials analysis imo HypetClaze and then to enter all my
glaze recipes calculate them and print out a sheet for each.
The opening page of HyperGlaze Each glaze sheet has the ability (0 store both the unity and percentage formulae, notes
on colour, tiring and safety infonnation. The c-alculation is not as fast as Insight taking a few seconds but it isn't slow either.
The glaze card The program uses limit fomlUlae to help with glaze
development offering a visual representation of each glaze so that it is easy to see
when they fall outside the nonnallimits. It also gives you the ability to adjuS! the
firing temperarure by just entering a new cone and then asking it to recalculate the
glaze based on the limits for that temperarure. The program will also offer
substitute materials of similar chemical dmacteristics if need be.
The limit formulae comparison HypetClaze is highly imuitive. Amongst
other things, HypetClaze will calculate any batch size and if you enter the price of
each material calculate the batch cos!. TIle printouts are excellent with many
options availahle.
One of its most useful features is that it calculates the coefficient of expansion of
a glaze and whilst !his may not be accurate it does give a handy figure for
comparing glazes and adjusting or elintinating crazing. Best of all it has a
wonderful search ability so mat if you collec1 a large number of recipes you can
easily find the one you want or need.
The glaze calculator
It comes with many useful tools including a bibliography stack, Unity Explained, a very handy Potters Friend which does
Temp and Size conversions, calculates clay shrinkage, plaster volumes, Molecular Weiglu, line and triaxial blends etc.
HyperGlaze is very reasonably priced and is an excellent tool dlat I wouldn't like to be without. I can heanily
reconmlend it to anyone who has a Mac Jnd maybe its worth buying a Mac ju~t to use it. Second hand Mac SE's go for less
than S400 at the moment.
HypetClaze is available as a site licence for educational use at a very cheap price and has a student version for 10 that
allows it to be used as a database but not do any recalculations.
Next Issue
There are now virtually hundreds of Clay and Pottery related sites on me Internet and neX! time I will be exploring some of them.
For the moment set your browser to:
hltp://www.ozemail.com.au!-potinaus!
For Pottery In Australia's homepage widl links to the POllers' Society page, and several members pages including my own.
Leonard Smith
Email: smithl@ozemail.com.au
WORLD WIDE WEB at: http://www.ozemail.com.au!-smithV
ISSUE lsn WINTER 1996 + f'omRy N Aus1RAuA 73

TOOLS OF THE TRADE
Respiratory Masks
This is the first of a two part article looking at safety equipment for potters. Research by Karen Weiss.
What do we need to
work safely? Articles
on safety issues
either send me spinning off
into paranoia about my lethal
working practices or [ feel
deeply guilty and resolve to
mend my wicked ways,
starring tomorrow. In the
meanrime [ wonder if that
recurrent cough is the first
signs of silicosis.
Other reactions I've come
across are " [ don't want to
think about this." or • [t takes twenty years to develop
(symptoms) and !'II be past it by then." Fear is a difficult
place to start from, particularly when it calls for a change in
thinking about work practices.
On top of everything else, safety gear is heavy, clumsy,
uncomfortable to wear and only comes in sizes 'Large' and
'Huge'. But is this still true ' Let's look at the pouer's main
bugbear, the respiratory mask.
Now, breathe deeply.
Let's face it, a respirator is an essential tool of trade. Not
infrequently the air we breathe is temporarily filled with
dust from clay or glazes, ceramic fibre or brick. We must
contend with kiln fumes or sometimes acid fumes. Even in
very well-ventilated workspaces, the use of a respiratory
mask will often be necessary.
In the last ten years, there has been pressure exerted on
the manufacturers of safery gear by employers. They
realise that they end up paying compensation for workers
who will not wear uncomfortable safety equipment. So
respiratory ma sks are increasingly being designed for
lightness, facial comfort, balance and low breathing
resista nee.
[n the half-masks, soft silicone face pieces for sensitive
skin are available. 3M have designed low weight half
masks with replaceable filters, rather than replaceable
cartridges. Unisafe have twin exhalation valves for easier
exhaling and less humidity
build-up. Cradle headbands
are used for better weight
suspension.
POllers wearing glasses
will want to use masks witll
low profile nosepieces such
as 3M or Unisafe. The
masks are now available in
size sma ll , medium and
large and it is worthwhile
being assertive with your
supplier to get the size that
filS you.
The other type of respiratory mask is disposable.
However we are not talking the simple shell mask you get
in the chemist or hardware store. These are virtually
useless as they offer no respiratory protection. Disposable
face masks from Bilsom or 3M comply with Australian
Standard 1716 and a range of masks are available for
situations equivalent to most of those in the half-mask
range. These masks have an advantage in that they are
extremely light and easy to wear .
Some models come with an exhalation valve, to cut
down on humidity. Although the disposables are
sometimes described as single use, I was assured by both
manufacturers and suppliers that they ca n be reused
several times, the number of uses dependent on how
heavy the contamination is.
This brings me to the question which everyone skated
around: How long does a mask/filter last and how (an you
tell when it needs replacing ? The best they could come up
with was, when you start smelling it (the contaminant)
inside the mask. [find it odd that in such a high-tech
industry they can't come with something a little more
objective, such as a strip changing colour.
[ was, however, told how to make the mask/filter last
longer. The filter will continue working even though you
are not wearing it. So, after use, drop it in a resealable
plastic bag. This is particularly necessary with ftlters using
74 POTTERY IN A USTRAUA + ISSUE 35n WINTER 1996

