Pottery in Australia Vol 36 No 1 Autumn 1997

lock Are
(opper Reds
Reduced Lustre
Fast Woodfire
WHER

Contents ' I, '.. ' $13rrp
Showcase
&I Recent exhibition work
Focus: Where There's Smoke •••
Reduction Firing T echnrques
Profiles
Professional Practice
Marketing strategies of David Oswald
and Ted Secombe
Where There's Smoke
Paperciay In the Anagama Kiln. Barbar a
Campbell·A1len
Kiln Chronicles
Keeping the creatrve fifes bumlng,
Chnstopher James
Stephen O'Leary
Reduced stoneware and the aesthetics
of Celtic craft treditions, Niki Hassold
Peter Rushforth - A Workshop
Central Westem potters attend a special
workshcp. Article by Peter VVilson
Smoked Fish
Fishy Tales by VirginIa Hollister
--
From Here to Where?
Ruminations on the Benefrts of Grants
and Workshops. Valerie NICholls
II A 'Real Job'
Lex Dickson faces the challenges of
creativity in a real world
ED Keeping His Dream Alive
Woodfired salt • A personal kiln log by
Neil Condron.
Technical Update
fI Oils Ain't Oils
Post fire reduction for patinaed suriaces,
Article & kiln plan by Martin VViliis
III Understanding Reduction
Reduction in a woodfred kiln. Barry
Hayes
rmJ
I!TiJ
Drawn Trials and Baked Damper
An expk3nation of reductiOn by Richard
Tarrant
No Bull-i-gama
A fast fire wood kiln design by Steve
Harrison
II How to Give Up Smoking
Clean up your act with an afterbumer
design by Steve Harrison
IZJ I Quit Too
An afterburner design by Steve Harrison
on Chris James' saggar fire kiln.
The Glaze Page
ED Copper Reds
Article & research by John Eagle
Glaze Update
m Where There's Smoke There May
Be Lustre
Bob Conr18fY descnbes hiS experiences
~reducedlustre
Reviews
1m The Twentieth Walker's National
Ceramic Award
Article by Geoff Mrncham, member of
the 1997 judging panel
Earth, Sand and Fire
An exhibItion of wOO< by Pam Anderson.
Article by Andrea Raddatz
Surface Tension
Work by Glenn England & Marg
Hombuckle. Review by Lyncsay Collier
Fifteenth International Gold Coast
Ceramic Art Award
R","ew by Sectt J. Brown
Freeing The Spirit
'Committed', an exhibrtion at FremanUe
Arts Centre. Review by Judith McGralth
Geoff Crispin
Review by Kerry Selwexxl
II Collector's Comer
'Colour and Function' . a tableware
exhibrtion at Mura Clay Gallery. Review
by Karen Weiss
I!!!J
The Uon and the Rose
Recent wOO< by Leonard & Undy Rose
Smith. Review by Helen Swain
Postcard
li1iJ
Travel Tale - Take Two
Sally Anderson lravels to the International
Potters Festival In Aioerystwyth (Wales)
Tools of the Trade
fiJ A Jigger Jolley for all sized studios
Karen Weiss compares both bench
models and free standing models
Tribute
III Peter Rushforth pays tnbute to Joan
McPherson
F.I Australia Wide
News from our State representatrves
News
ISSUE 3611 AUTUMN 1997 + f'cnTERy N AusnwJA 1

There are several profiles in this
issue whi ch document th e
e.1r1iest influences in the pamer's
life. Accidents, if you will, of birth and
circumstances in onc person's life. It is
interesting to see these recognised as
essential steps along the path of
creative development.
I, for one, always enjoy stories and
slides that show th e crea tive
development of someone's work over
a significant time span. It reinforces
the fac t that we are all, no matter what stage of
competence or sophistication we have reached, on a
creative journey to find a means of personal expression
through our chosen material, clay.
Each piece of work inevitably leads to the neXl and
yet beyond that there is a line that can be drawn
unifying all work made in one's creative life. Our work
changes immensley and yet nO! at all. Often it is how we
say it, not what we say that cha nges. Sometimes it is
helpful to take the time to reflect on the 'big pictu re' of
work done and see where the journey is leading or the
subtle yet necessary shift, that have taken place - some
by chOice ; some by necessity; some by apparant
'accident'.
In January I treated myself to Sandra Taylor's Creative
Retreat at her properry on the Nymboida River near
Grafton. This is a very special time of great fun but also
of spiritual and creative renewal and we were all
touched by the experience. Our tutor was Melina Monks
- a potter of great talent and sensitivity. This is reflected
not only in her own work but in her approach to her
students and the wood firing process.
Melina explai ned ea rly in the week how creatively
important first steps were, no matter how faltering and
ungainly. As she explained, who would want to miss the
ftrst faltering steps of a child or all the movements that
necessarily preceed it. How strange it would be if a
child moved as an adult from that first moment. How
much joy we would miss watching the many phases
associated with learning to walk and the pleasure on the
face of the child as he/she learns. Of
course, why hadn't I thought of it like
that! This resonated strongly with me at
the tim e and continues ro. I saw
iuunediately that, of course, these first
allemps have their own particular
beauty and purpose.
So too with our crea ti ve
development. It is so easy to postpone
beginning because we are lacking in
confidence and are self conscious. It is
imponant to remember that everything
we do is valid and has its place - it is an essential pan of
our creative development. Success with ou r creative
expression only comes with practice and experience
which includes failures and works that are hesitant and
fa ltering. This is the commonality that connects us all as
creative people and I find it very powerful when this is
acknowledged by an artist/ poller no matter how far
along that path of experience they have travelled.
Enjoy reading the collection of 'crea tive journeys' in
this Issue. nlere is plenty to help you begin or continue
your own journey - particularly if you are a pyromaniac
(and who isn'ti). A special thanks to the anists/potters
who have so generously given of their practical
experience to help us all. There are many very practical
anicles that I trust you will use as a starting point for
funher experimentation. There is also something of the
'magic' or alchemy of earth-fire in all the wo rk
presented.
Next Issue we include Graduate Student work and a
wide range of 'Favourite Glazes' from teachers and
practitioners around Australia. 00
2 POTIERY IN AUSTRAUA + ISSUE 3611 AUTUMN 1997

Oils Ain't Oils ...
A post-fire reduction technique used to produce a black or patinaed surface to your ceramic work.
Research and article by MARllN W1WS.
, O ilS ain 't oils', especially if they
are filthy old sump oils. In a
carefully constructed muffle kiln
with a healthy measure of good luck they
can become a bea utiful velvet-like patina to
the surface of your clay object.
Ever since the raku process and
more recently 'pit-firing', became
popular in Australia, there has been a
fascination bordering on obseSSion,
by many workers of clay for the
heavy low fire reduction
techniques that transform the
seemingly banal and
mundane into objects of
lustrous beauty or timeless
relics. Unfortunately, the
firing process has all too
often been appli ed to
mediocre works giving
credibility in the eyes of many, to the old cliche 'you can't
make a silk purse out of a sow's ear'. Consequently, there
is a troposphere loaded with fumes and carbon to testify
to the fervour with which these processes have been
attacked and truck loads of dulling coppery pots,
discarded once the excitement of the process has
dissipated.
As much thought and technique should go into the
production of a post-fife reduction piece as any other. I'm
a great believer that the 'techno' phrdse made vernacular
by computer buffs, 'garbage in garbage out', applies even
more so to the kiln. No matter how sophistica ted or
simple the firing process, it will not resurrect a poorly
conceived or produced item. In fact, I know of a
ceramics lecturer who has been known to assess
the pre-fired work of his students with a
hammer. This may be a little drastic
perhaps, but certainly nO[ unwarranted in
hL~ noble quest for excellence.
Enough of the lecture on quality. This
is meant to be a technical article,
although there isn't that much
'technical ' about the 'hlack-fire'
technique. Let me explain:
THE KILN
The process is quite simple but
does require a special kiln.
Once constructed the kiln
may be used for a va riety
of other functions , ego
raku , bisquing, standard
earthenware, etc.
Stupa Reliquary_ 'Black-fire'
However, it is important that
the kiln is constructed to 'black fire ' specifications to
achieve the carbon overload required to produce either
the steel black or coloured patina.
Of importance is the fact that the kiln is easily sealed
(muffled) in order to keep the carbon and fumes
completely within. A leaky kiln will not only produce
poor results but will spew into the atmosphere toxic
fumes that are unhealthy for the environment, and very
unpleasant to the nose. You r neighbours will not be
impressed. In fact , should you become inspired and set
about to build one such structure, make sure it is in a
location well away from residences, and positioned such
that the prevailing wind blows the odour away from the
neighbours and not toward them.
3611 AUTUMN 1997 + POnERY IN AUSTRAlIA 7

Detail 'Laver II'
THEFlRlNG
Load the kiln and fire up at an appropriate rate to
the type of work set in the kiln. The
temperature you fire to will be determined by
the maturing temperature of the glazes you
have used (if any) in conjunction with the
black-fire. You should not fire to less than
850"C. Within the range of 960 - 1000"C
works most effectively for my work. It is
important to have larger, thick pieces
thoroughly soaked to 'orange' temperature.
Once temperature is reached seal and
allow the kiln temperature to drop to
approximately 700"C. This is particularly
imponam if glazes are used because most will
blister, even boil, if the reduction is
commenced before the glaze has solidified.
Ceramic fibre is very useful in sealing burner
ports and the flue. This will eventually need
to be replaced as the oil will harden it.
At 700"C commence the oil flow. The rate
of flow must be experimental, geared to the
density and quantity of work in the kiln.
Using the equipment illustrated in the kiln
plan commence with a steady stream of
oil flowing at 1 mm - 2mm in thickness.
Once the kiln has dropped in
temperature to around 600 - 650"C the
oil flow may be reduced to a steady
trickle of approximately O.501m thickness.
Continue the oil flow until the temperature drops to
400"C or less. The oil induction period may take as
long as four hours and use four or five Iitres of
oil. Do not unload the kiln until the
temperature has dropped to around 100"C.
THE OIL
Sump oil is the basic ingredient. The sump oil
from diesel engines will be less likely to give
the coloured patina but should produce black.
From illY experience waste oil taken from a 44
gallon drum used to collect all waste oils, ie.
t.ransmission flUid, brake fluid, sump oil, etc. is
likely to give the most spectacular results. This
1 think, is due to the higher concentration of
additives such as molybdenum, panicularly in
transmission fluid.
Mix the waste oil 2 palls to 1 with diesel fuel
oil (new) to decrease viscosity and facilitate
flow into the kiln. Add approximately l00gm
of CuC03 to the diesel before mixing it with
the waste oil. The copper carbonate or
sulphate will aid the production of rich
colour in ule patina.
Experiment with a variety of
glazes. It is a good idea to pre-fire the
glazes but you may mature the glazes
in the Black-fire kiln before introducing
'Ceremonial Cup' h66cm
Black-fire with Cesco flo-rite the oil. The rest is up to you. 00
glaze to cup.
8 POTIERY IN A USTRALIA + ISSUE 3611 AUTUMN 1997

BASE
f-
0::::
o
:r:
(f)
o
TOTAL 50 BRICKS.
LAY ON BED OF CERAMIC FIBRE.
(ALL BRICKS LAID ON THE FLAT)
5 LONG
LAYER 1
('XV
>0- X
"><
V' J

LAYERS 11
--r-I--r --:;;::J..--l___ _ INNER LAYER CORBELLED
r
IN TO PROVIDE SUPPORT
FOR LIDS:
=22 BRICKS.
OUTER LAYER AS PER
'----'---'----'----' 4--- - LAYERS 2 - 10:
= 18 BRICKS.
LAYERS 12
FORMS LAYER TO SECURE
LAYER 11: = 16 BRICKS .
TOTAL BRICKS = 406.
UDS
2 KILN SHELVES:
61 Omm X 405mm X 20mm.
FIBRE BACKED (2 LAYERS).
10 POTIERY IN AUSTRAIJA + ISSUE 3611 AVTUMN 1997

EXPLODED SIDE VIEW OF UDS
CJ CJ
-
dJ lb -
[b c:!J '"
~ '"
'"
I '"
11 11-
NUTS
HANDLES
ANGLE 25 x 25 x 3
SHELF
FIBRE
SIS STRIP 25 x 3
SIS BOLTS 06 X 70
OIL FEED
TO PYROMETER
11'2' SiS TUBE
r;===t:::~
TAP
'"
20
UTRE
a
~
"- VINYL TUBE
• INTERNAL DIMENSIONS = 700 x 700 x 700mm .
• REQUIRES 3m' OF CERAMIC FIBRE FOR SEAL.
Drawings by Steven Cowley
36/ 1 ALJruMN 1997 + POTIERY IN A USTRAlIA 11

FIRING
1. FIRE TO 900'C - 1000'C.
RATE OF CLIMB DEPENDENT ON TYPE OF WORK IN THE KILN.
2. ALLOW TO COOL TO 700'C - aoo'c.
ACCORDING TO GLAZES USED.
3. SEAL KILN AND PROCEED TO TRICKLE OIL.
TOTAL SEAL VITAL ie. SEAL ALL PORTS etc ...
4. CEASE OIL FLOW BETWEEN 370'C - 400' C.
OIL MIX (suggestion only)
SUMP OIL
DIESEL OIL
TRANSMISSION FLUID
2 PARTS
1 PART
TO TASTE
GOOD LUCK.
Martin Willis ceramist, teacher.
'Lion Dog Ark'. h30cm. Underglaze colour, raku clear, black fire.
12 POlTERY IN AUSTRAUA + ISSUE 3611 AUTUMN 1997

3611 AU1lJMN 1997 + POTTERY IN AUSTRAUA 13

Both David Oswald and Ted Secombe have been
working as ceramists for many years with many
successful exhibitions at prominent galleries both in
Australia and overseas. Both have been involved in the
making of production and individual ceramic pieces, with
private commissions a feature of their work. The nineties
has, for them, as for other ceramists, brought its own
challenges and so new
skills have been added to
their professional practices,
particularly in the area of
marketing.
Their marketing strategy
has involved developing
expertise with computers
and computing technology,
which they have done with
all the enthusia m needed
for success. It has taken
time and committment but
the rewards are being able
to make commIssIon
works of both large and
small scale, both
production and individual
design, (0 a growing
number of clients.
In 1996 alone they
produced works for major
first class hotels in
Singapore, Melbourne,
Kuala Lumpur, Hong
Kong and Airlie Beach ,
Queensland.
Their success in winning
these contracts has
depended, of course, on
the high quality of their
ceramics but also on the
quality and flexibility of
David Oswald 'Tripod form'. Copper red, gold inset
panel. Limestone plinth. w45cm x h3Ocm.
David Oswald 'Warrior Vessel'. Deep red, bronze,
gold, carved band. d30cm x h25cm.
their marketing approach.
Marketing this work has
involved both poners in techniques of presentation that
are sophisticated and professional and fulfill the needs of
their high profile clients. Their clients need a professional
and expliCit presentation of the range of products
including shape, size and glaze finish.
These clients are not potters, they are buyers, and they
need to know exactly what is being offered and what
range of options are available (0 meet their particular
needs. Sales brochures need to be explicit about the
range of options available to the client and the time frame
in which they can be produced. They also need (0
include images that can be changed easily and
inexpensively according to the panicular needs of the
client. With a computer and a digital camera, images can
be custom made to each client's need rather than mass
producing a brochure which
immediately dates if the
work changes and does not
necessarily respond to the
client's request or need. of
course, developing these
skills all makes extra
demands on the time of the
two potters but dley see it as
an essentail part of their
long term profeSSional
practice.
FollOWing his own
development of new
computing skills to help
with these marketing tasks,
Da vid Oswald developed a
project designed to help all
artists with this new (to
most) area of technology
which can marry so
successfully with their art.
The project was about giving
studio based artists a means
to present themselves more
profeSSionally. His own use
of the system includes
design in glaze development
and artwork; forms , letters
and document presentation;
data bases of related
information; graphic record
keeping and presentation
and fax and modem links (0
anywhere in the world. 'With
these tools based in Illy own studio I can provide a
profeSSional image (0 private, gallery and corporate
clients'. Oswald developed this package to be produced
as a concise booklet supported by workshops and
lectures that could be held in both urban and regional
centres.
The benefits of developing this package for artists are
many. It gives the artists the ability to promote themselves
14 POTTERY IN AUSTRAUA + ISSUE 36/ I AUTUMN 1997

Ted Secombe. Green/tan dry crystal lidded jar.
h35cm x d25cm.
to prospective clients anywhere in their state, country, or
the world, regardless if their studio is urban or regionally
based. In a competitive world, it gives the practitioner the
edge of professional presentation in their submissions for
corporate or public commission work. The client's initial
perception of an anist is very important if they are to put
their trust in the anist's perception of their needs. Well
presented documents and graphic depiction of concepts
will achieve this.
Of course, there is always the question of cost.
Because of competition and product development
computer systems are getting cheaper and better all the
time. 'In my experience the initial investment in my
professional image was invaluable. The cost factor was
covered in the first few commissions I won.'
An important aspect of the co t factor is that computer
equipment devalues at a rate of 40"10, far higher than any
other equipment in the studio. This means that in
approximately two years the initial outlay will have been
wrinen off the anists' taxes.
As Oswald sees it, the computer is a pan of our lives
and will increasingly become indispensable in all fields
of endeavour. As anists we should be using them to our
best advantage. They in no way comprises what we do;
rather they enhance our ability to reach wider markets
and therefore more potential clients. They do not limit
our potential , they increase the flexibility of our
production. Each new client can potentially be a new
challenge. Being able to accurately describe, graphically
and with words, the outcome of a commission at the time
the proposal is first presented also ensures a successful
outcome for both the client and the artist. Computer
technology has enormous potential for aspects of both
organisation and presentation in an anist's working life.
Most importantly all these factors will ensure the
survival of craftspeople and artists, which is surely, a
common goal. 00
3611 AUTUMN 1997 + POTIERY IN A USTRAlIA 15

16 POTIERY IN AUSTRAlJA + ISSUE 3611 AtJfUMN 1997

My current work utilises a strange mixture of
technologies. I use an ancient firing method, a
simple tunnel kiln or anagama, because of the
resulting surface textures and glazes. Unfortunately, firing
larger scale work in the anagama is awkward and costly
in tenns of pots lost. A comparatively newer techology -
p,lperciay - offers me a solution to these cracking and
loading problems, which occur in the harsh environment
of long wood firing.
Since 1988 I have been firing an anagama once or twice a
year. Anagama kilns are simple, single chambered tunnel
kilns. The front of the chamber is rhe firebox, and the tunnel
slopes gently uphill to a flue that ends in a chimney.
Anagamas are nor sophisticated kilns, in facr rhey are
inefficient and labour intensive. The appeal of the anagama
is the palette of texn.res and colours possible with this firing
procedure. Each part of the kiln gives disrinct patinas and
markings that provide unique
textural surfaces for ceramic
pieces. An understanding of the
flame path and control of the
ember bed enable the firer to
manipulate fire marks and natural
ash glazes distinctive to this firing
medlod.
In using an anagama to fire my
work I accept the constraints of
the firing process by making
pieces specifically for each area
of my kiln . In choosing the
decorative palette produced by
anagama firing, pieces need to
withstand the stresses of long
wood firing . Suitable clays are
needed for each area of the kiln. Even using appropriate
clays, I found cracking occu rring as the height of pieces
increased. Handbuilt pieces up to 90 cm developed small
cracks during the firing due to the large temperature
variation from the top of these pieces to the bottom.
These pieces were very criSp with smooth surfaces which
were spoilt by these cracks.
In May 1995 I attended Sculpt-Up-Gulgong and saw
paperclay being used in the wood kilns. Intrigued, I made
up some paperclay and mended some of my cracked pots
- even building a new base for one. With the leftovers I
made some small potS for further resting. This new
material appeared [0 complement the anagama firing of
larger pieces of work. Testing showed paperclay is
sufficiently robust for this particular firing process that
exposes pors to the fury of the flame and ember over
Paperclay 'split' from floor of
firebox-natural ash glaze. 33 x 26 x 32cm.
several days.
Paperclay, very sitnply, is a mixture of paper pulp and
a clay slip. The paper pulp comains cellulose fibres that
give paperclay its unique physical properties. These long
flexible tubes absorb water readily, enabling paperclay to
be wet and rewet many times without drying cracks
forming . The cellulose tubes also act as a web
intertwining the much small clay particles. This is the
reason for paperclay's green strength and resilience to
stresses during making and firing.
Paperclay has major advantages for my work practice.
Apart from the eliminarion of cracks, paperclay allows an
increase in the scale of work. The ease of working with
larger pieces is increased due to the lightness of the
material and the green strength when bone dry. This
allows easy moving of the pieces into kilns and around
the studiO. Packing the anagama is a two day job and
placement of pots is vital for
flame markings, for achieving
temperature and for detemlining
how much ash strays onto the
pots. With paperclay pots being
strong and light the physical
aspects of kiln packing arc a lot
easier. Most of my work is
tumble tacked (stacked without
shelves) for fire marks and
paperclay widens the
possibilities of packing
arrangements. The strong green
strength allows easy
transportation of raw pots to the
anagama, eliminating the need
to bisque nre the work.
Paperclay is panicularly useful in the firebox area of rhe
anagama. TIle ftrebox is an area of intense combustion. Pots
are exposed to intense work heat and the possibility of
being hit as the kiln is stoked. This area of the kiln is very
harsh on pots. I pack my firebox with pots of all sizes as this
is the zone that gives beautiful purples, yellows and greens.
These colours are accompanied by granular textures similar
to corals. Depending on the firing cycle these granular
glazes can be covered with layers of luscious green celadonlike
glazes. Results are vivid, and strongly panemed. Work is
made for this area of the kiln with an understanding of the
possible surface textures and colours that may occur. This
illustrates the constraints of working with anagarna firing. My
clay pr'Jctice operates within a framework detennined by the
choice of firing but encompasses the 'unknown' that is
central in long wood firing.
ISSUE 3611 AUTUMN 1997 + POTTERY IN AUSTRAUA 17

I like to place large pieces under the
stoking ports. Paperclay is very suitable
for this area of the kiln, where I keep
the temperature lower to obtain mall
natural ash glazes. Surfaces are quieter,
enhancing larger forms without
dominating them. Side stoking cycles
enable me to build up landscapes on the
surfaces of pieces in this area. Because
pots are partially buried this can
accentuate the temperature difference
from the top to the bottom of a piece.
Paperclay helps eliminate stress cracks
that can occur because of this
temperature difference during long
firings. For name management in this
part of the kiln it is important not to
have large spaces at the top of the pack.
With my larger paperclay pieces, both
Paperclay pots in firebox of anagama-during firing these pots are
covered in embers. 9 x 9 x 16cm.
handling and the control of voids for the flame path, is
made much easier. Paperclay offers scale and packing
possibilities using the anagama that are not viable for
clay. For these reasons paperclay has been an ideal
material for use in an old firing process.
The use of paperclay does have its drawbacks. In the
raw state the paper component rots and becomes rather
offenSive. Making paperclay is time consuming and
requires space and organisation. During the early stages
of firing horrible smells emanate from the kiln - not nice
for the neighbours. All of these problems can be
overcome but it does emphasise the need to have a good
reason to incorporate paperclay into your studio practice.
Paperclay vase from floor of
firebox-natural ash glaze after
100hr. firing. 9 x 9 x 16cm.
In my present work I have the
intriguing situation of using a new
material in an ancient firing process. My
current work is mostly handbuilt,
allowing the construction processes to
be visible. In accepting that the anagama
process determines what is possible in
terms of texture, colour and form , I have
tried to simplify 'the making process' in
creating pieces that have an immediacy
enhanced by the firing. These undulating
surfaces are accentuated in the anagama
firing, subtly or dramatically, depending
on placement in the kiln. Paperclay
provides a making freedom both in
construction methods and size of work
possible.
It has been a slow process to even
begin to understand the decorative
potential of the anagama but I think that applies to
whatever area of ceramic technology we decide to work
in. I am still analysing the results of each firing , trying
different packing ideas and have the occasional kiln
disaster. Despite the frustrations I am still excited,
stimulated and drawn to the exotic, evocative surfaces
obtained by anagama firing. 00
Barbara CampbeU Allen
12 Balfour St, Wollstonecraft
Ph, 0294391 638
(Pa r a detailed look al the placement of work and effects in
Barbara's anagama, see Volume 34/2.)
18 POTIERY IN AUSTRAlJA + ISSUE 36/1 AUTUMN 1997

Saggar fired. h35cm.
I've always had a fascination for people who create
objects by hand. As a child growing up in Fiji,
handcrafts were everywhere. To the Fijian~, making a
livelihood from hand made goods was as natural as
walking slowly. That, together with an absence of
television, meant that people were better at amusing
themselves and it seemed very natural then to have some
sort of hobby.
Construction , and the pleasure that comes with
constructing something, whether a cubby house or a tea
pot has always held tremendous excitmem for me. It is
not just the road of exploration but where it might lead
that draws you along. The first step can be difficult but
soon the momentum builds.
3611 AUTUMN 1997 + POTIERY IN A USTRAUA 19

Everything is an adventure as a
lot. I thought he was God. Non-art
child. Unfortunately many of us
students thought Ross thought he was
lose that excitement as we take on
god as well! Ku-ring -gai was a
the responsibilities of adulthood.
brilliant door to enter.
Clay has a way of keeping that
The pots began piling up, and
discovery alive for me. My earliest being raw with no way to fire them, 1
partner in this adventure - Hugh
needed a kiln. My first kiln was
King's first wheel - was constructed
second hand and was based on plans
of timber, some truck parts and a
for an American kiln known as a
fly wheel of cement wrapped in
Min nesota flat top. The lining
lead flashing. Clay was in short
consisted of RI 26 bricks, some 23s
supply and I remember tentatively
and one dense brick, which I was
asking for a go each time I'd visit
told was very special. This was
Hugh when I was twelve or thirteen.
backed up with what I now think
We had a "How to .. ." project book Chris James was asbestos board , all nicely
and dreamt of owning a centering arm . Mentally we packaged within a 4mm steel case. The lid consisted of 3
designed a drip feed watering device so we would never rows of Rls lined up 10 deep with threaded rod through
need release the clay. Ashtrays spewed forth, and a few the middle. These rows of bolted bricks were picked up
bowls as well. Turning was either not in the book, or with much grunting and placed side by side on the top of
didn't work well on bone dry pots l Our raw ashtrays were the kiln, hence the name flat top. 1 called it 'flat spot'
also useful as paperweights l because, amongst other things, it never reached cone 10.
My first experience with the technique of throwi ng This I discovered much later was caused by too small a
came via a fete at Wahroonga Bush School, named flue.
because of the abundance of trees in the school grounds. Around the same time I stumbled across some plans
Apart from the obligatory miniature train ride, a throwing for a woodfired raku kiln. I didn't bother testing it for
display was included in the events. I arrived after the raku but instead packed it full of tenmoku and celadon
show was over to find what were once pots still and a spread of cones and fired it up enthUSiastically. I
glistening with slip and stuck
don't know what gave me the
against the art building wall. The
idea that 1300· C was possible
mystery of why wheel work is
but funnily enough it was. The
termed throwing had been
results were great. The glazes, at
unravelled! At some stage I
last, were reduced and glossy.
purchased Hugh's kick wheel for
This simple kiln constructed
the princely sum of $25 and
of sand stock bricks had a
production began.
profound effect on me . I was
I have always believed that we
around twenty and the passion
move through life choosing
for wood had been sparked.
which doors we'll walk through.
The limits created by my
Some we stumble through, some Fluted teapot, celadon glaze. h2Ocm. minimal technical knowledge
our parents or peers encourage
became increasingly apparent
us through, others we walk through voluntarily only to and so I joined the full time course at East Sydney
stumble back out. I didn't want to go to Ku-ring-gai High, Technical College. The first day at East Sydney was like
but as luck would have it, Art was encouraged there, and any other first day at a new school. We all felt awkward
the Art department possessed excellent ceramics facilities but there was a real sense of anticipation in the air. I
with three kilns, one of them gas,wheels both kick and remember watching a young guy throwing mugs
electriC, a pugmill and a heap of raw pOWders. We effortlesly on one of the kick wheels in the throwing
lathered these raw powders Onto and into everything with room. This poner was, in fact, one of the teachers, Steve
wreckless abandon. This was the 70s and 'Occupational Harrison. Without knowing, I had been observing the
Health &Safety' was of litle concern. The head of the art very person I had primarily come to East Sydney to learn
department, Ross McBride, was a potter. Ross taught me a from. Steve has a wealth of knowledge, and he gave
20 POTTERY IN AUSTRAUA + ISSUE 3611 AUTUMN 1997

excellent lessons in his own
seeing the changing light of a
quiet way. Technology is a dry
full 24 hrs of day and night.
subject at the best of times but
The pots were great and lhe
Steve managed to gel the
extended firing had been
message across with a sense of
fortuitous. looking back, the
humour. He said that he had
pots left a lot to be desired as
only had two students who
far as form and decoration go,
genuinely enjoyed kiln but that was then, and, in
technology, 1 was one, and the
hindsight, I was lucky to get
other had withdrawn due to a
away with it at ali'
mental illness! Other rewards of
There are very few methods
my time at East Sydney were
or styles wilhin the whole
some lasting friendships, and
scope of ceramics that don't
most importantly, I was interest me in some way. r left
generously given the knowledge 'Plate Tectonics'. Raku fired. h4Ocm. College with a passion for
to work independently as a potter and r couldn't wait to throwing and all things functionaL I liked using pots and
do just that.
enjoyed them for their function as well as their
Have you ever noticed that when you have the form aesthetics. As time passes, the focus on function for me
and scale of something explained to you , it is sometimes has been given greater scope. Function in a domestic
hard to get any real concept of just what it will really look sense has gained greater breadth. The mere presence of a
Iike~ Somewhere in the description, the truth of it gets a pleasing ceramic object in our day to day life is function
little too hard to keep track of, so you end up just enough. No longer does function end with the need for
nodding occasionally. So, when I described bUilding a 40 containment. Broadening the concept of function opens
cubic ft bourry box wood kiln in the backyard it sounded up a whole new play ground.
'jim dandy' to my mother. Hugh and a very special friend, In the late 80s I started exploring low-fire saggar firing
Ally, helped in the construction. My savings were spent as a method of introducing some spontaneity back imo
totally on the construction of two kilns. One was a new my work. My stoneware production ranges were
12 cubic ft gas kiln with four venturi burners; the other becoming all too predictable and saggar firing is so
the Dourry box.
random that it provided a nice balance, a whole new
At East Sydney r had caught the pioneering 'self play ground.
sufficiency' bug. A whole new world of books were now looking out into the blackness at night has always
available to me for answers. I read them, and was soon been a great leveler for me. Whenever a situation
digging my own clay for the pots and iron oxide for the needed a little pondering the night sky was the place
glazes. The first firing in the untested bourry was a real I turned. The vastness alone has, without fail , been
gamble. The pots of local clay were raw, the kiln props enough to put things in proper perspective. That
and shelves home made using the the Harry Davis interest in space is strongly reflected in my saggar
method and a Steve Harrison reCipe for the body. They fired work , most recently in the form of pods/ eggs
were raw as well. A reCipe for disaster! To top it off, the and planet like spheres. Expressing the sense of
pots were for an exhibition 4 days after the firing was to planets and other stellar objects, has become a
finish. Mark Draper generously helped. I remember him challenge. I have chosen the form of a series of half
noting on arrival that the wood looked a little generous pods balancing lightly on clay stands. I'm hoping
and should probably be split a little thinner. I was sick of these forms will convey a feeling of huge mass,
splitting and Mark had a dodgy back so we packed and balancing precariously in space. The technical
fired. Mark was right of course, and on the first night we challenges involved with constructing these latest
couldn't acheive heavy enough reduction with the forms should keep the adventures coming for quite
oversized wood. We stalled the kiln until 8am the next some time~ 00
morning when I could start splitting again, without fear of
retaliation from the neighbours. We fired on, and after
twO nights called it quits with cone 10 well and trudy nat
lOp to bottom. The beautiful thing about thal firing was
Christopher James: 02 9489 5256
'SPACE' - a solo exhibition of Christopher James' New Work can be
seen at Anita Ellis Gallery, Avalon, Sydney, August 12th to 31st, 1997.
3611 AUlUMN 1997 + POTTERY IN AUSTRAlJA 21

Understanding
REDUCTION IN WOODFIRING
A look at the basics by BARRY HAYES
Being a wood firer naturally entails
reduction firing. It is by design, not
accident, that I fire in reduction.
Firing in reduction means that the flame
plays an active, not a passive, role in the
finish of the clay surface,The flame,
starved of oxygen, actively seeks out the
oxygen combined in the clay and the
glaze, and during this process uniquely
alters the nature of both. The challenge
for the poller is guiding and responding
to this force, not dominating it.
I am fascinated by this process for
two reasons - for the cause and the result.
The name is not only heating the pots to
create the chemical and physical conditions
necessary for changing raw clay to vitreous ceramic. It is
enhancing and enriching the glazed and unglazed surfaces
giving them a far greater depth and subtlety of colour than
would generally be achieved in an
oxidation or neutral fIring.
So, what happens when reduction
occurs and how do you achieve it.
Firstly it occurs when there is an
excess of fuel and a shortage of
oxygen. This is a fairly obvious and
easy situation to achieve. The trick is,
when to reduce, how long to reduce
for and how heavily to reduce. The
answers to these questions, of
course, depend on what results you
want and what clay body and glazes
you are using.
Salt fired bottle. h3Ocm. A very heavy reduction wastes fuel ,
unnecessarily pollutes the atmosphere
and is not necessary for good results. In fact, copious
amounts of smoke pouring from a chimney does not even
indicate that reduction is necessarily occurring in the kiln.
22 POTTERY IN A USTRAUA + ISSUE 3611 AUTUMN 1997

It does indicate, however, that a lot of fuel is being wasted.
The presence of CO gas in the firing is responsible for
reduction - however it is not necessary to have large
amounts present as it is actually a fuel and will burn if
any oxygen is present. Small amounts of CO in the firing
chamber will ensure that good reducing conditions occur.
Chemically the process can be understood by being
aware of the following - carbon plus oxygen equals
carbon monoxide. If there is insufficient oxygen for
complete combustion just adding more carbon (fuel) will
not change this. What is needed is less oxygen, because it
is when nearly all the oxygen is used up, that carbon
monoxide is formed. This is so hungry for oxygen
(unstable) that it takes oxygen from the metallic oxides in
the glazes, and in cases of heavier reduction, in the hody,
causing distinctive changes to both.
During the reduction process fuel is wasted and so it is
important not to start reduction too early. It may begin
around cone 08, the idea being to reduce the clay body
while the unmelted glaze is still permeable. If reduction is
postponed to a later stage of the firing when the glazes
have begun to melt, the clay body can look insipid and
the glazes can lack colour, tonal variations and depth. A
uniform reduction th roughout the firing can also produce
cold greys in the clay body. Alternating between oxidation
and reduction can produce colour variations including
flashes of reds, oranges and purples. Different clay bodies
respond differently under reduction and, of course, some
are more reactive than others. It is most important to
realise that the wanmh, and variety, of colour in the clay
body is most pronounced when the exposed areas of clay
re-oxidise during the cooling process.
Also be aware that iron is a much stronger flux under
reducing conditions affecting the maturing temperature of
both glazes and clays. Understand that clays that have
high amounts of both iron and calcium have a tendency
to bloat if overfired.
Keeping good records of firings, (both graphs and
notes) and fired results is important. This wiIJ help build
up your knowledge of both your own particular kiln and
the processes you are dealing with. Failures are probahly
even more important in the learning process than the
successes. However, it is the successes, the pieces where
the warmth of the body colour and the subtlety and depth
of glaze colour glow long after the piece has cooled, that
keep me coming back for more. G\!I
Salt glazed lidded container.
Kiln Chimney just prior to salting.
Barry Hayes, Shard Pottery
Deavon Meadows, Victoria
ph, 059 982 837
ISSUE 36/1 AUTUMN 1997 + POTIERY IN AUSTRAUA 23

24 POTTERY IN AusTRAUA + ISSUE 36/1 AUTUMN 1997

------------ ------- -------- ---- ---- - - ------------------,
Icoltic shard 1995. Multi fired dry glazes. h36cm x 4Ocm.
The creative journey is a combination of research,
discovery and the application of both intuitive and
technical skills. These processes are central to the
journey ceramic artist Stephen O'leary is embarking on as
he strives for professional excellence.
The two areas in which O'Leary works are simplistically
defined as the functional and non functional. The
functional consists of fine copper red table wares and the
non functional being assiduously engineered and
designed sculptures.
O'Leary's copper red works celebrate ceramics from
many creative perspectives. The artist enjoys the
homomorphic connections his works have with that of
the female form . O'leary constantly displays an holistic
understanding of the formality of line, aesthetic
considerations, form and the power of negative space.
O'Leary presents the viewer with fo rms possessing
juxtapositions of colour, surface and texture. The use of
matt black glaze with the shiny copper reds create simple
and elegant items - sometimes featuring a whisp or band
of gold lustre.
A dominant Irish ancestry has inspired O'Leary to
produce works which reflect the strong aesthetics of the
Celtic craft traditions. O'leary combines both hand built
and thrown elements to produce dynamic three
dimensional forms. The sculptures are carved into
creating intricate Celtic knotted patterns. These detailed
arrangements meander their way around hooped rings
and semi circles. The artist is careful to keep his designs
accurate, but will also personalise them to his individual
aesthetic. The shards are designed to represent fragments
of aged splendour - precious remains of an age gone by.
TIlese peices of artistic 'debris' are sectional compositions
that stimulate the viewer'S eye to fill in the missing
portions. This draws the viewer even more intimately into
the work.
O'Leary works with an exceptionally broad palene of
glaze colour. The dry glazes mottle and break over the
carvings and surface textures to give subtle tonal
variations. The effect is of objects apparently excavated
from another time, the surfaces patinated with the colours
of earth and organic matter. Variations in colour range
from the palest of greens to the toxic appeal of potent
rust oranges.
O'leary is methodical in researching all aspects of his
work. The Celtic theme is an area that is constantly
refined, pushed to all potential limitations and
boundaries.
His work also displays the reflective processes that,
together with technical expertise,empower the finished
pieces and ensure his creative development. 00
3611 AUTUMN 1997 + POTTffiY IN AU5TRAUA 25