activated charcoal. Prefilters will also help extend the life
of your ftIter cartridges although I suspect it might create
more breathing resistance.
Masks are classified by code according to use. Relevant
to potters are:
PI - for dust such as clay dust and dust from grinding,
sanding and crushing (mechaniGllly generated
particulates).
P2 - for dust and metal fumes such as tho e given off
during firing of glazes with heavy metal compounds
(mechanically and thermally generated particulates).
GPI - Nuisance levels of organic vapours such as
solvents and mediums used in mixing overglaze colours.
Also benzene and ozone.
A I - for higher concentrations of organic vapours.
A2 - for very high concentrations of organic vapours.
Bl , EI - for acid gases : sulphur dioxide, chlorine,
hydrogen chloride.
Combination filters and masks are available for many of
the above.
If you are uncertain as to which is suitable for a specific
situation you can ring the 3M Respiratory Technical Assist
Hotline 008 024 464 or Work cover in your State.
By the way guys! If you've got a beard, you've got a
problem. Beards prevent half-masks or disposables from
sealing properly. If you are working in a heavily
contaminated area or with re-ally nasty toxics, you might
have to consider a full face mask.
Hot, hot, hotter!
Before you return to the pottery just remember, potters
depend on their bodies for their art and their living.
Wearing safety gear seems to me a small price to pay, a
little inconvenience for growing old in good health doing
what I love, working as a potter.
lNEX HAlF MASK
Potters Beware - Control of Hazards Encountered in Making, Glazing and Firing Ceramics. Rosemary Perry.
'Dust - Dust is a major concern for potters. Its control is essential.
Invisible super-fine silica particles which float cause the most damage. When inhaled, they penetrate the air sacs
in the lungs which re-oxygenate the blood. Coarser particles are ftItered out through the nose or can be coughed
out. Prolonged exposure to fine free silica can result in silicosis - an incurable lung disease. There is some
evidence silicosis increases the risk of lung cancer.
Flint and quam contain almost 1000/0 free silica. They usually have 5% to ](JIA> water added to stop floating. Other
materials containing silica are all clays, cullet, all felspars, grog, perlite, talc, vermiculite and wollastonite.
Most ceramic powders are less Ulan 50 microns and a large percentage are under I micron particle size.
Antimony, barium, boron, cadmium, chromium, cobalt, coper, fluorine, lead, lithium, manganese, praesidium,
nickel, selenium, vanadium, zinc or zirconium may be in some commercially prepared Stains which are frined to
render them insoluble and therefore safer. Research is showing some of the frits which are insoluble become
soluble and therefore absorbed in body secretions' (Page 6.)
TIlLs booklet produced by the ew Zealand Society of Potters is the best reference we have. Rosemary Perry has
just completed an update and it covers a wide range of areas of concern in materials and processes like fuing. It
is available from the Potters' Society of Australia (Page 84).
ISSUE 3512 WlNTER 1996 + Ponmv N Aus1RAuA 75

Wide
A CT 8th National CeramJc Conference, July 6-9, 1996
Canberra is ready. Waiting for the invasion.
Welcoming the invasion which will happen between
Friday 5th and Tuesday 9th July.
From the first session at ANU, Canberra School of An, with
visiting speaker, Alison Britton, until Tuesday afternoon's
special function at the National Gallery of Australia, the
programme for the Conference is varied and exciting.
Susan Petersen, Kristen Andreasson, Shinouchi Inoue,
Gudrun Klix and Marily Opperman are among the
international artists recently added to the panels of the
main programme.
n,e altemative programme of individual papers includes
Geoff Crispin talking about the development of Project
Ploughshare, Ethiopia; Bob Connery on lustre, Gail icllols on
soda glazing; Professor Zhang Shouzhi on Chinese Ceramics,
Richard Tarrant on control in gas firings and more. Have
dunting diagnosed by the Kiln Doctor, crazing and crawling
treated by the Glaze Doctor and learn how not to wipe out
whilst surfing the internet with Cyber Doctor.
More than 25 exhibitions of ceramics will be mounted in
Canberra and the surrounding area. A feast'
Whilst in the distrid, check out d,e eXCiting opportunity
which exists for a potter or group of potters, seeking a busy
site to Set up a studio with gallery andlor retail space. On d,e
Hume Highway just 50 ntinutes from Canberra city, The Crisp
Galleries are expanding uleir well established facilities with the
construdion of four new workshops to develop a showcase
for quality an and craft. FUMer infonnation from Peter Crisp,
'Gap Range', Bowning 2582.
SOUTH AUSTRALIA
The Uraidla Producers Market will .continue through
winter, the First Sunday of C'dch month only, 10-4. The
standard of craft there so far ha., heen excellent. So
come all ye Hills craftworkers'
• PETA VI« Rooo
QUEENSLAND
There seems to be alot happening round the traps. Gwyn
Hanssen Pigott's Retrospective at d,e Queensland An Gallery
is superb with numerous pieces i1lustmting her career and
direc1ions over the last few decades. The QAG has a video
detailing the sequence of her production process and it
complements the show well.
Bruce Anderson has arrived at the QPA's workshop and
has completed part of his Artist in Residency. Bruce is
creating several large concrete and styrofoam constructions
that will be placed in specific sites in the Brisbane city
landscape. The works will be documented and the images
wi ll be computer altered with overlays of drawings. The
results of this process will be shown during the exhibition at
the end of the residency along side work Bruce has brought
widl him. This is indeed a provocative role for the QPA to be
host to such a projed, albeit widl the suppon of the VACB,
and I gather that Bruce is already having contad with most
ceramic education institutions in SE Queensland and is
available at the workshop for those wishing to drop in.
I am interested in documenting and researching community
an/public an projects using ceramics as either the main or a
component material and I would be delighted to have contact
with anyone who has infornJation or sUdes. My email address
is hipfield@gil.com.au or PO Box 87 Clayfield 4011. Thanks in
anticipation.
• STmwiIE OurROOE F1EI..o
NORTH QUEENSLAND
Idoubt if there would be any potter in Central and
Northern Queensland who did not know of the Flying
Arts School. This year Plying Arts celebrates its 25th
annlversary with a special 5 day residential workshop to be
held at Emu Park (east of Rockhampton) on August 1-5.
Mervyn Moria rty - the founder of the School, will be
conducting a mixed media workshop while well known
Brisbane poller, Yvonne Bouwman will condud a workshop
which will appe'dl to beginners as well as advanced pollers.
It is intended to extend participants knowledge in making
and burnishing wo rk for sawdust firings , handbuilding
techniques incorporating natural forms and textures and
glaZing and firing ralm. Lots of evening activities have also
heen organised. Accomodation is at TIle Haven, Emu Park .
For details and enrolments contad Christine Sayer at Flying
AJts 07 33696071 or write to PO Box 1351 , Milton, 4064.
Capricomia POllers in Rockhampton are running a 2 day
workshop with Pippin Drysdale within the week 22-26 July.
The workshop includes discussion, slides, demos and
participation. For information Contad Gayle Buckland 079
284 365.
76 POTIERY IN AUSTRAlIA + tSSUE 35n WtNTER 1996
..