Peter Rushforth A Workshop
In late 1996, potters from the Central West in NSW were treated to a rare lecture and workshop by
PETER RUSHFORTH, one of the founders of the studio pottery movement in Australia, a teacher and
an important influence on several generations of Australian potters. Article by PETER WILSON.
Peter outlined in the lecture his early involvement
with clay, his influences and the development of his
personal philosophy towards his life and work.
Allan Lowe, a potter from the Dandenongs in Victoria
introduced Rushforth to pottery after the war. Rushfonh
immediately saw the creative potential of the medium and
saw the possibilities of individual expression that it
offered and the opportunity to creatively use both your
hands and mind. He felt immediately that this was what
he wanted to do. At this time there were few potters in
Australia. Merrick Boyd and his sons in Melbourne were
some of the more noteable. The main influences of the
day came from the studio pottery movement in the U.K.
Rushforth spoke of his training at Melbourne Technical
College (RMID and then at The National Art School at
East Sydney where he went on to teach for many years.
He stressed the need for training to be concerned with
the mastery of techniques, to be rigorous and fully
integrated. To produce professional people takes a long
period of time. 'If you haven't got technique then your
ideas will be stillborn.". He subscribes 10 the advice often
given to Japanese craftsmen: develop an infallible
technique then leave yourself open to inspiration, but you
must have technique first.
The writings and travels of Bernard Leach created a
growing awareness and interest in Japanese pottery and
this encouraged potters in the west to look beyond their
own traditions 10 what was happening there. Leach was
interested in the role Buddhism played and how this
permeated every aspect in the lives of the Japanese
people. It was an approach which incorporated all
aspects of life into a unified wholistic philosophy,
somelhing totally opposed to notions of western culture.
Buddhism had been introduced into Japan in the rwelfth
century from China, however it was not until the sixteendl
century that its teachings had become more widely
accepted. It aimed at bringing salvation to within the grJ>l'
of the common person through personal effon rather than
through faith. The tools of Buddhism are meditation, selfreliance
and a deep involvement in life's activities. Concepts
26 POTIERY IN AUSTRAUA + ISSUE 361 1 AUTUMN 1997

of Buddhist aesthetics
developed and the
evolution of the tea
ceremony was a
fundamental part of
t11is. 2
A seminal influence on
Rushforth 's philosophy
tnwards his work came with a
visit to Japan in 1963. There was a
realisation here about the Japanese
aesthetic: functional objects and
beauty were closely linked. As leach writes 'utility is the
fir st principle of beauty, they must be simple and
unassuming, extravagance is wholly absent. Simplicity in
this context is a quality that harmonises with beauty .... .
that which is truly beautiful is
often simple and restrained ...
beauty accompanied by the
nobleness of poverty. The
Japanese have a special word
'shibui' 10 express this ideal
beauty. In English , 'austere',
'subdued' and 'restrained' come
nearest. '3 Within the Japanese
tradition, intuition, assymmetry
and a natural growth are
important features as they possess
the qualities of being handmade
and are about human expression.
Slides and pots were discussed
that exhibited these qualities.
Rushforth showed a square,
faceted , ash-glozed pot from Shigaraki that had inclusions
of feldspar in the clay that had bled in the firing to
provide little jewel-like encrustations in the pot that made
it sparkle. The potters had developed this quality and
designed their pots so that they could incorporate this
effect into their work and enhance their work.
Rushforth came to the realisation that, with knowledge
and technical skill, to produce something that is uniquely
our own, we must do it with our own materials and relate it
to our own time and place and not merely reproduce what
theJapanesewere doing. In this he had sought and discovered
his own direction. There began the long and painstaking
process of understanding the nature and qualities of local
materials, igneous rocks, wood ashes, clays, in an attempt to
develop an aesthetic
which reflected the
qualities of our own
country.
Th e form of each
pot is contemplated as it
is made so that the desired
quality will be enhanced
when it is fired . The finished
piece is visualised as it is being made.
Stoneware bowl Jun rock glaze. Design issues; the placement of
handles, the use of fingermarks
where the glaze will pool and run, sponaneity and
freshness , the uneven top to remind the user of the
everlasting hills ....!t is what you do with the technique that
is important!
The decoration
techniques Rushforth uses
on his pots relate strongly
to his search for the
Buddhist ideals of restraint
and simplicity and a
thorough understanding of
the materials he uses. The
designs originate from the
materials and the firing
process. He uses the
techniques of varying glaze
thickness, slips, brushwork,
overglazing and wax resist.
Rushforth's speciality is the
opalescent Jun glaze
Wood-fired stoneware blossom jar.
which is highly prized
because of its elusiveness.
He is currently working for an exhibition in late 1997
which will mark his fiftieth year of making pots. In this
man we see the total unification of his life and work ,
producing pots which reflect human qualities and the
Buddhist ideals of beauty through function, quietness and
restraint. 00
Bibliography
1 Littlemore, A. & Carlstrom, K. (1973) Nine Artist Potlers, Murray
Publications, Sydney. p43.
2 DickersonJ. (1972) Raku Handbook,Van Nostrand Reinhold, N. Y. p9.
3 leach, Il. (1944) A Potier's Book, Faber 'ltd faber, london. pa.
Perer Wilson is a potter and Lecturer in Ceramics ar CSU. Bathurst, NSW
3611 AUTUMN 1997 + POTIERY IN A USTRALIA 27

28 POTIERY IN AUSTRAUA + ISSUE 3611 AUTUMN 1997
Wood-fired stoneware ash glaze. h23 x w12cm.

Smoked Fish
The fishy tales of VIRGINIA HOWSTER
Do you remember the delight
every essence has its poetic
of watching guppies slipping
metaphor, a strong individual is
along the edge of a creek? As
likened to carp which become
an independent child I used to powerful dragons once they
spend hours down at the water
successfully mount the rapids of the
making sand pond ages and Yangtse river. The handsome young
temporarily trapping the little fish. I
fish vendors depicted ravishing
used to feel so powerful setting
young women in Japanese Ukiyo-e
them free again. One more prints represent the symbolic virili ry
ambitious day I took some home in
of fish . And there are many fish
a jar and my mother put them into a
symbols in Christianity, the early
tank. Overnight they all died. I disciples being fishers of men .
learned from th at the important
Jonah, a Hebrew prophet reluctant to
lesson that creatures do not thrive if
preach the word of God in Ninenvah
disconnected from their flowing
undergoes a profoundly transformative
source of life.
experience in the belly of a whale.
Many years later I found myself a
In a Darwinian sense, fish literally
partner in a night fishing trip on the
are our ancestors. Vertebrate fish
Hawkesbury River. At 2am I hear
show the bilateral organisation of the
the whirr of the hand line and jump Detail 'Opera Affishainado' 1996 skeleton and the types of internal
up to grab it. As I do so the end of h31 xw15 xd25cm organs which all 'higher' anima l
the line goes very taut, cutting into my fingers. In the species share. Fish have come to represent essential
moonlight I haul on the line and see, and feel, an primitive nature both biologically and psychologically.
unbelievable shimmer of phosphorescence deep below My current series is an extension of the portraiture that
the boat. Moments later through the tOSSing froth of has been central to my work for 10 years. The fish image
glowing green bubhles a sizable shark comes up beside has provided me with a new means to explore abstract
the boat. After moments of frantic panic and furious form, and to express certain intangibles relating to the
debate, the line gets cut. Off it flashes like a grey bullet emotions of deSire, uncertainty, enthUSiasm, anguish. I
into dark waters. From that I learned about absolute awe am enlivened by the spiritual dimension of the image
for the unexpected and the powerful.
which resonates across cultures. Inspiration has also
Fish are symbols understood the world over for life come from the carved wooden masks of the T1ingit and
force. In ancient Egypt a weeping fish was the symbol of Kwakiutl Indians of the Canadian Pacific coast, from the
the ile. Its tender tears stood for the annual flood which bright faces of New Guinea highland warriors, and those
brought fertiliry to the delta. The medieval Norwegians of the sweet unmarried Wodaabe men of Africa,
believed that giant fish, the Kraken, could create infectiously dancing their beauty, charisma and charm.
whirlpools capable of swallowing sailing ships when The choice to use human eyes and expressive lips, to
roused in anger from the holtom of the sea. In Maori anthropomorphise the image, suggests both mask and
legend the islands of Ae Teoroa are the transformed portrait , wild instinct married to conscious knowing.
bodies of great fish hauled up from the ocean by the These pieces also humourously allude to rhe genre of
earliest people, and the precious green jade still found on 'real' dead stuffed fish trophies. But these fish, which
remote beaches of the South Island are fish transformed watch you, grinning, from the wall, are more alive in spite
to stone by the erotic dreams of men. In China, where of their inert materials. They are personalities with stories
36/ 1 AUTUMN 1997 + POTIERY IN AUSTRAUA 29

of their own, which I suggest in titles such as "A Morning
Like That", "Happily He Agreed", "Around Midnight", and
"Live Bait".
The materials include highly sophisticated products of
contempomry ceramic manufacture, bur the techniques are
timeless. The shapes are individually coiled, or a basic
'blank' is press moulded, then each is manipulated from
the inside and the outside, and then carved. No two are
alike. Several slip coats coloured with high percentages of
underglaze stains are painted on before bisque.
A clear raku crackle glaze is fi red for 3 hours to
temperature, and the pieces lifted hot into a sealed
pit of leaves for smoking. While still warm, each
blackened fish is scrubbed back with steel wool
under water to reveal its lustred surfaces and
strong cmzing.
I have found in this difficult firing
technique a rich language of surface
which reinforces the intentions of the
work. The erratic crazing can be
read as fish scales, bU l also
evokes the feeling of an object
of great age, They seem to
spring into life fully fomled,
like in Greek legend, wearing
the visual record of thei r
passage through fire and
flame.
This trilogy of stories
ends with memories of a
journey to Bali and a
soothing massage at
the edge of the hotel
pool, fo llowed by a
refreshing swim, I never
quite knew what
happened but it
resulted in near tragedy.
[ was dmgged from the pool
unconscious and given the
breath of life . My
reemergence from tha t watery world into
consciousness was in a state of bliss, calm and perfect
peace. Transient as that sensation was, I determined
then to submerge myself in another fluid source of life,
the ongoing journey of art, 00
'Happily He Agreed' 1996 h43 x w17 ,5 x d25cms
PHOTOGRAPHS: RIC SlMSHAUSER
Virginia Hollister
60 Thomley Street
Marrickville. 0295580931.
30 POTTERY IN AUSTRAlIA + tSSUE 3611 ALITUMN 1997

3611 AlfTlJMN 19'17 + POffiRY IN A USTRAUA 31

From Here to Where?
Ruminations on the benefits of grants and workshops. VALERIE NICHOLlS.
Slip Decorated and soda fired bottle. h15cm.
By lunch time of the first day J could have gone
home happy. J had had my moneys worth, or at
least An.

Whilst I was becoming much more confident with soda
firing procedures and was certainly enjoying the
satisfaction of really beginning to understand the
peculiarities of my new kiln, the joy of making was
diminishing. So much effon over the past few years had
been focussed on kiln
building and firing
technicalities that I
had lost touch with
the prime motivation,
creative expression.
Bored now with the
style of work that got
me through BFA and
Honours I wanted to
move from here to
there, out of this
'Limbo Land' . The
essential problem,
where is there?
In all, I badly needed
to be with people that
understood the independent spirit of self destructing
kilns, who delight in the nuance of flame and vapour,
are masochistic enough to enjoy labour intensive firings,
who have learned to live with failure and who flick slip
in the face of those who sagely advise avoidance of
vapour glazing ...'limited appeaL .. potters pots'- I wanted
insight into how others sustain themselves creatively and
economically. I was not disappointed.
Among panicipants and presenters, full time potting
was cenainly represented as only one of many economic
options. People talked about combining their passion for
clay with teaching in urban Art Institutions, running
Women's Programmes in the outback, facilitating the
establishment of potteries in Ethiopia and Melville Island,
working in the Public Service and running restaurants. It
was inspiring - no rules about how to work, just
commitment to one's art/ craft and then initiative to
personalise a survival plan.
I will studiously avoid mentioning names - ! do not
want to ascribe pearls of wisdom to panicular presenters
for fear of leaving one out, giving another prominence or
misquoting. One of the strengths of the workshop was
that no particular presenter dominated, instead they
collectively offered us a smorgasbord of philosophies
and techniques from which to pick, choose, maybe
question and to spot commonalities, contrasts and
peculiarities.
Excerpts from my notebook, things said and seen that
Slip, glaze and soda fired platter.
struck a chord for me. •... must be in touch with your
body ... body movements in harmony with the process of
making ... body relaxed, centred, ready to dance a little.'
'What charatleristics do you want to explore? .. ls the energy
going in or out? .. Does the pot have life' ... Does the turning
reflect the character of
the pot' ...! want the
information about the
throwing process
avail3ble on the po!...'
'The internal throwing
hand is the spirit and
heart of the pot, the
outside hand is the
head .. A fight against
control and noncontroL
.. Feel the
internal space of a
bowl pushing against
the sides.'
'Ha ve to edit pots
severely before and
after firing ... Every incident is an unknown ... The pot tells
me what it wants.'
'No pot is made in isolation, its pan off your day, your life.'
Things seen ... Belly danCing at the wheel, pots made
with vigour and animation, pots coaxed slowly by hand
and song, soldierly fire worn pots that withstood the
trauma of multiple firings , pots of quiet repose. People
debating the morality of knocking pots of centre.
I have a theory that it is both the questions you ask
yourself and the nature of your answers that determine
the character of you r work and the techniques you
employ. It is what will make my pots different from
yours. I went to the workshop wanting an inkling as to
how these established and respected potters thought; to
get an idea of the sort of questions they posed
themselves and so help myself to clarify and formu late
my own.
It is significant then, that I returned to Hobart not
wanting to be like any particular presenter but excited
about my own pOSsibilities, with renewed interest in
delving a little deeper, relaxing more, trusting intuition,
fearing less and opening up to whatever I might find.
This was a great workshop, practical and philosophical. I
am still not sure where 'there' is, but I do feel that at
least I am on the road and have a map. G\!l
Val Nicholls Ph, 002 280 601
92 Brushy Creek Rd, Lenah Valley, Hobart
3611 AlJTUMN 1997 + POTIERY IN AUSTRAUA 33

Platter. Overglaze pours. Iron wash. 360m x Scm.
AChange of kiln, workspace and attimde have
helped influence the development of my
work over the past four years. A belief in the
saying that a pot has three creators - the maker, the
kiln and the user, together with a growing respect
for the work of artists such as the chef and poner
Kitaoji Rosanjin (1883- 1959) have helped define my
attitude to making pots.
The realisation that my work did not have to be
rigidly categorised as either repetitive domestic
ware or 'one-off pieces, but could be accepted as
individual pieces, was a big step in determining
34 POTIERY IN AUSTRAUA + ISSUE 3611 AUTUMN 1997

the niche
within which
work and feel
contentment. AsSisting in this
realisation was the fact that my
favoured inspirational books have long
been Japanese cooking books. The very eclectic
nature of the pots in these books [ find engrOSSing,
and the use of varied glazes and techniques present a
definite challenge to me as a potter. In my work I
aspire to the standards set, and being set, by these
potters, both contemporary and frolll the past, who
create this type of work.
My kiln is a brick kiln fired with natural gas and the
long soft flame of this type of firing has also
subconsciously seeped into my mode of work. Slips
combined with ash and a shino rype glaze, celadons,
tenmoku and a clear glaze are the main glazes J use,
although from time to time I utilise other glazes.
Although I still do slip inhlY work this has to a large
extent been replaced by combing, cutting, incising,
pouring and hakame, all techniques which are quicker
and more spontaneous in nature with an emphasiS on
surface textu reo
Working in collaboration With, and alongside artists of
other disciplines, has also helped widen my horizons.
One such collaboration was with painter and print maker
Michael Winters in an exhibition at the Robin Gibson
Gallery in 19%.
All of these circumstances have led me to pursue and
to reflect more 'life' in my work , drawing heavily on
nature's forms and textures.
I have come to realise thaI a decoration does not
necessarily have 10 be repeated over and over again to be
mastered. Rather,
the first time you
really clear your mind
and attempt a new decoration
you can often achieve the best
results and future attempts to copy this
decoration may lack life and spontaneity.
It is this constant re-assessment of beliefs
and ideas which provide the challenge to maintain the
necessary enthusiasm which make each kiln opening a
moment of excitement and expectation even when the
results are not as good as expected. At times, if the kiln is
filled with orders, I ensure that at least some element of
experimentation is in that firing, even if it is only a
number of glaze tests. These will provide the spark which
is so important to keep the whole process fresh and
exhilarating.
The use of woodash glazes and the fact that a small
part of my kiln oxidises irregularly have helped produce
pleasant and unexpected results as well as some disasters.
This area of uncertainty, whilst not approaching the
variations in a woodfired kiln, have added an element of
surprise and anticipation which would otherwise be
lacking in gas or electric kilns . This approach to
ascertaining the variables available in such firings has
contributed to the definition of the path I intend to follow
in the future. The major hurdle encountered on this path
is the necessity to be prepared for more bad results to
acquire the vety good results.
My recent use of press and flop moulds has also added
a new dimension, providing large flat ' canvasses" to
decorate. Simple but strong, the square form, for instance,
lends itself well to a painterly decoration, the form not
being lost in the decoration. The greatest challenge as I
36/ 1 AVTUMN 1997 + POnERY IN AUSTRAUA 35

Bowl. Hakame, woodash 24cm x a.Scm.
see it is to maintain a continuity to work whilst at the
same time including new glazes, shapes, decoration and
firing techniques.
There is now an increasing diversity in styles of work
being made by poners throughout the world. This reflects
the availability of an increasing number of materials (e.g.
fibre kilns and glaze colourants, etc.). It doesn't necessarily
mean potters are losing their way. Traditional work after
all , was governed by the use of local materials and the
mastering of these materials under given circumstances.
Modem communication plays a major role in providing us
with the ability to access a wealth of information.
However, because of this access to information and
materials, we must take care to be more vigilant in our
goals and not become dabblers. We must rather strive to
master these given materials and marry them with the
ideas and techniques contained in our work.
It is very difficult, but important, to be constantly
attentive in self criticism and assessment. To make pots
which both sell and are not compromising creatively is a
fine balance and a problem which most of us need to
come to terms with. It does, of course, add a "living in
the real world" factor which can be very beneficial and
challenging in itself. To do this whilst maintaining a high
level of creativity and credibility is a challenge to us all.
The hope, of course, is that the growth in general
understanding of ceramics and the use of ceramics will
continue and we will all have "a real job". 00
Lex Dickson (02) 9973 2320
36 POTTERY IN AUSTRAlIA + ISSUE 36/1 AUTUMN 1997

Keeping His Dream Alive
A personal 'kiln log' for his woodfired salt kiln by NEIL CONDRON
'Walk this Way, Madam'. Woodfired, salt glazed vessel. h22cm.
3
am - it's late January and the body stirs. This time,
not because the mozzies are chomping away at his
soft flesh , but because there's work to be done.
He stumbles out of bed trying to be quiet. As he puts
his clothes on in the pitch darkness of the room , he
wonders whether anything will be inside out when
daylight breaks in 3 hours time.
Flick! The match lights first time and the paper starts
to make noises as it burns and ignites the small sticks,
which were ca refully placed the evening before. He
thinks of the small square lidded pots Sitting on the
bagwall (usually a prime spot), and says to them
10vingly ... Good luck pal!
Already, after 10 minutes, the wooden offcuts from a
local sawmill are burning with loud crackles. This jars
his sleepiness and he starts to think of other prime
positioned pots and says a silent prayer for these also.
The wood is damp after nearly 3 weeks of non-stop
rain and the kiln steams in the eerie flickering light cast
by the flames coming from the firebox.
He organises a seat, at first too close to the firebox,
but later, moved well away, so as not to cook his hairy
legs. As he sits staring into the firebox, observing the
spiralling smoky yellow flames engulfing the wood
36/ 1 AlfTUMN 1997 + POn ERY IN AUSTRAUA 37

above the bright orange embers, he thinks ..."1 could be outline of a large bowl with twirly feet and a wheel
attacked by a giani, savage marsupial here and my thrown, square paddled pot with added fool. He can
mutilated body would not be found for ages .. .Iying on recall his feelings when he made them. Whack, whack,
the blood drenched wood pile by the kiln which has imo the sides of the freshly thrown, once round pot as
long gone out." SlOp it! That's as likely as his winning he hits it with a textured butter pat paddle. Funny the
the Fletcher Challenge and he doesn't even enter it! things c1ayworkers use, isn't it? Then the application of
4am - Seizing control of his senses he sees a shooting a few slips - slap, slap. The pulling of the long handles
star in the clear star-lit night. He makes the usual which were wound like a spring to make feet for this
wish ... you know ... but then he can't tell you because it large bowl - should be nice he thought at the time. But
won 't come true, if he does. Come to think of it, it now as he sees it there is trepidation.
hasn't come true yet, or he probably wouldn't. be here Different equation here from the making. Lots of
doing this salt firing ... keeping
variables ... will the salt apply
his dream alive.
an orange peel glaze all over,
The sound of the birds assail
maybe it won't get enough
his sleepy thoughts. inside or on the far side away
Kookaburra laughingly greet
from the obvious path of the
the day and magpies enjoy flame rushing past it ,
their singing with great delight.
depositing ash on one side
The kangaroos, which were only' He consoles himself -
undoubtedly there all the time,
that's the beaut.y of wood
are now just visible as they
firing and salt glazing. The
nervously feed. They bob their
diving from the cliff into the
heads lip and down and their
deep water, below the surface
ears are continually turning - who knows what lies
every which way, aware of the
yonder. "Heck, a swim in the
danger - eternally. He's glad
river would be nice now" his
he isn't so nervous when he
thoughts drift. Settle for a
eats his toast and jam. Oh no!
drink of water instead and
He knew he'd get round to
time for another stoke.
thinking about food . Now he
The kiln is in the open so
is hungry and he can't go back
he finds a bit of shade,
inside for food and waken
although it's hard to do
everybody.
so ... sun nearly overhead. The
8am - the kiln is only
kiln gets hotter and hotter.
steaming from rhe freshly Paddled bottle. Thinks of early explorers
applied slurry over the wicket. Saltfired and cobalt glazes. hl 6cm dying in the desert. Hope
He lights the second match in the other firebox. The those little pots are holding against the speed of the
chimney issues black smoke at every fresh application flame rushing past them. The kiln hums and
of wood. Not enough to create serious reduction, just occasionally there is a pop as gases explode from the
something to make a mental note of.
burning hardwood. Hope that's all it is and not a pot
After breakfast he feels a bit better although this clear exploding onto the others in the kiln. The I lam
blue sky and bright sunshine bursting through the trees Qantas from Grafton heads west over the range before
is a sign of things to come. As if it's not hot enough it turns south for Sydney. He bets it won't fly over any
firing the kiln , but a forecast of 34°C too!
other salt glaze firings. 12 midday - a large Huntsman
lOam - and he feels like he's been up all day. The spider has settled under the angle iron braCing and a
stoking of 2 fireboxes, first one, wait 10 minutes, then scorpion has wandered out of the second firebox and
the other, wait 10 minutes, then the first. The rhythm is down onto the ground. It hides under the other wood
in place for the rest of the firing - except the 10 minutes pile and he makes a mental note to be careful picking
will be less than 5 minutes later on.
up the hardwood offcuts from here on.
Looking into the wicket spy hole he sees the clear The king parrots are seeking a bit of shade. The birds
38 POTIERY IN AUSTRAlIA + ISSUE 3611 AIJTVMN 1997

make a beautiful patchwork of red and green as they
eat the sunflower seeds left for them. But some are
greedy and form a line, w

REVIEW
The Twentieth Walkers National
Ceramic Award
Twenty years is an unusually long run for any Art Award in Australia particularly so in the field of
ceramics, so it was on a somewhat reflective note that the Victorian Arts Centre was again host to the
20th and last Walkers National Ceramic Award in December 1996. Article by Geoff Mincham,
member of the 1997 judging panel.
Since its inception, this Award
has sought to encourage and
stimulate Australian ceramics
by providing an annual high profile
exhibition of the work of graduate
students from Australian Tertiary
Training Institutions. It has
undoubtedly been successful in this
aim and wi ll be greatly missed, particularly so, at a time
when so many Art Colleges are experiencing serious
difficulties in maintaini ng their programs against
drastically diminished funding. Many are, in fact, likely to
be closed down if the current rate of decline continues
unabated.
These difficult times were perhaps reflected in the
reduced number of entries in the 1996 Award. However,
on a positive note, the result was a more cohesive and
readable exhibition than others I have been associated
with. This exhibition was back within the boundaries not
only of the gallery space itself, but also the genuine
ceramic mil ieu. A more conservative mood seemed to
prevail, which is not to suggest any lack of diversity in
either technique or statement, but simply that there
seemed to be a conscious return to
cenain core values.
Remembering that these works
have been produced in the unreal
world of the Art School and
supposedly under the supervision of
the teaching staff, does th is then
Jane Reilly. Assembled Form
indicate the current climate of
institutional training in Australia' Or is it a reflection of
the kind of student now being attracted to these courses'
In any event it is obvious that the highly influenced
working environment of the student will surface in an award
of this type and this must be kept in mind when assessing
the outcomes. If some work fails to step far enough away
from an obvious source and perhaps lacks a clear and
original identity it hardly seems fair to regard it in the same
way as one might in another context. On the other hand,
when presented with accomplished work that does
demonstrate these virtues, it seems all the more impreSSive.
The 1997 Award Wi nner was Dianne Waters of Monash
University, Caulfield, and the judges were unanimous in
their chOice of this impressive, we ll -resolved entry.
Although confronted with a strong field, the strength of
40 POTIERY IN A USlRALJA + ISSUE 36/1 AUTUMN 1997

simplicity was clearly demonstrated in these thoughtfully
understated, yet cleverly executed works.
The highly commended category gave the judges an
opportunity to recognise nine
other outstanding entries that
were considered to be 'on the
pace' to borrow a sporting
phrase. This was also the
opportuntiy for the judges to
take a more personal position
and give encouragement to a
wide range of approaches.
Anthony Barnett (Victorian
College of the ArtS), Pamela
Those that did enter have surely benefitted from such
high profile exposure in such a prominent venue,
particularly when fmding a place to show has become so
very difficult. This was an
opportunity not to be missed!
The Walkers Award has
seen two decades of graduate
students taking their first
steps towards professional
practice. A great many
previous exhibitors have
gone on to great success and
a good many of the winners
can be seen among the most
Cordingley (La Trobe successful contemporary
University, Bendigo), Patricia Meredith Hunter. 20th Walker Award practitioners. In time it may
Garth (University of Ballarat), Skye McDougall (Monash come to be recognised that somewhere in the middle of
University, Caulfield), and Kathy Windel (Northern those years, Australian Ceramics touched a high
Beaches College of TAFE), were commended for watermark and that this Award was an important factor in
individual works in their entries. Jane Bamford and Lynne that event; even its occasional controversies serving to
Logan (University of Tasmania), Jane Reilly (Box Hill highlight the moods, sentiments and motivations of those
College of TAFE), Phillipa Smith (Monash Unive rsity, vital years. The winning entry from each Award has been
Peninsula) were commended
acquired to create the
for complete entries.
Walkers Collection which
It was refreshing to see a
may prove to be its most
vigorous representation of
enduring legacy, proViding a
functional work and a unique insight into an
pleasure to be able to
encourage it with the award
important era.
To the Walker family ,
of a Porrer'S Wheel to Frances
particularly Geoff and
Locket (Monash University,
Peninsula) and the Residency
Constance who founded the
Award and nurtured it for so
at the Jam Factory Craft and
many years, Australian
Design Centre to Annette
Ceramics owes an immense
Clark (Ca nberra School of
debt of gratitude and should
An), Clark reminding us with Annette Clark. 20th Walker Award take a special opportunity to
inventiveness and humour, that function can be a source acknowledge them. Another major element of the Awards
of expression in itself.
success has been the wise (and energetic!) curatorial
The Ceramic Materials Award and the Meat Market stewardship of Jacqueline Taylor. As exhibitions go this
Craft Centre Residency went to Meridith Hunter (Canberra one is a 'monster' and the fact that Ja cqueline has
School of Art) and Nick Pilgrim (Monash University, managed to maintain such a conSistently high standard
Caulfield) respectively, both demonstrating what over so many years is nothing short of amaZing.
command of the medium can achieve, albeit in very This event will be missed greatly, the more so as there
different ways. seems nothing on the horizon to replace it. 00
Looking down the list of those formally recognised in
this year's Awards, it must be noted that the Victoriam
Colleges, particularly Caulfield, along with the University
Jeff Mincham, Ceramic Artist
Member of Judging Panel for 1982, 1992 and 1997 Awards.
of Tasmania and the Canberra School of Art Other judges 1997:
predominated. What is happening in the rest of Australia Ken Hood: CoII",-1or and Cuc.tor (retired).
one might ask? Did they decline to submit and if so, why? Sue Buckle: Potter and Editor, Pottery in Australia magazine
36/1 AUTUMN 1997 + POTTERY IN A USTRAlIA 41

REVIEW
Earth, Sand and Fire
An exhibition of work by PAM ANDERSON.
M iele by ANDREA RADDA 17
Frame on Paradise. 39cm x 27cm.
The latest work of rural potter, Pam Anderson,
featured in 'Earth, Sand and Fire' at the Crafts
Council Gallery, Darwin was inspired by a return
to the Territory after a four year stay in Melbourne. The
environment, the colours and the lifestyle of the
Territory beckoned loudly. Hence a collection of work
that was developed in Pam's bush studiO, which
prOVided much inspiration . especially the angles,
shapes and shades of colour. Pam explained that 'Each
piece grew organically from the first coil. I worked
maniacally until each one was completed, changing
direction as a new idea was pushed through.'
The exhibition, ' Earth, Sand and Fire', was a
collaborative one combining work by Pam with Jon
Firth, a local glass artist. Jon's work included a great
number of platters and bowls. Pam worked alongside
42 POTTERY IN AUSTRAlJA + ISSUE 3611 AUTUMN 1997

Jon in creating interesting and
interactive bases, such as those
featured in 'Pagan Chalice',
'Totem Bowl' and 'Sacred Chalice'.
The result was dynamic. The
bases turned out to be ornate,
sculptural pieces in themselves.
The glazes Pam chose to use,
complemenred Jon's platters in
their delicate nature and colour.
Other pieces featured in the
exhibition were sculptures truly
reflective of the Territory with
insens of glass featuring louvres
or palm leaves, images that the
local community who visited the
exhibition could immediately
identify with. The finishing touch
of a novel concept. 'The idea
grew from some sculptural pieces
growing on my workshop table. I
could see a need for an insen of
glass to complete the concept,'
explains Pam.
For the sculptural pieces
featured in this exhibition, Pam
used heavily grogged terracotta
clay, the type of clay that Pam
finds comes to terms with the
colours and textures of the
surrounding environment. The
style of the work is indulgent but
not to a grotesque sense. After
following Pam's career in
functional/domestic ceramics, a
career that Pam has found
rewarding, this work is pleasing to
the eye and challenging, in some
cases elegant and in Olhers just so
'Darwin' and 'the Territory'!
The pieces are strong,
panicularly the piece titled 'The
Madness of M'! This is a huge
statue that commanded your
attention as you walked into the
Gallery - it included a piece of
glass by Jon Finh. Although many
South East and Off Road. 52cm x 25cm.
Tropical Spire. 59cm x 45cm.
of the pieces were collaborative
works, Pam's strong ceramic line
did not jeopardise the frailty of
the glass work. [n fact Pam has
demonstrated to many others how
strong and effective a fusion with
anolher craft medium can be, and
no doubt found it quite
rewarding.
The pieces are on average 50
em tall and reflect Pam's personal
and artistic strength. Each piece
was coloured with engobes either
in the raw or bisqued stage
depending on the effect Pam was
trying to achieve. This is ideal, in
particular for pieces that suited
the outdoors, for example the bird
baths. Once these have been
through a tropical wet, and
covered in moss, the pieces will
be truly eXOlic.
In a previous interview in
'Territory Craft' Pam mentions the
strong influence of her travels
into the wilderness areas of the
Territory including Kakadu and
Litchfield Park. These influences,
demonstrated in her homewares,
but in a different manner, are also
evident in these sculptural pieces.
The colours and the rough
textures of these pieces do reflect
the physical quality of the
Territory environment, but also
the strength and endurance of a
lifestyle that is often mistaken for
being one of hardship.
The Territory is fortunate to
have such a skilled and unique
pOller, and this latest exhibition
has done justice to this fact. Pam's
work is admired throughout the
country and no doubt locals of
Darwin will be eagerly awaiting
her next exhibition. G\l)
36/ 1 AUTUMN 1997 + POTIERY IN AUSTlWJA 43

REVIEW
Surface Tension
The main hall of the Meat Market Craft Centre was the venue for an exhibition of sculptural, decorative
and functional pottery by VCG members Glenn England and Marg Hombuckle.
Review by LYNDSAY CCWER.
Glenn is at present finishing
her Post Gl"Jduate studies at
Monash University, Gippsland
and Margaret has a Graduate
Diploma of Visual Arts . Cel"Jmics.
This exhibition is indeed a happy
maniage of two aoists with diversity
of style, form and technique, each
pursuing their own individual
direction and use of the medium.
Glenn's work is very contained and
precise, and Margaret's, asymmetricdl
and organic.
Glenn's fascination is the vessel
with the insects taking on a
hieroglyphic effect.
Tl"Jditional urn shapes, stamped
and stretched, belly into full curves
with dry glaze breaking green over
the design and becoming black
toward the base. Inside the rim
can be seen a soft uncntous black
glaze. These pieces show her
throwing talent and her eye for
detail.
The dry glazed trinket boxes are
also beautifully made and detailed.
Some are tall with feet, others
shape and the space within the Glenn England. 'Pivotal Pots I'. round and squat with gecko tail
vessel. These vessels are Clay on copper. handles.
stoneware, beautifully thrown with incised designs of To break from her thrown work Glenn has created
birds and insects around the rim. The small bowls were a some wall hangings. These are free form clay tiles with
particular favourite of mine, dry glazed in soft blues and semi relief ancient urn decorations. Some of the borders
greens with fine incised bands around the rims. The are in a repetitious design , again giving an ancient
inside was a smooth semi gloss, which makes you want hieroglyphic feel to them. These tiles are mounted onto
to run your hand into them.
dull copper sheeting which ties in with the dry copper
The pedestal bowls are elegant but whimsical. These glaze. The wall hangings are a new and successful
are glazed in a dry copper glaze, the amount of copper complement to her thrown work.
dictating the depth of colour and break of green to black. Marg's work , in contrast, is very free and full of
Two geckos cling to each bowl, their tails extended and movement. Her inspil"Jtion comes from her affinity with
curled above the rim. These in turn hold in place fine nantre in all it's aspects. Her work has the asymmetry and
twigs of bamboo. The outside rim has sgraffitoed insects, surface of nature, bellied and altered forms with hard and
as though placed there for a gecko meal.
soft surfaces, sombre and bright colours.
Many of Glenn's pieces feantre the insect motif. One Marg begins by working on the inside of the wet clay
eye catching piece is a tall green dry glazed vessel with forms, pushing and altering them to her requirements.
large praying mantis down each side and again insects Then she marks and incises the outsides. There is a
around the rim. This vessel looks almost Egyptian in style, spontaneity and freshness in this attack on clay. Marg sees
44 POTTERY IN A U5TRAl1A + ISSUE 36/1 AUTUMN 1997

this as 'creating a mechanical interruption
as a contrast to the organic softness'.
In this exhibition the major part of her work is
based on the bottle fonm. These are mainly
small to medium in size. All are
asymmetrical often with thick rounded
necks on full expanded bodies. Some
have flowing, loose throwing marks,
pushed and altered, making a visual
spiral that is broken by indentations,
bumps or slashes. These are the nooks
and grooves where the fluid glaze either
pools or breaks giving the work constant
imerest. Some bOllles have bellied bases
with fine long necks and flared rims. These
usually tilt on a slight angle giving a vague
appearance of Triffids waving in the wind.
The glazes are golden with breaks of blue
and green and clusters of crystal
into bulbous tops like sea urchins or puff
balls. These are glazed in rich blue semi-gloss
glaze which breaks to lovely yellows and golds.
There is an aLmost jewel like quality to these
glazes. These pieces appear very organic;
the feel is soft, silky and sensuous.
Marg's trinket boxes and containers were
heavily etched. This was done with shellac
on raw clay. The excess being washed
away leaving the raised design. In the firing
the glaze pools in the deeper areas and
thins on the high edges giving light and
shade to the design. Some were glazed in a
deep aqua blue.
The other exhibit was Margaret's
functional ware. The refined, well thrown
forms make a perfect foil for the totally
decorated surface. 00
fonmations. M. Hornbuckle. 'Meretrix'. Lyndsay Collier.
Other bOllles have necks that blossom Stoneware. h26cm. Associ.te Diploma of Ceramics.
Glenn England. Mantis Vessel.
Stoneware, dry copper glaze
h3Ocm, wl1cm
M. Hornbuckle. ·Obesus'. Stoneware. h11cm.
3611 AlfTUMN 1997 + POTIERY IN AUSTRAlIA 45