Pioneer Poners in Mackay have secured Janet DeBoos as
judge of their 1996 Pouery Exhibition, commencing 6th
September. First prize will be 51,500 along with purchase
awards. Entry forms are available from Pioneer Pouers
Mackay Inc, PO Box 3114, Nonh Mackay 4740. Telephone:
079 551024. Janet de Boos will also hold a 3 day glaze
workshop 10-12 September for the Capricomia Pouers.
• RICKWcoo
NORTHERN TERRITORY
Seven of Darwin's poners were treated to an informative
and revealing workshop over the weekend of 27-28
April, with Alan Watt, Head of Ceramics, ANU Canberra.
Alan visited Darwin to conduct a Black Firing workshop
and held an exhibition at the CCNT.
Alan revealed the wonderful blueslblackslbronze and
other colours and surface treatments available by using
terrasigillata, burnishing and resist decoration.
The kiln was built, the pots prepared and fired. Alan
presented an informative talk and slides, with examples of
his and other potters works.
The second day involved unpacking the kiln much to the
delight of everyone. The process was repeated using some
rich red local clays - we discovered some wonderful deposits
of terracotta. TIle second firing was quite different without
the strong colours of the flr.;t but this only remindd us of the
vagaries of this type of firing and the need to keep
experimenting.
The workshop was greatly appreciated by all who
attended, grateful that in our remote part of the pottery
world, we can still have contact with great potter.; who are
fuJI of new and exciting ideas.
We welcome any potters intending to visit our sunny
shores. If interested contact the CCNT on 08 898 16615.
• DEORE EDwARD, MD

Letters
RESPONSES TO BIU. SAMUELS LE I I ER:
"IS THIS THE END? THE END OF WHAT?"
POTTERY IN AUSTRAUA VOL 35(1,
AUTUMN 1996 P.78
"Is this the end? The end of what'" Many students fear it
is the end for them, Unlike Bill Samuels who is confident
and authoritative in his knowledge of the plans for the
National Art School, the present day ceramics' students, are
neither.
The push for change has come from a group of
educators and arts practitioners whose student days were
over by the late 60's, when attitudes to teaching and
qualifications were quite different.
The majority of my 90's student peer group at the East
Sydney Technical College are bound to their studies by
Austudy obligations and have neither spare time or energy
nor ale wish to be involved in politics, Once enrolled a
student must complete a course or lose the option of
financial suppon,
Some ceramics students, like myself, have attended
meetings aware of the need to discuss the changes only to
withdraw when it became obvious that the process was
not democratic, The meetings were run , students
manipulated and the agenda fixed by a small group of
teachers, committed to achieving their own ends as
members of FONAS (Friends of the ational Art School), It
is this aspect of the decision making process which fuels
the campaign to remain within TAFE,
Within ale TAFE system ceramics' students have a strong
collective voice and have achieved major changes,
without fear of reprisal. How will the new institution
maintain accountability? \'(Ihat chOice will students have to
question unfair or biased decision5 which may affect their
future? Funhermore, students would like to know what will
be the basis for employment of teacher in the
independent National Art School' Who will choose the
student,?
Finally, Bill Samuels states 'that "the independent NAS
proposals are a matter of record", Record of what I ask,
where' If it is a written record could he fax a copy to the
Ceramics Depanment at East Sydney - students and staff
would like to see it to be able to make informed decisions,
In the end it is students and those who work for TAFE,
whose future is at stake, not Bill's and his generation,
DEAAEDITOR
I find Bill Samuel's letter somewhat confusing, but I
would like to address the issues raised within it. Before
writing the anicle " Is this the end?" (PJADec 1996), to
obtain the most up-to-date information on the
,A,S.!E,S,T,C, Ceramics Dept. situation, I spoke to
current staff members of the E,S,T,C, Ceramics Dept. ,
students, a person working within TAFE administration
and another working at State Government level in AIls
administration. However, my primary source was Marion
Howell, ale present Acting Head of the Ceramics Dept. at
E,S.T.c" I feel Bill's impassioned accusations of ' poor
research' and 'misinfonnation' are a case of shooting the
messenger.
Bill also expresses a deep concern for the developments
in the current curriculum , hut I nnd ale move to deal with
this by withdrawing from the system and the resulting
polarisation a very sad statement which reveals feelings of
real disempowerment in regards to this new agenda,
within the Arts te-aching community,
Bill's name was mentioned in the anicle merely as an
example of one of many well-known potters who have
taught at E,S.T.C, in faa he taught me, Its inclusion was
never intended to imply that he shares the views of the
author.
Karen Weiss
••••••••••••••••••••••••••
QUESTIONS AND ANSWERS
Has anyone any information on cold pour bronzing using
resins and bronze powder. It is a technique I saw in
AmeriCJ and am interested in pursuing it.
Suzanne Bridge
85 Bee Fann Road
Springwood 2m
I use barium in my domestic ware glaze, I have rung
public and private testing places to try and get it tested for
any leakage without success, Have you any suggestions.
Emily Stackman,
Ed - We have found ale Australian Government Analytical
laboratories very helpful. Phone: 02 449 0111
Jane Calthorpe Sydney 1996
78 POTTERY IN A USTRAUA + ISSUE 35n WINTER 1996

e W S for Winter 1996
PORT HACKING P01TERS GROUP
COMPETITION & EXHIBITION
REVIEW BY GREG DALY
ThiS Ceramic Competition by the Port Hacking
POllers Group is an important part of the
exhibition calendar. 1995 saw the presentation
of the 34th awards.
It features a huge number of divisions; the major
open award, open wheel thrown, open hand built,
tableware, decorative technique, woodfired, low fired,
novice, student wheel thrown, student hand built.
onnally I wouldn't
hold to so many
sections but when
confronted with so
many diverse
pieces, it proved to
be a rewarding
experience. It
allowed so many
different levels and
types of work to
come to the fore.
From the student
sections, where our
future ceramists will
come,there wa ' a
wide range of
styles, shOWing an
understanding of
materials and a
resolution of ideas
and style that in time will become theirs. It was their
first foray into the public domain and I trust they will
be the fUlllre exhibitors in forth coming years.
Exhibitions such as this allow one's work to be seen.
Here tlle emerging artists are given the opportunity to
put down their roots for continued growth.
Some sections, such as tableware, I would have
imagined would have attracted a larger group of work.
A good functional piece can always stand against oneoff
pieces.
The winner of the Open section was Gwyn
Hanssen-Piggot with a group of thrown bottles, cups
and bowls that were elegant, refined, powerful and
functionally based with a delicate ice white glaze.
In writing this review five months on, a number of
images still remain
strongly fixed in
my mind.The
tableware of
Mathew Blakely
with its refreshing
approach to form
and glaze finish.
Ljubov Seidl's
work in both the
open and
handbuilding
sections had an
energy and
freshness that set
her apart . The
thrown pieces of
Margery Hourihan
and Barbara
Mason showed
competence
throwing skills and sensitiVity (0 form and glaze.
In all, 10 awards were given over the categories and
26 merit awards for encouragement. All these pieces
contained an essence of life that I felt were important
for consideration and support.
The 1996 Award will be judged by ]o'dn Campbell.
Entries are being called for.
in
ISSUE 3512 WINTER 1996 + POTTERY N AusmAuA 79