REVIEW
Fifteenth International Gold Coast
Ceramic Art Award
Review by Scott J. Brown
The Fifteenth International Gold Coast
figurative works to be recently acquired.
Ceramic Art Award featured forty two
Andrea Hylands awarded Fiona
ceramic artists from Australia, New
Hiscock, Alan Watt and Catherine Lane
Zealand, Turkey, SWitzerland, Germany and
Japan. The Melbourne based Judge, Andrea
Hylands, selected an eclectic exhibition which
appeared to suffer from the same problem as the
1995 Award; a uniformity of scale.
Hylands selected Alan Peascod's The
Merit Awards. Hiscock's Periwinkle Urn,
(Stoneware; hand built; coloured slips and
stains) commanded presence in its size and
elegant form. Similarly Watt 's Gold Edged
Pinnacle, (Black fired earthenware; Terrasigillata;
fuming and gold leaf) impressed with its
Perambulator, (figurative porcelain, gas
evocative textural qualities and
fired) as the winner of the 1996 Award.
An interesting choice, it was one of three
figurative works in the exhibition and
elongated form. Lane's work Bleeding
Heart Column, (Combination of hand
built and thrown construction; alkaline
resembled Peter Corlett's 'The
glaze; enamels; sand blasted),
Connoisseur lJ', 1983-84 in the collection
of the National Gallery of Victoria.
Giuseppe Raneri's figurative work
Brothers (Honorable Mention) appeared
to have its genesis in the Murrumheena
Pottery group and Yosl Bergner's
hollowed eyed figures from the 1940's.
established her as one of Australia'S
more dynamic ceramic 3ltists.
Bleeding Heart Column is a clear
break from Lane's irreverent, brightly
coloured previous work. lnstead
Bleeding Heart Column cites an anist
with the courage to reinvent her
The Perambulator is a
vision of the possibilities open to
Alan Peascod. 'The Perambulator'.
technically proficient work and
the medium. The work's linearity
Winner Gold Coast City Art Collection.
judging by the title and the
recalls the heavy woodcuts of
amusing pose, Peascod's work operates within the arena
of art world humour and irony. This is reinforced by the
placement of the figure on a pedestal with no brain and
filling his abdomen with what can only assume is hot air.
The work appears to critique the quality of criticism
within the realm of ceramics and on this level the piece
is successful as a witty indictment.
Peascod's work is a welcome addition to the Gold
Coast City Art Gallery collection being one of the few
Munch, Schmidt Rottluff, Kirchner and Pechstein in its
gouged form. It is an uncompromising northern
European aesthetic, however this is blended with glazing
techniques one tends to associate with Anglo-Australian
ceramics of the 1930-40's. Using the writing of Edvard
Munch as inspiration she has produced an intelligent
response to the age old problems of isolation and
separation, love and death. To see an established artist
traverse from the charm of her earlier work to the
46 POmRY IN A USTlW.1A + ISSUE 3611 AUTUMN 1997

sombre iconic presence of Bleeding Hearl Col umn
signals Lane as an artist of serious intent and talenl.
Joining Peascod's work in th e Gold Coast City
collection were pieces by Martin McWilliam and Janet De
Boos. McWilliam's work, Snow Goose [[ was arguably
the most sophisticated form in the exhibition. The title is
somewhat misleading with the only referent being the
subtle 'feathery ' glazing. The work was effecti ve in its
illusory use of space through manipulation of form and
possessed, along with Lane's piece, a distinct presence.
Janet De Boos', 'Six Possibilities for Monday Morning'
had six porcelain cup forms individually contained within
a wall mounted ceda r box analyzing in series the subtle
variations in form. The cups lacked presence and may
have benefited from being viewed by spectators from all
angl es as the formal manipulations could have been
further emphasized. II still rema ins somewhat of an
enigma why an artist working in three dimensions wishes
to effectively curtail this by 'boxing' and wall mounting
the works; flanening them in the process.
Apart from the artists cited above several other artists
shou ld be highlighted in what was overall not the
strongest Award in recent years. The work of Yasuta
Hash igami, Verena Vanoli, Anthony Barnell, Stephen
Goldate, Marianne Huhn and Siame Kursu nuglu all find
favourable com ment in thei r analYSis and application of
formal issues.
Hashigama has entered the Award previously and
Hagi Ware Japanese Tea Bowl was one of the quiet
jewels in the exhibition with its beautiful glaze covering
the thick rough stony clay. Its simplicity of form and
sensual glaze made it one of the highli ghts of th e
exhibition. Vanoli's work 'Memory', (Fireclay, engobe,
fired to !l80·C) was possibly along with Lane's work the
most startling in the exhibition, constructed in slabs the
work appears silenced through the strips of clay applied
over the upper area of the work. Memory had a totemic
quality and through the metaphoric use of fireclay and
engobe Vanolis provided one of the highlights of the
exhibition.
Anthony Barnett 's Two Bottles, (Woodfired stoneware,
shino glazed) possessed associative 'found' and textural
qualities. The works appeared to have been washed
about on the sea bed and then beaten onto the shore,
the form eroded and encrusted with oyster shells and
barnacles. Stephen Goldate made his second successive
appearance in the Award . Vessel - Watercolours on
Porcelain, (Uranyl Nitrate decoration with Phosphoric
Acid application on porcelain, fired in reduction) was
another technica l exercise. Yet, Goldate manages to
avoid tedium through creating another elegant fonn to
seduce the eye as per his 1995 ent ry. However as with
much other work in the exhibition its lack of height
prevented the work from having more presence.
Marianne Huhn's 'A Chance Escape', (Limoge porcelain
with black stain and sgraffitto decoration), like Goldate's
work , managed to hold its own through her effective
appropriation of Baroque decoration and form. Huh n's
investigation into the vessel/containment metaphor could
have rendered an uninspiring work , however, her subtle
tonal varia tions and use of sgraffillo ensured 'A Chance
Escape' was not without its admirers.
My em phasis on Siame Kursunuglu's 'Plate l ' and
'Plate II', (Terra Cotta. Formed clay sheets on plaster
structure) wi ll surprise many; except Andrea Hylands.
Hylands selected an exhibition which highlighted the
variety of practice in contempora ry ceramics, selecting an
exhibition without a specific agenda allowing for
interesting comparative exercises to be made.
A couple of works seemed somewhat overwrought in
their laboured investigations imo glaze or formal issues.
This can be fascinating. Kursu nuglu 's work on first
viewing seems ou t of context in its sophisticated
simplicity. However, ove r time one becomes entranced
by the fractures in her work and the associations this
brings to mind. The works investigate the syntax of clay,
and the possibilities that exist in Terra Co tt a.
Kursunuglu 's plates stretch, shrink, crack , envelope,
flake, diston and bend giving the spectator the
impression of looking upon a suspended lava now. In
series fornl Kursunuglu 's plates provided what appeared
the most unlikely works in the exhibition however on
closer inspection provided the most lucid summation of
the fundamental possibilities available to the artist. They
were not lahou red or muddled in their conceptualization
and this purity of vision and execution gave 'Plate I' and
'Plate II' their quiet sophisticated presence.
The International Gold Coast Ceramic Art Award is in
need of ove rh au l if it is to remain one of the most
important Awards in Australia. A freight company needs
to be secured as a sponsor allowing artists to enter large
scale works without destroying their bank balances. The
Award will also need a fresh cash injection to keep up
with other Australian ceramic awards rapidly growing in
stature. The history of the Award is its trump card and
the illustrious list of winners and judges will ensure its
reputation remain s intact. It now remains up to the
committee and its supporters to ensure that the Award
cements th is reputation. 00
3611 AlfTUMN 1997 + POTTERY IN AUSTRAlIA 47

Catherine Lane. Raku and white, e/w, slip, combination hand-built and thrown. Heavily carved, sgraffito.
Alkaline fritted glazes _ 11 OO"C. Enamels, sandblasted.
Janet de Boos. 'Six Possibilities lor Monday
Morning'. Porcelain, cedar box. Acquired Gold Coast
City Art Gallery Collection.
Martin McWilliam. 'Snow Goose II' 1996, Germany.
Acquired Gold Coast City Art Gallery Collection.
48 POTIERY IN AUSTRAlJA + ISSUE 36/ I AUTUMN 1997

REVIEW
Freeing the Spirit
"Committed", an exhibition at the Fremantle Arts Centre.
Review by JUDITH MCGRAITH
of art ists who are
committed to the practice of
ftJroup
heir craft and the dynamics
of their group relationship, has
taken the theme of being
committed to an asylum as fodder
for their most recent exhibition.
Christine Dyer, Graham Hay, Dee
Jaeger, Bill Jeffrey, Irene Poulton
and Stewart Scrambler explore
variations on the theme through
diverse methods of manipulating
the clay medium to offer the
viewer a rewarding experience.
ConSidering the early history of
the venue, the artists look to
aspects of being 'different' in a
collective environment. Stewart
Bill Jeffrey addresses both
historical and contemporary uses
of the venue in well considered
and constructed mixed media
sculptures. By combining ceramic,
steel and stone in figurative and
abstract imagery he creates
thought provoking narratives that
reference physical and
psychological concerns.
Dee Jaeger and Graham Hay
interpret being 'committed' as
acting on a mind set rather than
reacting to a state of mind. Jaeger
does not equate being different
with madness. Her delightful nonconfomlist
ladies are exhibited as
specimens in bell-jars. But these
Sc rambler places beautiful 'bottle-blonds' are rare only for
woodfired stoneware bowls on
the commitment to a freedom of
individual pli nths aligned in
spirit. When they are let loose,
perfect rows. Around the gallery in
th ey grow into enthusiastic
window niches stand bottles and Cutting Loose. Dee Jaeger. acrobats hanging from the ceiling.
jars of the same material. The total installation reminds us Hay's com mitment to his an is expressed by recycling
of how inmate and guard are made of the same stuff and the paper trail left by the arts industry into viable
exist in the same environment with their relationship to sculptures and statements. We walk through a paper arch
each other being decided by some outside force.
bearing the names of 6000 people committed to the ans
Christine Dyer combines eanhenware and woven rag to (yes, I did look for mine) along a canyon of millions of
produce egg shaped 'lost souls'. These dark hollow forms names in bricks cut from phone books to meet 'Fun (d)
effectively evoke pity as they communicate a sense of Seeker', a paper clay seed-pod sending out a twisting
total emptiness and despair. [rene Poulton lOa, reminds pencil-point spout.
us of the misery that once was housed within these walls. All dedicated anists are crazy - in the nicest possible
Large ghostly figures personify different deranged states way, of course - and all an appreciators are delighted
from 'chronic idiocy to melancholia'. However, the pure with the commitment shown by these talented
white slip and simplicity of the forms confer on them a craftspeople. 00
certain peacefulness suggesting a transcendence of ----------- ---------
anguish. Reproduced, with pemlission from the Western Review, Number .\3.
3611 AUTUMN 1997 + POTIERY IN A USTRAUA 49

50 POTIERY IN AUSTRAlIA + ISSUE 36/ I AUTUMN 1997

Opposite page: Bill Jeffery. 'Being Confined'.
Ceramic, steel, stone and bronze.
Top left: Graham Hay.'A walk through the centre'.
(500 telephone books.) 1.5m x 4m x 7m.
Top right Irene Poulton. Matilda. Clay, slip. 149x 95cm.
Above left Stewart Scambler. Woodfired bowl. h2Ocm.
Right: Christine Dyer. 'Sing Sing'. Earthenware and
cloth. 63 x 3Ocm.
361 1 AUTUMN 1997 + POTIERY IN A USTRAUA 51

REVIEW
Geoff Crispin
Recent work exhibited at Lake Russell Gallery. A review by KERRY SELWOOD
The broad expa nse of waterlilies on
the lake adjacent to the Gallery was
in ve ry comfortable juxtaposition
with the colou rs and carved surfaces of the
pots within. Stylised fish, water weeds and
sails are some of the motifs carved and
filled with blue or green celadons or soft
lily pad coloured poplar ash glaze on
platters, bowls, blossom jars and tea pots.
These primary subjects are often
accompanied by furthe r carving which
cou ld easily be attributed to the wake
created by the various wate rfowl
frequenting the wetland on the Crispin
property north of Grafton.
Except for the rich , fluid copper red
glazed pieces, the forms and su rfaces in
this show were not unfamiliar in the
context of Crispin's work. He has spent
years gradually evolving clays, glazes,
processes and forms to a point where
synthesis seems almost complete and is
manifest, I feel, in his combination of exposed body clay
in association with his poplar ash glaze.
The day - a gutsy porcelain - blushes beautifully in his
two chamber, McMeekin-style bourry box kiln. The
transition from body to glaze surface is seamless and is
the hallmark of Geofrs work. His large platters, carved
and finished this way, would stand out in any company.
The only real problem with the clay body was that it
would not be thrown into large vertical forms. ot
wanting to lose the cha racteristics already described,
lateral thinking led to the development over the past few
Ye'Jrs of a number of slip moulds based on thrown faceted
forms. Although his plaster workshop and mould making
equipment appear borrowed from Heath Robinson 's
drawingboard, the product bears no sign of the industrial
process ... Problem solved. There are several examples
from favourite moulds in this show as well as a new piece
you would swear was still spinning on a wheel.
Geoff has only just settled back into his workshop after
yet another stint helping re-establish pottery making in
interesting but demanding parts of the world. Two trips to
Woodfired porcelain square
vase. Copper Red glaze.
h22cm
Ethiopia in twelve months plus some
time with aboriginal groups in the
Northern Tewrritory have left him keen
to get back into production.
Three months is not alot of time to
prepare, especially after an extended
break from regular production. The
inclusion of several pieces from firings
prior to his overseas experiences
together with the unfortunate loss of
some, but nO! all , his large platters,
which were the focus of the show, may
have led to 'a bit too much variety', an
opinion ex pressed by one viewer. I feel,
however, this is probably quite an
appropriate representation of the
potter's mind in such circumstances.
One needs to return to where one was,
before beginning a new phase following
a substantial break.
Whether one feels the development of
a distinctly Australian porrery tradition
can, or even should, evolve is no doubt a subject best left
to a separate discussion, but if one does emerge it will be
through the perseverence of people who can withstand
the international homogenising pressures from magaZines
we read, the conferences we attend and the travel we
undertake. I'm not suggesting a 'head in the sand'
approach, but an active, aware and determined (almost to
the point of obsession) practitioner, acknowledging and
absorbing influences, not for reproduction, but for
sustenance and growth over time. In this context I think
of people like Ian Jones, Patsy Hely, Malina and Denis
Monks and Sandy Lockwood whose work, like Geoff
Crispin's, I have watched for many years and whose
commirtment and integrity is without question. There are,
of course, many others who work to similar standards.
When it is the work of these people which forms the bulk
of sales to non practitioners, we - Australians- may be
ready to claim a pottery tradition. Geoff Crispin's
exhibition at Janet Ransom's Lake Russell Gallery keeps
hope alive. 00
52 POTIERY IN AusTRAIJA + ISSUE 36/1 AllTUMN 1997

REVIEW
)611 AUTUMN 1997 + POTIERY IN AUSTRALIA 53

Megan Patey. 1996 Maiolica. 1060"c
--------------~----~
~
s
z
~
I
There is a particular sme ll in antique shops. Desire.
Lust. That little collection of French opalescent
glass. Moorcroft vases. The rich lustres of William
de Morgan plates. The smell is of collectors and it is
almost palpable.
The objects of desire do not have to be old. But
somehow they have a certain theme which feeds the
colleaor's soul. It may he a type of artifact, a style, or work
by an individual artist. And often the pieces collected
individuAlly and lovingly, twenty or thirty years further on
may he worth a great deal more than the original price.
There is no doubt that the show at Mura Clay Gallery
in October 1996 was an exhibition of collectables. The
work displayed, that of Barbie Lock Lee, Narelle Derwent,
Janine Schenkel and Megan Patey was that of mature
artisl~, confident in their abilities.
With that self assurance and skill comes a freedom to
play, to imagine. Barbie Lock Lee's pieces are fun. I
smile every time look at them. Finches, lorikeets and
Major Mitchells perch on top of brightly coloured
condiment pots, wolves and grizzly bears prowl round
the border of plates, a miniature cruet set, all are
beautifully executed. An easy choice for the collector.
Janine Schenckel's work expresses succinctly the ironic
voice of postmodernism. Those interested in
documenting a style through their collection would do
well to start here. Across the surface of the comforting
shapes of her cups and teapots float decals of violets and
haddocks, panSies, daffodils and herrings mixed together.
Her cups sprout fishtail handles, but the precise bands
of colour on the rims lend a type of absurd formality.
We enjoy a laugh at the expense of the rigidity of the
past, the cheeky note stuck to the schoolmaster's tails.
We do not discard the past as irrelevant or unimportanr,
but neither do we revere it simply because it is the past.
Megan Patey's work, over the yea rs has shown a
consistency of style that makes her work unmistakable,
but never boring. Using the same theme, the sensual
shapes of fruit on the luscious surface of majolica,the
wash of colour has become broader, barely describing
the form, the brushwork looser. Her decoration has
developed an abstract quality which speaks profoundly
of line and colour, a relaxed painterly feel which is very
satisfying to the eye.
Narelle Derwent's work revels in pure colour. Her
ability to juxtapose brilliant colours in harmony is a skill
which has won her many enthusiastic collectors of her
pieces. Her use of controlled shapes and black outline
give definition and clarity to the energy of the colour mix,
allowing it to shout joyfully without deafening the viewer.
Collectors are coming to appreciate contemporary
ceramics as a new field for exploring and investment. For
those interested in acqUiring, for a moderate outlay, work
by established artists, this is a good place to start. 00
CJ K.Weiss 1997.
54 POmRY IN A usTIWJA + ISSUE 36/1 AUTlJMN 1997