News for TVinter 1996 . COi\TlNUED
NEWS FROM MASHIKO & BIZEN
Two Japanese potters who have visited Australia in the early 70s and are well known by many
Australian potters have been made living cultural treasures.
• Shimaoka Tatsuzo • Mingei potter from Mashiko. Deshi of Hamada Sholi
• Fujiwara Yu • Bizen potter from Inbe • son of Fujiwara Kei, a former (Hingen Kokuhol Living
Cultural Treasure.
• ••••••••••••••••••••••••••••••••••••••••••••••••••••
ART IN ACTION '96 - ARTEXPO The fourth annual Art in Action Expo will
be held at the Royal Hall of Industries, Sydney Showground, Paddington on Saturday July 13 and
Sunday July 14 1 Dam - 5pm both days.
The Expo will include hands-on demonstrations in painting with water colours, oils, pastels and
gouache, as well as folk art, decoupage, ceramics, glass art, jewellery-making and sculpture
conducted by professional artists. Art and craft products will also be on sale at special prices
during the exhibition .
•••••••••••••••••••••••••••••••••••••••••••••••••••••
VIETNAM-Pottery and Cultural Tour
THE 1 ST MASHIKO CERAMICS
COMPETITION Mashiko is a region with a
Sue Buckle, Editor of Pottery in Australia and Vietnamese
relatively short history as a pottery town. However, it
guides will accompany this tour to museums, workshops and
has a long tradition of simple living based on
home·based industries well off the tourist track.
agriculture and forestry. Hamada Shoji was a potter
Enjoy seeing the ancient guild streets of Hanoi, pottery '.1l1ages
rooted in the earth of Mashiko. He found beauty within
and the dwersRy of daily life around the Mekong De~a. Explore the common pottery, of both Japanese and foreign
the spectacular countryside of Hoa Lu, the former capital of varieties, which is used in everyday life. He studied
the North, join a scenic Hight over the rugged roountains of the these forms and through them invested the spirit of
Red River Dena, '.1sit ancient sites and cruise the Perfume individuality and freedom into his own works. Thus
River to visit a traditional hat making village. Visit Boa Dal's Mashiko became a pottery region friendly to
Summer Palace, silk making villages, vegetable farms and innovation and an important site of unsurpassable
markets.
contemporary artistic expression, The works of
Travel is by plane and modern mini·bus, accommodation is Kamoda Shoji are a specific result of this progressive
comfortable and dean and Vietnamese people are werm and
tradition. The awards in our exhibition are named after
Hamada Shoji and Kamoda Shoji because their works
welcoming from a country of rich and diverse traditions.
reflect the bounty and severity of our spiritual lives in
Sue is an enthusiastic traveller and looks forward to exploring
modem times. This competitive exhibition is Mashiko's
this culture and its ceramic and craff traditiOns wiith you.
gift to the world.
Entries in by July 1
The Pottery Tour of 1996 departs on 22 November for
For Details Please Contact:
22 days Hanoi to Saigon $3950
The Mashiko Pottery Art Executive Committee
Please phone 06 • 2496122
Mashiko Municipal Tourism Corporation
for a detailed itinery or to reserve a place.
3021 Mashiko, Mashiko-machi
Haga-gun, Tochigi-ken 321-42 JAPAN
Active Travel and Vietnam Overland
Fax + 81 285 72 6430
First floor Garema Centre, Canberra City ACT.
(MuniCipal Industrial Arts Division)
80 POTIERY IN A USTRAUA + ISSUE 3512 WINTER 1996

News for Winter 1996 · CONTINUED
25 YEARS AT THE TIN SHEDS In trose headly days of the 1970's was born a unique, feisty and accessible art
workshop - the Tin Shecs at the University of Sydney. In 1996 the tradition continues with the Tin Shecs Gallery net only reHeeting
and fostering art which challenges the issues of today, but being part of the professional development of ennerging and experimental
artists.
The Art Workshops have become more and more derelict over these years and were deah a terrible blow when an arsonist
destroyed the main shec in 1994. In order to meet the costs of a replacement building, a fund raising campaign 'Raise the Roof
was initiated. The University agreed to continue and consolidate our actMties by allocating $1.5m towards our efforts of building new
studios including a ceramics workshop.
We envisage teaching Satiurday ceramic classes and holding specialist workshops with our resident ceramics lecturer Mark Jones,
as well as welcoming visiting artists who will lecture and use our ceramics studiO to make their own woil< for exhibition .
•••••••••••••••••••••••••••••••••••••••••••••••••••••
NEW RELEASE
Ceramic Technology for Potters and Sculptors
Yvonne Hutchinson Cuff
University of Pennsylvania Press
Ceramic Technology for Potters and Sculptors has been
designed as a textbook for College students, to serve
poners and sculptors working alone and as a teaching
aid for studio lecturers. It also fills the need for an
auxiliary text for student archaeologists/ museologists. It
opens in Part I with a discussion of the chemistry
necessary for an understanding of ceramic processes
followed by similar sections on geology, workshop
practise, and raw materia ls (minerals, chemically
prepared materials
and fruits) . All
information given in
these sections is
directly pertinent to
ceramics and enables
students to follow with
ease the chapters in
Part 2 on making and
firing clay bodies, slips
and casting slips and
those in part 3 on
G laze Development
and Formulation. The
mel ting history of a
glaze has been
updated in the light of
new knowledge and personal research. The book closes
with a detailed study of colour and the 'Right Glaze for
the Colour' accompanied by colour photographs of
ceramics by leading and emerging ceramists who have
contributed to the technology involved in the creation of
their work.
TIWI POTTERS EXHIBITION
Presiding Officers Gallery, Parliament House, Canberra
4-31 July 1996
To commemorate Australia's first Aboriginal potter and ceramic
artist, Eddie Puruntatameri (10/8/48 ~ 17/9/95). Munupi Arts &
Crafts Association with assistance from the Australia Council is
organising the TIWi Potters Exhibition at the 8th Nation.3I Ceramic
Confereral.
Eddie was invited to participate in the 8th National Ceramic
Confereral as a featured Artist, and exhibit TIWi pottery. Sadly, he
passed fNJ