Above: J. Schenkel. Teaset, efw, decals and underglazes.
Below: Barb; Lock Lee. Teaset, efw, underglazes.
3611 AVTVMN 19'17 + POTIERY IN AUSTRAlIA 55

REVIEW
The Lion and the Rose
An exhibition of works by Undy Rose and Leonard Smith at Art for Arfs Sake Gallery.
Review by HELEN SWAIN.
Rcentl Y in the suburbs, a neighbour
Leonard says of his pots that they would
with a bent for order pruned their
lose some of their meaning if they were
agnificently flowering waratah
not 'handled, fi lled, poured from, eaten
bush before it had finished blooming.
off and drunk from ' and indeed this is
Fortunately for me (but not much
what they invite. His oval teapots and
help to the tree) I was on Illy way to
oval cream and sugar sets are
an exhibition in Wollongong where
evocative of a morning coat or satin
the pots of Lindy Rose and Leonard
dressing gown worn whilst sipping tea
Smith celebrated the beauty and
and enjoying the papers. The forms are
generosity of spirit, atoning for human
strong and the colours are rich and
stinginess by indulging in an hallelujah in
opalescent. The greens and ruby reds
praise of nature's beauty. Lindy Rose Smith. Platter. Camelias. somehow suggest a long history of
Lindy's vases, bowls and platters Glaze on glaze. d5Ocm. comfort. Infact, the palette of both
declared themselves unafraid of the
anislS reflects years of experiment in
luscious. The flowers on these polS revelled in being in the studio as they explore mythology through colour and
full bloom.There we re vases with red and yellow colou r through chemistry. Both use porcelain and
poppies, plallers with blue and red camellias and a stoneware clays and achieve their rich colours through
particularly stunning bowl with blue and green irises. The
reduction firing in a brick gas kiln.
depth of colour Lindy achieves
Fish have long been a theme
through her glaze on glaze
explored in Leonard's work and in
technique is funher enhanced by
this exhibition they added an
slip trailing. The effect of this
element of humour. They sat
draws the viewer further and further
jauntily on the rims of bowls and
into the rich colours as they
platters adding another dimension to
intermingle wi th each other to
the design of the pieces.
produce mandala or floral designs. She
As the title suggests, Lindy is
seems to have found her forte with
interested in exploring the feminine and
surface decoration. Part of the fascination
Leonard the masculine eiemenrs of
in Lindy's design lies in her ability to
artistic expresssion. How could it be
Leonard Smith. Fish Bowl.
incorporate the natural and the
otherwise given their names? The
Porcelain-green glaze. hlScm.
geometric into a sensuous whole .
wine, the congenial company and
Their oppositional natures create both tension and the spring sunshine are all condusive to such
balance.
philisophical musings and I am grateful to be surrounded
Leonard achieves tension of a different nature by such beauty, where polS become the perfect foil for
altogether. In this exhibition what comes across is a the rugged life in the suburbs where flowers must obey
qu irky sense of humour balancing out both his quest for a the demands of time and cement rather than season and
masculine aesthetic and a deep sense of tradition. Both scent. 00
artislS combine a blend of tradition and the new as they
search for a way to express their personal aesthetic.
Helen Swain BA (Eng), University of Wollongong is a freelance writer.
56 POTIERY IN A usTRAUA + ISSUE 361 1 AUTUMN 1997

GLAZE PAGE
An Approach to Copper
Red Glazes
Research by JOHN EAGLE.
T;
Vase - JBI Clay. h285mm.
e development of any glaze involves an understanding
of the materials, the ftring process and kiln atmosphere.
Time and perseverJnce can also account for a great
deal and with copper red glazes this is cel1ainly the case.
I mention development because the formulation of a
copper red glaze is not too difficult and with the equipment
and materials available lOclay, the expectation of a copper
red result should be high. Once a glaze reCipe has been
serrIed upon, the real involvement and excitement will be
found in the application of the glaze to the ware and the
firing process. TIle variations in the area of application and
filing are infinite and will be the main reasons why working
in the area of copper red reduc.tion provides the poner with
the extremes of frustration and elation.
I have been working almost enrirely in this area of
frustration and elation for the past nine years and thought
that by documenting some of my areas of experiment I
could help others circumvent some of the agony and save a
few kiln shelves, but at the same time achieve some
satisfying resu l t~ and gain insight inlO this fickle area of
ceramic production.
Over the years I have used a large number of glaze
recipes for copper red and many of those have produced a
satisfactory red. TIle following recipes are a couple that I
have found to have been suited to my area of interest:-
Glaze 153 -'Glazes for Australian Potters' by Janet De
Boos ( page 105)
TIlis has proven to be reliable and easy to work with:
Potash Felspar 48
Silica 200 24
Calcite 16
Kaolin K50 5
Barium Carbonate 4
Frit3110 3
Tin Oxide 3
Copper Carbonate .5-1
I have found this glaze can be used over other copper
glazes and it can produce textural variety when used this
way. On its own I have found it to be very smooth with
little texture but an excellent high gloss surface.
The second glaze I wish to mention is a John G lick glaze
and was not a success in terms of bright copper red but
was able to produce beautiful candy pinks and greys in a
semi-mall fmish that provided an interesting and satisfying
dimension: (Cone 8-10)
Potash Felspar
Whiting
Barium Carbonate
Kaolin
Silica
Zinc
Bentonite
Copper Carbonate
Tin Oxide
54
13
2.5
6
22.5
2.5
up lo 1%
up lo 4%
3611 AVTUMN 1997 + POmRY IN AUSTRAlIA 57

Base Glaze with 4% tin oxide under
Robin Hopper Copper Glaze - JBI Clay.
John Glick Glaze on JB3 Clay.
Because of the semi-matt surface the
Glick glaze gives an excellent response
to overglaze brushwork.
The glaze that has become my mainstay
was developed (very slighdy) from a Robin
Hopper glaze and I apply it over a base
glaze that developed from a cone 8 Leach
glaze. (My changes in brackets)
The Robin Hopper Copper Red Glaze is:
Potash Felspar 16
Flint (Silica) 8
Whiting
8
Boron Frit (Gersdey Borate) 4
Kaolin
4
Tin Oxide 2
Copper Carbonate 0.7
This Robin Hopper glaze is applied over (Base Glaze)
Kaolin 10
Wollastonite
lO
Silica
35
Nepheline Syenite 25
Gersdey Borate 20
This base glaze has a wide firing range and works well
with the follOWing additions and combinations of same:
20/0 Red [ron
0.5% Cobalt Carbonate
4% Tin Oxide
3% Rutile
Over time I became more comfortable with my
combinations and concentrated on application variations
and firing adjustments and experiments.
Some of the application variations were obviously more
successful than others and I certainly became aware of what
I should not do, particularly with regard to glaze movement
Kiln setting.
on a vertical surface. The movement in
this type of glaze is important, as it
helps in the development of texture
and depth. Because of this movement
problem, my method of preventing kiln
shelf destruction on a grand scale is to
first dip the bortom section of the pot
to be glazed in water so that less of the
glaze is absorbed by the bisqued pot
being glazed. Over time it is possible to
judge the density of the glaze and
relate that to the length of time the pot
being glazed needs to be "bottom
dipped" in water.
The small vase in the illustration will serve to exempli!» a
method that [ have found to provide a subtle build-up of
texture on the surface and provide a sense of richness of
colour to the finished pot.
The first dip covered a little over one third of the top of
the vase. The second dip, after the initial "bottom dip"
covered the remaining surface area with an overlap of
about 4-6 cm. This allowed for movement and texture to
create a subde change within that area in the final firing.
Using an atomiser spray, a general application of base with
4% tin was lighdy sprayed over the approximate area of the
double dip.
When the base glaze was established, the copper
overglaze was applied. This was very thin and it was
applied in the same manner as the base glaze. In this case
the top half was dipped and allowed to become touch dry.
The bottom half of the vase was dipped widl an overload
that was broader than that of the underglaze thereby
allowing for a variety of interchanges of colour and texture
around the upper beUy of the pot. From this point brush
58 POTTERY IN AUS1lWJA + ISSUE 361 1 AUTUMN 1997

Dish fired with extended oxidisation time. Base glaze
with .5% cobalt carbonate and 1 % red iron oxide.
Sprayed over with Robin Hopper copper red and then
partially poured with the same copper red. Brush
decoration with cobalt, iron and ru1i1e. (JB3 Clay)
decoration was applied which in turn
produced its own movement and
textural quality. The use of more than
one copper glaze can further add to
the general mystery and interest in a
pot of this type, however in the case
of this example I used only one
copper glaze.
The ftring schedule for the kiLn that
fired the sampLe pot was as folLows:­
Preheat overnight on very low pres.;ure
6:30a.m. temperature 610·C
pressure tumed to 10kp
8:00a.m. temperature 840· C
pressure turned to 15kp
8:30a.m. temperature 922"( pressure
turned to 30kp and reduction started
at 8:30 a.m.
Reduction continued for the rest of
the firing. Over the next six hours the
pressure was gradually increased to
50kp and the flue was adjusted for reduction atmosphere.
Cone 8 started at about 3:00p.m. when the temperature
reading was at 122

Drawn Trials and Baked Damper
A Short Course in Cordon Bleu Kiln Control by RICHARD TARRANT
GAS AND DAMPER
Gases expand when they are heated. The damper is the
gatekeeper that allows escape of these hot expanded gases
from the kiln. By controlling the escaping gases the
damper also controls the admission of secondary air at the
burner ports.
These three sentences encapsulate the ro le of the
damper in a gas kiln.
The damper, along with gas pressure, is our primary
instrument for controlling kiln atmosphere. The hotter (and
more expanded) the kiln gases are, the bigger the damper
opening must be to let them out.
Air and fuel gas is drawn in through and around the
burner. Let's say the air and fuel, taken together, have a
volume of one. The air-gas mix enters the burner zone at
room temperature and is heated in the flame to about
2000· C. It now has a volume of about 7.5. In the
(relatively) chilly kiln chamber the burnt mix collapses
back to a smaller volume.
The table below shows the approximate volume of our
one volume of gas as it reaches the damper al a range of
temperatures.
Exit Temperature
at Damper (0 C)
room temperature
Relative
volume
I
100 1.25
JUU 2.U
OUU 3.u
800 3.5
1000 4.25
IlUU 4.5
1300 5.25
If we were using the same number of burner with the
same settings and pressure , the damper would need to be
a lot further open at 1300·C than at 25· C, as that one
volume of gas which entered at the burner at room
temperature now has a volume of 5.25.
A complicating factor is the chimney effect or "draw" in
the flue which depends on height and layout and usually
increases wi th temperatu re. A flue in which there is
significant draw will require a smaller damper opening at a
given temperature.
DAMPER AND DISC
For natu rally inspirated gas burners, about half the air
required for combustion is drawn in through the burner.
This is ca lled the primary air. The other ha lf is drawn
through the burner port around the outside of the flame.
This is the secondary air. I'm assuming a steady blue
flame with a well developed inner cone, ie the flame isn't
soft and yellow, or the burner i n't sounding like a jet at
take-off. Prinlary air is controlled by the adjustable disc on
the burner. Secondary air is controlled by the damper. In
other words, the damper controls ahout 50"10 of the air that
enters the kiln.
Even in the strongest reduction we only need to decrease
the air supply by about 20'A> unless doing Reduced Lustre.
Usually only a 10-15"10 decrease in air is quite sufficient.
Since we can control up to 50'A> of the air in the kiln with
the damper, it follows that the damper adjustments alone
are more than enough to achieve strong reduction.
Decreasing the primary air during reduction to get a soft
yellow flame decreases flame temperature and often is the
cause of a "stuck" kiln. [ suggest rhat at the beginning of
dIe firing Ihe primary air be set so that there is a strong
(but not roaring) blue flame and then left alone.
Adjustments to gas pressure and damper opening are the
only controls needed.
IMPLEMENTS AND AUGURIES
How can the average potter or ceramicist gain a greater
insight and achieve greater control and effiCiency when
firing her/ his kiln' An Oxygen Probe is a great help, and a
Gas Analyser (designed to measure motor vehide exhaust
emissions) is even better. Both cost dollars.
But there are three quite accurate indicators, all of them
free.
1 draw trials - day "napkin rings"
2 flame at the bottom spy hole
3 flame at the damper
60 PoTTtl\y IN A USTRAlJA + ISSUE 36/ I AUTUMN 1997

~------ ----------------------------------------------------~
Careful use of these indicators can give remarkably
precise kiln control
HOTRINGS
Draw trials yield a useful measure of kiln armosphere,
wherher oxidising, neutral or reducing, The most useful
shape is a ring of flanened clay, abour 40mm in diameter.
Pur about 6 draw rrials in line with a spy hole where they
may be hooked our at intervals during rhe fjring~ Some
commercial kilns have spy holes thar are too small,
however larger spy holes can be fitted to most kilns at
reasonable cost. Draw trials, provided they have not virrified
(and this is important), give a history of rhe kiln atmosphere
for about rhe previous 30 minures, as ir rakes this rime
(longer for thick pieces) for kiln gases ro penetrare from the
outside ro the centre of rhe rest. The photograph shows
rerracorta clay rests after 10 minures reduction (top), after 20
minutes reduction (middle), and after 5 minures of reoxidarion
(bonom). The rhree trials are made from the same
clay and were drawn in the same firing,
Terracotta draw trials showing oxidised (orange) and
reduced (grey) areas
For resring below l000°C (cone 06), use terracorta clay,
Above lOOO°C, use a buff stoneware, Mosr rerracottas are
not useable much above lOOO°C as rhey are beginning to
vitrify, Hook our the draw rrial wirh an iron rod; a one
metre length of concrere reinforcing rod ("reo") is ideal for
rhis, Immediately plunge trial into a bucket of water until
cool. To read draw trial, break and view in cross section,
Don't rely on the surface colour of the draw trial, as rhe
hot surface rapidly oxidises in the second or rwo it takes to
transfer the test ring from kiln to water bucket.
Taking careful notes of each adjustment made during rhe
firing allows us ro build up a coherent picture of which
adjustments work besr for our kiln and glazes, Only change
one setring ar a rime, Making a whole series of adjusrments
in quick succession only confuses the firer (and the kiln?),
Always wait three minutes for the kiln to serue down, Note
the result. If anorher adjustment is required, make it and
wait anorher rhree minutes before further intervention,
SEARED SPY HOLE
A spy hole about 200 mm above the noor of rhe kiln
chamber is a very useful indicator of kiln atmosphere:
• depending on rhe placement of the spy hole and
burners, air usually will be drawn in ar the bottom spy hole
in oXidarion, will be balanced in neurral and push out hot
air or flame in reducrion (check with smoking incense srick
or cigarerre),
• above lOOO°C there normally will be a flame in reducrion
at this spy hole, The length and colour of rhe flame are
good indicators of the intensity of reduction,
Spy holes higher up in rhe kiln, whilsr necessary for
checking cones, exrracting test rings etc, are less useful for
indicaring kiln atmosphere,
BAKED DAMPER
Flame ar the damper:
• is much easier to see ar night
• will not occur until tile region near the damper is about lOOfC
• will not occur in oxidation or neutral
• lengrh and colour of flame are good indicators of rhe
intensity of reduction,
The flame will vary from kiln to kiln, and is softer and
longer in kilns fired with narural gas, The table is only a
guide; use draw rrials (and rhe qualiry of your glazes) to
calibrate your kiln,
Flame ar the damper is burning carbon monoxide and
hydrogen which are our main reducing agents, Both are
colourless, A smoking gas kiln is wasting fuel (and money),
The least gas consumprion and fasresr temperature rise will
occur when the kiln is fired as close ro neutral as your
panicular glazes will allow,
Neutral brown caffe-Iatte
Reducin
charcoal
Cook ing with gas~"",
G\!)
)611 AUTUMN 1997 + POTIERY IN AusTRAlJA 61

Where there's Smoke
there may be Lustre
A view of reduced lustre by BOB CONNERY of Stokers Siding Pottery.
For the past year I have
been reviewing the
literature on "reduced
lustres" (also called Arabian
lustre, refiejo metalico, smoked
lustre) and collecting submissions
from practitioners in
this field. The results of this
work are to be published in
Ceramics Technical. However, this
is all some time off and a contribution
to "Where There's Smoke ... " seems
most appropriate.
The smoking and firing of
reduced lustre seems as varied as
all odler aspect, of the technique.
Only in the literature of copper reds have I encountered
so much confusion and contradictory ideas. Few fixed
conclusions seem possible. Indeed in "People, Places and
Time" Alan Caiger-Smith claims that the last person who
anempted systematic research in the field ended with a
nervous breakdown. I hope this was poetic licence.
However, tentative conclusions can be made and may
help you in your search. If you strike trouble read, reread
and re-examine your own notes and the Iiterarure. Alan
Caiger-Smith says he solved a major problem by rereading
his own book after a year or more of despair.
The firing range for the first lustre firing lies in the range
Pyro 640"-720"C. OnJy Sutton Taylor claims to exceed this
range. My own work is in the 640"-700'C range (on dle
pyrometer, see notes on cones). The first reduction cycle is
at 620· or 640·C and the last at 680°-700°C. The main
reasons for changes are the number of copper dominant
Interior, cut edge bowl. Silver 20, copper 20,
carrier 60 on black glaze.
pigments in the firing . Most
workers agree that copper
pigments need higher
temperarures and put them in
hot spots or fire them higher
separately. I also find that the
best reds need an early start to
reduction. This results in a slow
build up of layers of red to
produce a depth of colour after
which the last lustrous layer is
deposited. Getting the thickness of this
just right is very tricky. Too much of this last
deposit can result in a heavy
copper metal lustre whicll has its
own charms and uses but is not
red. Similarly if reduction L, started later (>66O"C) you tend
to get copper metal lustre with no real depth to it.
A number of potters, myself included, occasionally
utilise a "blimp" technique. This involves a fast rise of
20·C above your normal maximum temperature before
commencing your last top temperature reduction cycle.
Personally I only do this if draw trials indicate an
' abnormal" firing, usually when reduction appears to be
slower acting or lustre development is at a standstill.
Subsequent lustre firing with the pigment removed can
be taken as high as 900"C, though I usually put refires in
a normal firing with pigmented pots. I have gathered
them up for experimental firings at 900·,850·,800· and
750"C with varied reductions cycles. Results are extremely
varied, from spectacularly successful to nothing. With
experience, you can tell which pots are likely to benefit
from refiring. High silver pigments (5% or more of silver
62 POmRY IN AUSTRAlIA + ISSUE 36/1 AUTUMN 1997

salts) generally respond best, any glazes containing
copper, silver or bismuth can also respond well. If pots
are initially unsuccessful, it's well worth playing with
them by refiring with or without new pigment decoration.
Most refire best at normal temperatures without removing
the pigment. However, very careful assessment is
necessary as areas where pigments are removed for lustre
assessment tend not to touch up very well.
CONES
The use of cones is essenlial. Even
though very heavy reduction
supposed to make them inaccurate
and unstable, it has been my
experience that they are the
most reliable indicator of
sticking point (when pigment
fuses [0 the glaze). Since
cones measure heat work
(temperature and time) they
tell you when the firing is in
danger of going on 100 long.
For example, a long firing at
680"C pyro may bend a cone 018
(717"). If this happens, the effect on
pigment fUSion can be equivalent to
firing to 717 2 C pyro.
PYROMETERS also tend
to be affected by heavy
reduction so always use cones and pyrometers,
correlating them as your firing experience increases. My
pyrometer is very erratic, and I usually set it to a cone 023
or 022 before reduction is started and allow for this plus
or minus deviation over the rest of the firing. Cones and
draw trials need to be protected from the direct path of
flame and from uneven heating. I do this by boxing with
pots and baffles of brick or pieces of shelf. Set them as
deep in the kiln as possible but open to reduction.
DRAWTRIALS
The third major indicalor. These can show the degree
of reduction, success of reoxidation, development of
lustre, changes in lustre surface and sticking pOint. (This
is a little problematic - unless drastically over fi red, draw
trial pigments tend 10 rub off as they are fast cooled,
cones are a better check for this).
Interior, bowl. Copper 30, silver 5, bismuth
1, carrier 64 on turquoise glaze.
I use draw trials Ihal have a reactive white glaze on
them (one that greys easily on reduction and clears up on
oxidation) with three pigments-silver only, mix of copper
and silver and copper only. I always use the same glaze
and pigments. This gives me a reference for each firing as
I keep a sequence of all draw trials from each firing. One
for each reduction cycle and one left to cool in the kiln.
The pots in the kiln may have none of these pigmenls
and none may be glazed in this glaze. I sometimes use
draw trials of another pigment and glaze in
addition to my standard ones but prefer
the fIXed point of the standard one
to the multitude of glazes and
pigments I actually use.
FIRING
There are a number of
systems Ihat can be used.
(a) Wood firing
(b) Gas firing
(c) Gas plus wood or
other combustibles (eg oily
rags, napthalene or resin)
Cd) Electricity plus wood or
other combustibles.
The timing of reduction and
oxidation cycles within all these is widely
varied. Most people work on a
rising heat system.
Antonio Vivas from Madrid
claims to be able to tell from the lustre what system was
used, but while I agree that they can all produce very
varied results I could not state that the variations are
indicative of any particular system used. In general, there
appears to be a tendency for cleaner looking results with
electricity or gas only firing. Certainly I have been unable
to obtain the results I wallt with gas only. This may only
be due to lack of research. Alan Caiger-Smith claims glaze
is the major influence on success, Peter Ries pigment and
Ivan Kucswald firing.
KILNS
Lustre kilns can be, and are, built of almost anything.
have seen fine results from dense brick, soft brick, fibre
and metal boxes. A major influence on how you fire is
the mass of the kiln. Heavy kilns require an awareness of
stored heat to avoid over firing and they cool very slowly.
3611 ALITUMN 1997 + POTIERY IN AUSTRAUA 63

Profile, cut edge bowl. Silver 20, copper 20, carrier 60 on black glaze.
Profile, bowl. Silver 30, carrier 70 on copper glaze. Reduced on one side to lustrous red.
As to cooling cycles, most practitioners reduce and cycle
(reduction/ oxidation) down to approximately 600·(' I
usually maintain a light reduction from last cycle down to
580"C pyro. However, interesting vapour effects can be
obtained by heavier reduction down to 600"C in a still
atmosphere. Care needs to be taken as 100 much
reduction can dull lustres. If you use this technique, allow
for this reduction by doing fewer cycles. Alan Caiger­
Smith advocates a clearing oxidation at the end of his
cycles and removes smoking fuel. I have tried both
systems and had both work. I've got cleaner, clearer
lustres with his method but also lost everything, hence
the light reduction compromise I now use.
The smoke from lustre firings is intense and areas need
to be very well ventilated and preferably in the open. It is
a good idea to have some sort of afterburner to keep the
gases alight as they exit the kiln. Currently I keep
newspaper tapers and a gas burner on hand and light the
gases if they go out. If they are kept alight, smoke
buildup can be kept to a minimum. In fact, with my
current kiln there is no visible smoke at all if this is done
(flame at the flue is about one metre high at full
reduction). If I want a very still atmosphere (good for
reds and vapour effects) I clam up completely and light
64 POTIERY IN A USTRAUA + ISSUE 361 1 AUTUMN 1997

any wisps that emerge from holes etc. Cooling in light
reduction produces some smoke but ventilation can
adequately handle this.
CURRENT LUSTRE FIRING CYCLE
NB. These pyrometer readings bear little relation to
reality. This is an old, erratic needle type pyrometer.
Readings are at least 60· low (ie. 540· ~ 600·CJ.
I) Three and a half to four hours slow heat up to
around 540·C on the pyrometer. A more even kiln may
allow a faster rise.
2) Soak at 540·C to even out temperature (usually
fifteen minutes).
3) First reduction cycle pyro 560·C fifteen minutes.
(This is prohably about 620·C cone 020 (635) usually
starts at 580"C on my pyro). Start can be 580"-6OO"C for
silver dominated pigments.
Oxidation-ten minutes.
4) Reduction fifteen minutes, 580·C pyro, cone 020
usually starts here.
Oxidation ten minutes.
5) Reduction fifteen minutes, 600"C pyro.
Oxidation ten minutes, 020 down.
6) Reduction fifteen minutes, 620"C pyro.
Oxidation ten minutes, 019 down.
Some ftrings fmish here with light reduction cooling to
540·C on the pyro.
7) Reduction fifteen minutes, (optional cycle see notes).
Oxidation five minutes.
Then light reduction cool to 540"C pyro.
This gives a total of one hour twenty five minutes
reduction plus cooling cycle. I seldom exceed tllis. When
cone 019 is down, ( generally take this as the maximum
pyrometer reading and don't exceed this unless using the
"blimp" technique. Cone 018 often falls by the end of the
fi ring. If cone 017 falls, the pigments will certainly stick and
spoil the firing but most pigments tolerate cone 018 down
at the end of the firing. High copper pigments like this
temperature. High silver andlor bismuth pigments will
often stick a little but do not always ruin the effects I want.
CURRENT KILN
A modified single burner Pon-O-Kiln.
Also very uneven, but I'm used to it and it covers a
range in which lustre can be produced. Alan Peascod says
that a variation of up to 50·c between parts of a kiln is
satisfactory. Setting space is about 0.135 m3 (5 cubic feet).
SHELVES
30cm x 45cm set (WO deep. Usually two or three at back
and front. Currently experimenting with expanded mesh
metal shelves.
MESH SCREEN
Fireplace screen is excellent but goes brittle after three
or four firings. Now using any pierced metal sheet welded
to an 8 mm rod frame.
SIDE-STOKE DOOR
Entrance about fifteen cm square. This allows me to
comfortably insert the largest pine cones or bundles of wood.
Mesh
screen
,, , •
•
f
Modified Interior
55 cm
~:
•
•
-----.!
~~==~~~~30~cm~.
1710 Jl I I " I I
I .
Burner port WIth a 10 cm
split brick tunnel entrance
Modified Front Door
Side stoke door
[[B15cm
~ 5cm
Spy hole
;Scm gap
FUEL
Gas up to start of reduction then add pine cones
andlor bundles of bamboo blinds (matchstick types are
best) cut to around forty five em. In oxidation fuel may
be enough to regain temperature if not , use gas again.
Roughly twenty fOLlr pine cones are added per cycle or
three to four five em diameter bundles of blind material.
NB. Make sure your draw trials can be easily removed
through your spy hole. c>\9
Bob Connery
Stokers Siding Pottery
Murwillumhah 2484
066 779 208
All PhotogcJphy, Richard Gillespie
3611 AlITUMN 1997 + POITERY IN AUSTRAUA 65

POSTCARD
Travellers Tale - Take Two
SALLY ANDERSON is inspired by ANDREW COPE'S description of his time in the United Kingdom
and makes her own odyssey.
~
' o years ago I was inspired by
collected me from the station and took
the 'Travellers Tale' featured in
me to [heir renovated farmhouse nestled
this magnine and written by
in the Welsh countryside where they
Andrew Cope. Andrew had visited the
insisted I could spend the night. Also
University of Ballarat where I was in my
staying with them was John Glick from
final year of ceramics not long after [he
[he USA and Petrus Martinson from
article had been published. At the time I
Latvia. Enjoying wine, dinner, the
was also contemplating applying for a
company of some new friends and a
Travel Award offered by the Visual Arts
conversation of pots I couldn't quite
Department at the University. After a
comprehend my own situation.
practical demonstration Andrew also
It was an early start for the first day of
treated us to a talk which kept
the festival. There would be no more
everyone in awe of the journey he had
comforts of the fannhouse for me as I
made visiting poners across England. I
pitched my tent alongside my fellow
for one left his talk ready to board a
slUdent helpers. Although my change in
plane and take on a similar advenlUre. Trupti Patel. accommodation proved to be a fun
During the final months of my third Figurative sculpture. alternative. This was due to the quality
year I began putting together a proposal for the Travel friends I made from Bretton Hall in Leeds that I continue to
Award. With further help from Andrew Cope I planned my keep in contact with. Our jobs as student helpers entailed
trip. I wrote to approximately 35 potters around the U.K. ensuring the smooth running of the event which in baSic
and received an overwhelming response. I couldn't believe terms meant lifting tables from here to there and back
how accommodating people were to my request, to visit again and transporting tonnes of kiln bricks to their site. A
their potteries and studios. I also decided to writc to the small price to pay conSidering the array of talent we were
orga nisers of the Intern ationa l Potters Festi val in able to witness flfSt·hand.
Aberystwyth (Wa les) offering my services as a student The event was being held at the Aberystwyth Arts Centre
helper for which they had adve rtised. [n hindsight this was located near both the University and Library. 111is location
an extremely worthwhile decision as the fest ival was has a strong history in educational programs in ceramics
without doubt one of the highlights of my trip.
therefore ct'e'Jting an abundance of interest in the festival. So
Learning how to pronounce 'Aberystwyth' was the first much so that the festival was solei out months in advance.
obstacle I overcame on making my way to the sea ide Catering for everyone's ditfering interests in clay the event
town. 'll1e second came on my arrival in the town a day was made up of many components. Slide talks, lectures,
early contemplating where I could stay for the evening. [ demonstrations, trade stalls, kiln building and hands on
made a call to the organisers of the event, Steve Matison workshops meant there was always something of interest to
and Maree Wells, with the hope they could give me the see. Often the choice of what to see was a hard one.
name of a cheap bed and breakfas t. It was then that [ got Opened by Mick Casson and presided over by Jim
my first taste of the hospitable nature of the people I Robison, focus of the festival was on Chi na . Senior
would meet in the next few days. Stcve and Ma ree Craft man lvIr Yang Qinfang and Crafts Master Miss Zhou
66 POTIERY IN AUSTRAUA "'" ISSUE 3611 AUTUMN 1997

-------------------------------------------------------------------------------~
Steve Mills. Wattle and daub kiln.
Dinfang had come all the way from Xixing, the pottery
capital of China~ Their demonstration involved the making
of two Zisha teapols which usually take 60 hours to make.
These were later destroyed as they were made in a
relatively short time and would be inferior in quality
because of this. There is a three year waiting list for these
Zisha teapots and they are sold for between $3000 and
$10000 US dollars.
The precious nature of the work of the Chinese was also
realised in the work of
Japanese artist Yasuo
Hayashi. His coiled
sculptural forms (usually
cubes) deal with a sense of
optical illusion and trick the
eye into seeing an altered
form. There were other
varied approaches to
sculptural work
demonstrated by TfUpti Patel
and Petrus Martison. I was
lucky enough to help both
Petris Martison and John
Glick during their demonstrations as I had had the
opportuniry to meet them both on my first night in Wales.
I couldn't get over how fortunate I was to come all the
way from Australia to be mixing with renowned potters
from all over the world. There was no pretence in why
anyone was there; everyone simply wanted to share some
clues about day and have a great time. This point about
having a great time was proven on the Saturday night
when everyone let their hair down after a buffet feast.
Hundreds of potters dancing to live bands was a sight to
see· mind you it was a sight you couldn't help but want to
be part of.
As well as the changing demonstrations there were
exhibitions throughout the Arts Centre~ Zisha teapots were
Joe Finch. Woodfired kiln (construction).
Gwen Heeney. Environmental sculpture.
on show as well as a figurative sculpture show called 'One
from the Heart'. Young Poners in Wales were also
represented in a show of their own.
During the four days of the festival kilJlS had been built
and fired. Steve Mills built a wattle and daub kiln, a method
of construaion dating back to the Germanic Iron Age. Joe
Finch had a task ahead of him building and firing a 50
cubic ft. woodfired kiln in such a short time· which was his
point really, that kiln building was not that daunting. He
was successful in making
the task look easy, proving
his point and producing
some beautiful pots.
The last day brought with
it some really hard work .
Gwen Heeney had made an
environmental sculpture
based on Welsh folklore
and legend. It seemed
ludicrous that after all her
hard work it was to be
destroyed. Even more
ludicrous was the idea that
[ was one of the ten that had the task of hurling the 17
tonnes of oiled clay bricks which had made up the
sculpture into a skin that stood full of the remnants by the
end of the day.
All in all I look back and smile and consider allending
the next festival in 1997. [ spent another five momhs
touring Europe and visiting other potters. Even so the time
I spent in Aberystwyth remains a definite highlight. I
recently went back to myoId University to give a talk
about my last trip and my impending trip to Greece and
Turkey. I like to think someone else is now tempted to
take on a similar adventure. 00
Sail)' Anderson
3611 AlffUMN 1997 + POlTERY IN A USTRAliA 67

Petris Martinson. Demonstration piece.
John Glick. Demonstration pieces with extruded additions.
68 POTIERY IN AUSTRAUA + ISSUE 3611 AUTUMN 1997

TECHNICAL UPDATE
No-Bull-i-Gama
The Long Throat Bourry Kiln Design explained by STEVE HARRISON
I
have had so many requests for
By this method the pots can be
plans of this kiln design that I
carefully positioned on their
have finally put finger to
wads. It is important to pack all
keyboard, or laser to paper as it
the pots in this area on carefully
were, to detail some of its features
positioned wads or shells to
and explain the basis of the
prevent th em sticking to each
concept.
other and particularly to the floor,
This kiln has had a continuous,
as the ash build-up in this area is
though somewha t sporadic Long throat Bourry kiln, Balmoral quite severe and the floor
development over the past twemy (as in fig. 3) becomes a pool of ash after only
years. Since I first wrote '!..aid Back Wood Firing' in the a few firings . This problem of ash build up can be
mid seventies, I thought about how to get more use out of overcome by lining the floor area with a thick layer of
the firebox throat as a packing space. Like everylxx/y else, coarse quartz bush sand. The ash glaze still builds up but
I have tried putting a pot in the kiln throat at some stage, can be simply lifted up off the bed of sand as a sheet of
and found it to be largely unrewarding, the top half over ash glaze, and new sand put in to replace it. If a few
fired and the bottom only bisqued. However, there was a grains of sand do stick to a pot, they can be gently ground
germ of an idea there, if the pots could be elevated above off widl a hand stone.
the embers, they would fire more evenly and I made The next logical extension of th L~ line of thought was to
special bodies that would take the temperature, but of extend the top loading throat area to its maximum size.
course the only pots that could fit in that space were TIle largest example of this type of extended throat kiln
extremely small and this was the biggest limitation. that I have built had this special area increased to lOOOmm
Having given this some conSideration, the next kiln I x 750mm. TIle problem that is encountered here is finding
built had a throat arch extended by one brick module to a lid big enough to cover the area. Industrial shelves that
make it a double ring arch, this gave almost 30 cm. of are of exceptionally large size occasionally turn up on the
packing space - but it was almost impossible to reach for second hand market, but this is a very unreliable source of
packing. (See fig 1.)
material. There is of course a physical limit to the weight
Fortunately I was very much thinner than I am today, that any potter can lift in such an awkward position. A
and was capable of the Houdini act that was required to pillar can be placed in the centre of the throat area to
get the pots into the throat arch area unbroken. The other support two smaller kiln shelves at mid spa n, but this
alternative was to take out the bag wall everytime, which dmstically reduces the setting space ,md particularly limits
was an equally unattmaive option.
the size of the largest pot that can be set there. All in all,
TItis experiment was sufficiendy successful in terms of the this was to be the maximum size that this form of kiln
surface qualities on the pots to encoumge me to build in a took.
top loading access to the throat area. TItis involved extending I became increasingly interested in the results that I was
Ule duoat are"d an extra one or two brick modules, to give getting from thi area of the firing and progressively less
enough space to get my shoulders in between the fire box interested in the work from the chamber. One day I
and Ule chamber wall, so as to get a clear access to the pots realised that the chamber was irrelevant and all I needed
in dle throat ared from the top. (See fig 2)
was two single skin brick walls leading from thc firebox to
3611 AUTUMN 1997 + POTIERY IN AUSTRAUA 69

the chimney. In e sence, this is
of what a wood fired kiln
simply a very long throat arch.
ought to be, or look like. Jr
Because ir is so long it needs ro
sounds roo easy (no pain-no
be side stoked along ilS lengrh ar gain), il doesn't look 'sexy' (a
various intervals depending on ilS
kiln should be Ihe shape of a
length and how ir is packed.
flame) It doesn 'l make much
Over Ihe years I've built
smoke (how do I know when
several of Ihese kilns for ro sroke), I didn'l gel burnl (l
individuals, groups and colleges.
don'l really feel like I've fired).
They have varied from shan and In its favour are rhe
wide 10 long and rhin . If the
wonderful potS thaI il can
chamber is narrow it can be
produce once you get to
covered over wirh kiln shelves, Extended throat Bourry kiln, Balmoral understand rhe variables of
however, if it is ro be wider a (as in fig. 2) packing and firing. (jUSI like
ceramic fibre lid may be the besl opr ion. Because Ihe learning 10 pack and fire any Olher kiln, ir rakes time and
'chamber' is such a flimsy and impermanent srmcrure il experience). Currently, J prefer to pack lightly and only
can be easily altered to suit the requirements of rhe use one side stoke hole, however, you can pack very
current project. If you want the chamber to be jusl a Iitrle lighrly and side stoke every 500mm, every pack has irs
railer for one barch of work , dig out a little of rhe sandy own style of fi ring ro compliment it. There will be as many
floor, if it needs to be subsrantially railer - add another styles of firing as rhere are porters and this approach to
course or rwo of brickwork to the
wood firing will result in just as many
walls.
disasters as in any Olher kiln, it's just
The heavy ash deposit on the pOlS
that there is less at stake here wilh a
from the throat looked very similar in
smaller selling and a shorter firing,
many respects to the work I was
and that encourages experimentation,
getting from my anagama kiln. After
and experimentation leads to new
eight years of firing the anagama J
insights, new work and new
decided that I could get all Ihe results
experiences.
that I wanted from Ihis type of kiln and
I wi ll close with th e following
have nOI fi red my anagama kiln since.
observation, that at an end-of-year
The tonnes and tonnes of wood
exhibition I attended, most of the pots
required, the endless column of black
with heavy ash deposit on display
smoke and rhe difficulty of packing
were attributed to the anagama kiln
always concerned me. This simple
and all the plainer ·f1ashed' polS were
flexible kiln is easy 10 build (minimal
arrributed conversely to the long
bracing), can be packed quickly due to
throat Bourry kil n, such is the general
the excellent access, fired cleanly and
perception of wood firing in Australia.
efficiently with very little wood, in one Long throat Bourry kiln, In actual facI the opposite was tnle. It
day (6 10 18 hrs, depending on the style Balmoral (as in fig. 3) will lake a long time - if ever, for this
of work), by one person, without needing a holiday reality 10 enter rhe collective psyche.
afterwards to recover, and can be small enough 10 allow I don 't have any pal1icular set of plans for this kiln , as
for experimental work without the huge commitmenlS in my mind it is a design concept rather than a rigid set of
required with a large kiln.
measurements. However, I will include a very simple
They have been used for sculpture, domeslic ware, sketch of my version of the design. As long as there is a
earthenware, glazed and unglazed stoneware and sail good firebox and an adequate chimney, fill in the gap in
glaze. I don't propose that this kiln style will ever replace between wirh two rows of brickwork, put kiln shelves
either the chambered Bourry kiln or the anagama, but over the lOp as a lid and start experimenting, persevere
rather can be used in conjunction with them 10 augment and Bon Feu! Ii\!)
their strengths and weaknesses. The greal drawback to this
design idea is that it doesn·t fit with most potters concept Copyright, Sre,,,, Harrison, I lot & Sticky
70 POTTERY IN A USTRAUA + ISSUE 3611 AUTUMN 1997