NeWS/or Winter 1996 · CONTINUED
ARCHITECTURAL
CERAMICS-Wall Murals
Workshop JALE YILMABASAR
MELBOURNE, JULY 10·20 AND 24·28,1996
WORKSHOP OUTLINE: Illustrated lecture
covering various styles, applications using
specific materials and techniques ' Design of
a ceramic mural • Prepare wall mural clay
using appropriate materials and techniques •
Dry and number mural pieces • Glaze and fire
the mural panel • Install the ceramic mural •
three variations of creating the ceramic
mural will be included "Artistic" cuts for
irregular tile pieces • Square cuts such as
with standard tiles • Composition with
cement.
RING 0393494554 FOR DETAILS.
The Potters' Spciety
ot Australia
Presents
an exhibition of work by members
in conjunction with the
8th National Ceramic Conference,
Canberra.
Opening 5.30pm 5 July
Andrea Hylands, Chris James, Simone Fraser,
Susan Jorgensen, Sandy lockwood,
Undy Rose Smith, Bruce McWhinney
5 to 28 July 1996
Solander gallery
Director: Joy Warren
36 Grey Street Deakin ACT
Ph: 06-273-1780
8th NATIONAL CERAMICS CONFERENCE
International Corr.ecticns canberra 1996 Ju~ 6 -9
Master Oasses After It'e Confereoce:
Ju~ 10-16
Nch~ McCaJI- SoJIland
VvI1eeI throMrl;l and deroamg
Juty 10-14
John OlaIke - Canada
Har£Jl:Ulding and coostnJction
Ju~,110-16
Svem Bayer - EngIard
ThroMng, partJcularly for wood filing
Juty 10-16
HkJeo MatstmOto - Japan, Ama Zamors!

News for Winter 1996 · CO,'\TINUED
SUMMER WORKFESTS
AT BLACKADDER
CREATIVE RETREAT
In January 1997 Sandra Taylor will again host two
Sununer Workfesl~ at the magnificent mral setting of
Blackadder, her property on the banks of the
Nymboida River, near Grafton in nonhern SW. This will
be the founh year Ulese popular live-in workshops have
been organised and their regular success is earning them
a important place in the Australian ceramic an calendar.
Planned to encourage attendance by people at all levels
of skill, each of ule two, week-long, workfests is led by a
guest tutor, assisted by Sandra. The MOrs are carefully
chosen for their abilities as conununicators as well as
proficiency in the ceramic arts. The purpose of the
programme is to enable srudents to unlock their own
creative expression in handbuilt clay forms. A creative
response to the bush setting at the Blackadder retreat is
also an integral pan of the experience.
The theme chosen for the 1997 workfests is: OrganiC
Building Systems for Sculptural Expression.
TIle guest MOrs will be Malina Monks (January 5-11) and
Rod Bamford (January 19-25).
The cost of the workshops is $855 per person. This
includes live-in bunkhouse accommodation and fully
catered meals as well as mition, materials and the use of
the professional srudio facilities at Blackadder
Sandra's Guest Tutors for 1997:
Malina Monks L, a ceramic anist whose naturdlness and
fresh approach left its mark on m;tny of her
contemporaries and students in Sydney where she first
established herself in the late 60's after leaving her native
isle of Lewis in the Scottish Hebrides. Her pioneering
move to the nonh coasr of NSW in 1976 set a precedem.
Her advenmrous spirit and lively salt glazed thrown and
handbullt pots were a magnet. She inrroduced a love of
clay to many. Over these last 20 years she has taken a
prominent role in rhe wood fLring movement thar has
characterised much of the ceramic an of the region.
The strength in Malina's teaching and in her own works
comes from her holistic philosophy. Her larest works
show a compelling poetry thar belies rheir functional
origins. The unusual yet simple hand building systems
rhat Malina has developed in these works will provide the
basis for 5CulpnIral fOfIllS at the Blackadder workshops.
Rod Bamford is one of Australia'S most innovative
ceramic artists. The most widely known works associated
with his name have been described variously as
'fragments discovered in the fumre', as 'viewings from a
post-industrial museum'. His wide ranging technical
mastery, wit and imaginative powers have secured his
position as an exhibiting artist. His most recent one
person exhibition was held at the Greene St, Smdio in NY
and he has contributed to group exhibitions around the
world. As an arts educator, his experience is equally
extensive. His influence as a challenging but accessible
teacher is well known to legions of past smdents.
Rod's workshop will explore the use of the extmder in
combination with hand forming techniques to create a
variety of forms. TIlere will be the oppormnity to work
on both individual and group works, drawing inspiration
from and working in the surrounding bush environment.
For information and brochure, contact Sandra
Taylor at 'Blackadder' Buccarumbi NSW 2460
Phone and fax 066 - 494134
Manly
Art GaIreiy & Musewn
and
The Potters' Society of
Australia
P resents
Ros Auld, Barbara Campbell-Allen,
jane Crick, janet Deboos, johanna
DeMaine, Janna Ferris, Ivan Gluch, Merrie
Hamilton & Greg Sugden, Steve Harrison,
Campbell Hegan, Brigiat Maltese,Carol
Murphy, Robyn Nolan, jenny Orchard,
Andrew Parker, Owen Rye, jane Sawyer.
Opening 6.30pm 9 August 1996
9 August - 8 September
10am-5pm Tues-Sun
West Esplande Reserve, (beside The Aquarium)
Manly. Phone: 9949-1 776
ISSUE 3511 WINTER 1996 + PoTlER'lIN AusTRAIJA 83

Technical Booklets CTickthebox)
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86 POTIERY IN AUSTI\ALlA + ISSUE 35/2 WINTER 1996

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ISSUE 3512 WINTER 1996 + PoTIDN IN AusmAuA 87

STOCKISTS
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1. Intro & Suriace Removal
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2. Marks of Addition &
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5. Glazes & Glazing
6. Firing & Post-Firing Effects
wit" ~obi" Hoppe,
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Ceramic Aesthetics and Design
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Robin Hopper expands on his classic
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Also Available:
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• Ventilation system
12 GEORGE STREET. BLACKBURN VICTORIA 3130. AUSTRALIA
TELEPHONE (0) 9877 4188 FACSIMILE (03) 98941974
INHRNATIONAL TELEPHONE 6139877 4188 FACSIMILE 61398941974

HOT & STICKYtl]
Steve Harrison - KILN & CLAY TECHNOLOGY
CUSTO~I DESIGNED AND BUILT:
KILNS • RI brick or fibre
B URNERS • LPG or natural gas
HOODS • custom built stainless steel
STAINLESS STEEL FLUE SYSTEMS
KILNs AVAILABLE IN KIT FORM
KILNs DESIGNED, PLANS DRAWN AND SPECIFICATIONS
VENCO POTIERS WHEELS
VENCO VACUUM PUG MILLS
KILN SHELVES • siUimanite or silicon carbide
DIGITAL PYROMETERS AND THERMOCOUPLES
CREATIVE SOLUTIONS TO TECHNICAL PROBLEMS
Old School Balmoral Village via Picton 2571
Telephone or facsimile • 048 898 479

CLAYWORKS
FINE QUAU1Y FILTERPRESSED CLAY BODIES
The RAM Studio Press brings the
quality, productivity and cost effectiveness
of the RAM Process to the studio.
It is small, economical and easy to
operate, yet it includes many of the features
and all of the quality built into the
RAM Press for more than 45 years.
Press features:
• easy to operate
• compact, single unit construction
• semi-automatic operation for increased
production
• controls for adjusting hydraulic
and air pressure
• hole pattern on platen permits easy
placement of standard die-cases
• guards, overload switch on larger
models
• two handed controls for safety
• seperated bottom and top air
valves and regulators
• operation manual and training
include
• instruction and manual on making
your own working dies
RAM is the registred trademark
of RAM PRODUCTS, INC.
COLUMBUS. OHIO, USA
Please call for further information,
brochures and a video on
RAM pressing or visit our
show room for a demonstration
CLAYWORKS AUSTRALIA PTY LTD
6 JOHNSTON COURT DANDENONG 3175
PHONE (03) 9791 6749 FAX (03) 9792 4476
A.C.N.OO7005923
94

CLAYWORKS
FINE QUAU1Y FILTERPRESSED CLAY BODIES
RECENT ADDITIONS TO OUR EXTENSIVE RANGE
CLAYWORKS FILTERPRESSED TERRACOTTA AND
PINK EARTHENWARE - 120 mesh
TOM COLEMANS PORCELAIN (Cone 6# and 10# )
ENGLISH BONE CHINA CLAY - plastic body and slip
HIGH FIRING GLAZE-STAINS AND COLOURS
BISON TOOLS ( tungston carbide)
OVER 90 BOOKS AND MAGAZINES (ceramics)
SLABROLLERS ( NOT cable driven) 4 different sizes
Please ask for a technical brochure on our range
of CLAYWORKS excellent clay bodies
WE ALSO STOCK:
FEENEY'S RED AND BUFF RAKU
KEANES WHITE RAKU AND SPECIAL K
POTIERS WORKSHOP RANGE OF GLAZES
OXIDE PENCILS 12 COLOURS
Ceramic Chemistry & Recipe Management software
For calculations in the ceramic sciences
INSIGHT is a very compact and fast ceramic
calculation program featuring separate
formula, print, recipe, and command windows
in a highly interactive environment. It runs in
DOS or on Macintosh. An Australian material
definition table is available for DOS.
FORESIGHT is a stand-alone relational
database system that maintains un limted
materials, oxides, recipies , test
procedures, test results, references,
people data and physical properties in
Foxpro file and index format.
PLEASE CALL FOR A BROCHURE
CLAYWORKS AUSTRALIA PTY LTD
6 JOHNSTON COURT DANDENONG 3175
PHONE (03) 9791 6749 FAX (03) 9792 4476
A.C.N.OO7005923

•
;Ol1nbl~stlon
Industries Ply. Ltd. ACN 002 849 318
THE POTTERS WAREHOUSE
108 Oakes Road, Old Toongabbic, NSW 2146
PHONE (02) 6881777 FAX: (02) 6363961
Kilns: HiUdav & Ward
JGln furniture
Slab RoUer: Hilldav
Extruder: HiUdav
Wheels: Venco
Pug Mills: Venco
* Sieves: Talisman
* Pottery Glazes: Cesco
glazes & Underglazes,
Northcote & Walker
stoneware glazes
* Ceramic colours:
Duncan & Gare
products
* China pain": Floral,
Fay Good & Josephine
paint & Glass paints
* Clay: Keane & Feeny
* Tools, Raw materials,
Stains
* Corks, Lamp fittings.
Leather thonging,
Brushes
* Greenware, China
blanks
* Wheel Hire, SlabroUer
hire, Firing service
-nrarr~{Tu1'lr oprn
Snm-5pm .!nOtl -]fri
9nm-12.30pm ,Sui
Cl:)!:®,'iJ!tlD
~lIrtbuy~ &
liJlIhlic ~iDlihuU.
(formerly N.G. Brown & Assoc. - Gas Division)
• Manufacturers of venturi burners for
gas kilns
• Flame failure safety equipment
.. Temperature control equipment
• Digital and analogue pyrometers
• Jewellers torches
• Glass working bumers and
controllers

MANUFACTURERS OF
• Underglazes
• Brush-on glazes
• Powdered Glazes
• Casting slips
• Clay Bodies
KILNS
• Electric or gas fired
• Fibre or brick lined
Ceramic Supply Company Pty Ltd
1/17 -19 Pavesi Street
Guildford NSW 2161
Telephone 02 • 892 1566
Facsimile 02 • 892 2478
i>N EXI-IlfTOj&SAI..E OF ANE AUSTRAIJAN CRAFT
RAS SYDNEY
SHOWGROUND
lues-Sun 19-24
NOVEMBER

Marie-Therese Elz
PHOTOGRAPHER
of
Visual and Performing Arts
STUDIO
1/21 Macedon Road
Lower Templestowe 3107
MELBOURNE
Tel 03 9852 3773

_I!!!I_ The Australian National University
hO ~ CANBERRA
~ Institute of the Arts ~ ~ SCHOOL OF ART
AND CANBERRA SCHOOL OF ART
8th National Ceramics Conference
The Ceramics Workshop hosted the 8th National Ceramics Conference:
International Connections and provided the focus for ceramics exhibitions,
events and international ceramicists in 1996.
Visit our World Wide Web Site for post Conference information:
http://www.anu.edu.aulITNCSNceramics/conference.html
Courses
The Canberra School of Art Ceramics Workshop'S excellent facilities and full range of
courses provide an excellent environment for study and research.
• Diploma of Art • Bachelor of Arts (Visual) • Master of Arts (Visual
Arts) Research • Master of Arts (Visual Arts) Coursework
• Master of Arts Research • Doctor of Philosophy
For course information contact
ITA Student Administration, Canberra School of Art
GPO Box 804, Canberra ACT 2601
Tel 06 249 5711 Fax 06 249 5705 Email Secretary. ITA@anu.edu.au
Find CSA on the World Wide Web at
http://online.anu.edu.aulITNAusArts/index.html
OPEN DAY SEPTEMBER 14 ALL WELCOME

-- ---
theleadin
e
Joanne Oloughlin, Yeor 3BA
Bachelor of Visual Arts
Bachelor of Arts (Hons)
Master of Arts by Research
Degrees in Ceramics

Ceramics
UniVersity
New~de
N.B.C.T.
BROOKVALE CAMPUS
CERAMICS COURSES FOR 1997
The Faculty of Art and Design at the
University of Newcastle oIfelS Bachelor of
Arts (Visual Arts), Graduate DIploma of Art
and Master of Fine Art courses. All are
offered in a range of specialisations
including ceramics.
Funher inquiries may be made to
Pam SIODOU - Co-orcIImItor 0Ic-.mk:B
Telephone (049) 216 244
or by writing to
!
I i I
CERT. IN CERAMICS STUDIO
TECHNIQUES
CERT. IN CERAMICS
ADVANCED CERTIFICATES
DIPLOMA IN CERAMICS
•
APPLICATIONS DUE 1996
ENQUIRIES DIANNE MclEAN
(02) 9930 0722 or (02) 9930 0718
The Secretary
FKIIIly 01 Art and DaIp
The UGhenityolNew .....
C. ........ NSW2308
T~booe(049)216S2S
The School of Visual. Performing and Media Arts offers full·time or
part·time studies in Ceramics and Sculpture including:
> Bachelor of Arts
> Bachelor of Arts (Honours)
> Master of Arts (off campus, by research)
The School also provides programs in Design, Painting, Photography
and Printmaking.
for further information contact Graeme Birt on (055) 63 3435 or Ross
Gray on (055) 63 3144. facsimile (055) 63 3531 , School 01 Visual.
Performing and Media Arts. PO Box 423. Warmambool Victoria 3280 .
. n,
~,
Raltu Urn, 59cm
by Ki11 WriQht

ARTS &. CRAFTS MARKfr, ~OLD COAST
There is a NEW Arts & Crafts Market
opening on the Gold Coast where you can
buy your own freehold brick shop ...
$39,900 to $52,900
..• in a Village for Arts & Crafts where
there is something different for everyone.
Opening late 1996. Register your interest NOW!
Ph: Wayne Price (07) 5530 1885
for further information & colour brochure!
Magnolia Gallery
Pottery by
Chris James & Tanya Myers
EXCELLENCE
IN
CERAMICS
DIPLOMA OF ARTS
CERAMICS
1997
COURSE
INFORMATION
0392101116
ASIl'l(;j private shrowroom
open by C4JPOi dl i lent.
Sag gar fired, Wood fired,
Majolica and Stoneware PoHery.
Boundary Road, Wahroonga NSW.
Tel: 02·489·5256

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