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Well, I'll be Jiggered!
KAREN WEISS researches the Jigger Jolley.
For many post-Leach potters,working with jigger and
jolley has the ovenones of Blake's dark satanic mills,
the 19th century's obsession with replacing skilled
crdlispeople with large machines that clanked and whirred,
in the name of economy.
Bernard Leach revived, in the West, the concept of the
anist potter, far removed from the mass produl1ion potteries
of Stoke-on-Trem. From his seminal work " A Potter's Book"
have sprung generations of potters trained in an education
system which, in wholeheancdly embracing this idea of the
studio potter, has been equally lukewarm ahout mass
production teclllliques.
Oddly enough, using a mould fIxed to a wheel head to
form pots goes back a couple of thousand years, to the
Romans producing Arretine and Samian ware and to early
Korean work. All jigger and jolley equipment is Simply a
refInement of this process.
The principle is simple. A mould is placed in a rotating
'cup'. A concave mould is used for hollow ware such as
cups, bowls or dishes, and a convex mould for plates.
Prepared soft clay is placed in or on the mould and a
movable arm with appropriate template or profile is
lowered, spreading the clay and creating a piece in a few
minutes which reqUires no turning and only a little fettling.
Moulds can be incised or cast with designs in high or low
relief. Quite elaborate forms such as openwork plates can
be produced, as can oval forms and narrow-necked bottles.
Clay wastage is minimal as scrap clay can be re-used
immediately. For those whose primary interest lies in
decoration rather tllan making, this may prove an extremely
appropriate way of working.
Virginia Maywald of 'Rig Duck and Fish' in Victoria, a
pottery which makes a range of hand decorated domestic
ware, says that they find the jigger jolley most useful in
supplying shon runs of hundreds for hotel or restaurant
cOllunissions. It gives them flexibility and therefore a cenain
CO.\lPA,\")'/PIIODl CT
SIZE (mm) lxwxh
\IOrOIl
DESCRIPTIO:>;
Clay Graphics
850x550xlOOO
as per wheel
use with wheel
Kilns & Pottery Supplies
6OOx600x1l20
Double]
600x 1200x 1120
1l2hp; 2xl/2hp
Freestanding
Ratcliffe R301
996x77lx1370
O.75hp-3phase
1hp-lphase
Freestanding
Talsteel E]J:600
980x650x1200
0.75hp
Freestanding
Clay Valley Auto Porter
NA
2hp
Freestanding
Porters Market
700x700x1100
0.75hp
use with wheel
72 POTTERY IN AUSTRAUA + ISSUE 3611 AUTUMN 1997

marketing advantage in terms of being able 10 produce
individual designs qUickly with the degree of uniformity
that is required.
WHAT EISE 00 I NEED 1
However, before rushing out and buying your jigger jolley
now, it is wonh looking at the requirements for sening up.
First you need moulds. Most suppliers of jigger jolleys can
supply re'Jdy made moulds. If these are not what you want,
you can approach a pattemmaker to make a master for you
and, or, a mould maker to make a master mould and
possibly subsequent moulds, depending on your sk ill in
mould making. Moulds vary greatly in price, ranging from
upward of $50 for a ready made mould to 5300-$ 1000 for a
CUSlOm made mould, depending on the work involved
(sales tax not included).
Next, the jigger jolley itself. The most accessible in price
range for the individual potter is the jigger jolley produced
by Warren Moorfoot of Clay Graphics. Warren developed
his deSign , incorporating the potter's wheel, with the
intention of "adapting industrial techniques and making
them studio friendly'.
TIle wheel sits on a steel stand. A wheelhe'Jd with cup 10
take moulds is clipped to the wheeillead. A machine head
and arm extend from the stand, over the wheelhead. The
profile is attached to the arm with a profde holder, ready to be
SPECIAL FfA 11 RES
System usable with most wheels
Clip on wheelhead. Galvanised. Comes with plate mould
& cutter. Tray avail. W/shop manual
Conedrive 40-250rpm. Rubber mOlOr reduces vibration.
Spanner system for cup removal. Diff sizes cup avail.
Speeds 200,250,350,475rpm. Range of mould frames, cups,
making heads and forming tools avail. Mlfact. UK.
Constant torque variable speed drive 3O-12Orpm.Ea!>)'
install & removal of cup heads. S/Steel fOrming hands &
guards. Template adj. heel & toe. Blanks for templates incl.
2hp vari-speed DC motor. Speed 0-4oorpm. Controlhand
operated dial. Foot pedal control backarm trolley
and tooling arm. Toolarm takes profiles/roller tools.
Video avail. Mlfact USA.
Use with Venco electronic wheel. Must remove
w/head 10 install cup with shaft bearing atached.
Comes with 10" cup.Tool3rm attached to f!standing
pole. Profil es avail. on order. Comes DIY or
assembled.
lowered onto the clay. The arm can be swung away and the
special wheelhead removed and the wheel used as normal.
Another version of the jigger jolley that uses a Venco
electronic wheel, is available from Potters' Market. This
consists of a cup with a shaft and be'aring in its base which
replaces the Venco wheelhead. The toolarrn is attached to a
freestanding steel pole with feet that slide under the wheel.
TIle potter interested in achieving a higher volume of
production without throwing will probably require a
separate jigger jolley machine. This is an upright variahle
speed unit generally operated by foot pedal. The Talsteel
and the Ratcliffe models, though at the upper end in the
price range, come with the capaCity to form moulds
(forming bands etc. can be provided). OtherWise, potters
wishing to make their own moulds may need 10 get a
plaster whirler. Accuracy of registration of the mould is
imponant as it ensures an even thickness of clay. The
Ratcliffe model has optional extras which give extremely
accurate registration of the moulds.
Slabs for flatware can be made by rolling out with a
slabroller, throWing on a wheel or fonning roughly in a flat
mould with a profile using the jigger jolley. The slabs are
then piled, ready for use. Kilns and l'onery Supplies make a
double jigger jolley so that work can be produced in a
more continuous flow.
A 6" cup seems to be the standard width supplied, but
other widths may also be available. Jigger jolleys are built to
last, so maintenance is rarely a problem. All come with
instructions but if unfantiliar with this equipment, it is wonh
checking out if the supplier is able 10 demonstrate and
teach you how to use it.
HOW MUCH ?
The more sophisticated the technology, the more you pay.
At the low end, without extras i.e. moulds etc., you are
looking at around 52000 (incl. sales tax). At the upper end,
around 59000.
Last but not least, a bit of trivia. A jigger jolley is, strictly
speaking, a jigger and jolley machine. Jigger for the
flatware, jolley for the hollow ware. Now you know 1
My thanks to the following people and organisations
for their generous help:
Clay Graphks Ph: (02) %92 8636
Kilns and Pottery Supplies Ph: (06) 260 2002
Nonhcote Pottery (03) 9484 4580
Walker Ceramics (03) 9725 7255
Big Duck and Fish (03) 9486 3899
Clayworks (03) 9791 6749
Pottery Supplies (07) 3368 2877 (02) %30 0133
Central Ceramic Services (03) 9761 0735
Potters Market (09) 3376 888
Talsteel (02) 9558 8193
Roben Reid, Sydney Institute of Technology. G\!)
© K.Weiss 1997
3611 AUTUMN 1997 + POTIERY IN AUSTRALIA 73

TECHNICAL UPDATE
How To Give Up Smoking
The development of the pottery kiln after-bumer by STEVE HARRISON
An after-burner burns up
there is a little turbulence, and the
smoke before it lea ves the
process of combustion is maintained
kiln chimney. The concept
for sufficient time to allow for all
of the process after-burner is well
the product to be fully combusted,
established in industry but is little
ie. the chamber is large enough or
understood and rarely used by
long enough with the right
l)Otters. We live in an age of ever
draught, then there will be no
increasing regulatiOns and no area
smoke emitted from the chimney,
is more regulated than that of
only clear, hot flue gasses. These
pollution comrol and so it should will be principally; nitrogen ,
be. Potters are not exempt from Domed wood fired kiln with large 2nd carbon dioxide and some oxygen
tile rules of SOCiety, but have been chamber incorporating heat exchanger more or less in tilat order.
able to 'get away with murder' in between the chambers. The first article I read on this
regard to pollution in the past because of the small size and topic was by Harry Davis who wrote an arricle for The
intemlittent nature of their operations. and often because British Clayworker Magazine in 1957 called "Successful
they were too rar out of town to be noticed. However, we Smoke Elimination'. 1 have not stumbled across anything
all have an obligation to 'clean up our acr', literally, before else in prim in the ceramic literature, however, pointing a
we are forced to by our neighbours, who have a legitimate Webb browser in the general direcrion may be rewarding. I
right to peace and quiet and clean air etc.
will leave that to orhers. The first kiln 1 saw with an after·
The process after-burner could well become far more burner fitted was on a traditional woodfired kiln in Japan.
common in future as a means of cleaning up the by- This ancient kiln had originally been built out in the
products of combustion which are not fully burned as a country side but over the years had slowly been engulfed
necessity of the creative firing process. The applications for by the suburbs and the local cou ncil had required the
this technology are wide and varied.
poners to clean up the smoke or be forced to move furrher
When J built my first LP gas fired process after-burner. lout of town.
found myself on a very steep Ie'dming curve, as I was under The first kiln I built using an after-bumer was in 1975 at
intense pressure and a pressing deadline. The project was the Jenner Road Ponery (see Pottery in AlL5trJlhI, Vol. 29/3. p3)
resolved satisfacrorily in a technical sense, but left plenty of This was a wood fired three chambered dimbing kiln
room for further improvement and development. When J which incorporated preheated air ducts under the floor of
lodged my first design with the AGA for in peaion and each chamber opening into the Aues of the next (see pic.
accreditation, I was told that it was the first one that they p74). It was only partially successful, due to the facr that the
had processed for use with a pottery kiln, so the field is still secondary air inlet porrs were not large enough. However,
very immature in regard to pottery kilns with plenty of because the kiln was fired by a pair of Bourry style fire
room for development.
boxes it did not make much smoke. My second use of the
The after-burner is in essence a very sinlple device. All of afterbuming smoke combustor was on the large round kiln
the flue gasses from the kiln are channelled through what is in Balmoral in 1980, where I incorporated it between the
in essence another small kiln or even a second chamber of first and second chamber. This was very successful, because
the kiln. Extra air (preferably pre-heated) is mixed with the of the high temperature I achieved for the incoming air and
unbumt flue gasses and as long as the temperature is well its increased volume (due to the use of a heat exchanger).
above flash point the result is secondary combustion, and if TIle combustion was therefore quite complete. The third
74 POTTERY tN AUSTRALIA + ISSUE 36J I AllTUMN 1997

CHRJSTOPHiR JAMES
KI~ANDAF1U.BURN£R
WAttROONGA NSWI996.
AFTERBURNER
DESIGNED AND BUILT
BY HOT AND snCI(Y
KILN COMPANY NSW
CHIUSTOl'HER lAMES
KlLN A NO
AfTERBURNER
WAHROONGA NSW 1996
FRONT VIEW
SIDE ELEVA nON
STAINLESS
11000 ---.
UNED WrTH
CERAMIC
ABRE
...--------AfTERBURNER
l-g)::;;j~~!:::-~ BURNER
OOWNOIlAUGHT
JULNOESIGN
RlBRlCK
CONSTRUcnON
-... ,
usc I made of this technique was in 1984 on my anagama
kiln , Again, using preheated air in underfloor ducts, and
using an extra chamber as the smoke combustor.
A recent after-burner job was commissioned by Ch ris
James for his terra sigillata kiln,{see accompanying article)
TIl is after-hurner is interesting in that it was the first time I've
been asked to retrofit an after-burner, It was also interesting
in that it was to be fitted to a gas kiln, as gas fired kilns do
not generally need an after-burner because they are capable
of burning very cleanly, Because the after-burner was not
incorporated at the design stage as an integml part of the
kiln stru(ture, my only option was to use the space above
U1C kiln and incorporate it in with a new hood and flue
system, The problem here was that the kiln wou ld fire
cleanly up to the polm that the solid fuel packed around the
pots in the saggars would ignite, and trom then on there
would be a small but steady emission of smoke and smell
from the kiln flue, This represented a potential cause of
problems with the neighbou rs as ule kiln was situated close
to the fence line,
The solution was to build a small refl"ddory lined stainless
steel nue extension on top of the chinmey incorpomting the
controlled admission of secondary air and an external source
of ignition using an LPG burner. This proved to be costeffective,
compad and very efficient.
TIl ere are a mnge of regulations and restrictions relating
to the use of process after-burners which must be complied
with including; pollution, odou r control, ga company,
AGA, dangerous goods, local council, body corporate
and/or landlord if applicable, However, the important thing
to remember is that if you are using a gas burner as a point
of ignition in the process, it must be assembled and
installed by a licensed person and must have the
appropriate controls and failsafe devices, just like any other
gas burning appliance, TIle after-burner must be lit first and
reach it's operating temperature (BOO·C) before any
combustible product enters it's chamber. It is possible to
use a simple aUllospheric burner as long a the follOWing
conditions are met:
• The travel of the gasses in the after-burner musl not
incorporate any downward flow,
• The emire process must be carried out at atmospheric
pressure,
• There must be no restriction to the flow of the gasses
between the kiln and flue through the after-burner,
Otherwise a very complicated forced draught burner
system must be used, which is beyond the price range of
most potler, 00
Steve Harrison is a cerJmic artist who also runs Hot & Sticky Ply lId.
a sIll.1 11 ceramic technology consultancy and manufaauring company
which L, located in Balmoral Village in the Southern Highlands of NSW,
3611 AlJTVMN 1997 + POTIERY IN AUSTRAUA 75

I Quit Smoking Too
An afterbumer for a saggar fired kiln. Article by CHRISTOPHER JAMES
'ving
~
in suburbia is far from ideal
for a poner as far as firing kilns are
oncerned. Typically, paradise for a
potter usually has the country in mind,
with distance from neighbours high on
the prioriry list. As society grows more
and more paranoid about everything we
come into contact with, it also becomes a
little more difficult to own a kiln in some
neighborhoods, especially if your kiln
produces smoke.
Unpacking a saggar firing can be for
me the most precious gift. Many a pot
has had me hopping around in rapture,
others have had me close to tears. The
down side to saggar firing, apart from
the dusty packing, is the production of
smoke during the firing. In my own case,
the saggar is full of sawdust combined
with a lillie salt and copper. As the firing
progresses the sawdust catches alight.
The kiln is not at red heat and smoke is
emitted from the chimney until the
chamber reaches red heat. I should make
it clear that I have never received a
complaint about the smoke rising from
my saggar firings, and that the emission
is not particularly great. A slow
combustion stove or standard fireplace
would be far worse. However, the smoke that rose in the
temperature range of 200 - 700"C made me anxious so I
decided to do something about it. I recalled a lesson at
college where a Japanese Noborigama had been fined
with a series of burners entering into the chimney. This
raised the temperature within the chimney to a level high
enough to lower the emission of any smoke. I decided to
try the same trick on my own gas kiln and contacted
Chris James'. Terra Sigillata
kiln and afterburner
Preheating air ducts under
the floor of the 3 chamber
climbing kiln floor (p72).
Steve Harrison at Hot and Sticky Kiln
Co. for advice. It was not possible to
place a burner into the base of the
chimney or into the flue cavity under
the floor so Steve recommended an
afterburner be placed on the top of my
exisring chimney.
The afterburner consisred of a
stainless steel box lined wirh ceramic
fibre. This had an entry hole from the
exisring flue and an exit hole for the
waste gases, along with another hole
which allowed the entry of a gas burner
flame. Imagine a small kiln placed on
top of another kiln and you hould
have a pretty reasonable mental pictu re.
RRINGCYCLE
I! does nor maner what your firing
cycle is (fast or slow) the afterburner is
switched on only during the period
where there is smoke rising from the
chimney. Typically my pots are raw so
I pre-heat slowly overnight. By 8:00am
the next morning the kiln is usually
around 250 to 350·C and smoke is
rising from rhe chimney. The
afterburner is lit and stays on until
around 12:00am and a generous red
heat. Usually I'll flick the burner off and check for
smoke as every firing is different. 10 smoke and it stays
off. The firing then proceeds as per usual. The kiln
chamber is now hot enough to take care of itself. See,
quilling smoking is easy!
Christopher James is a potter and teacher. Refer to Issue 30/4 for his
more detailed :micle on saggar firing.
76 PonERY IN AusTRAUA + ISSUE 36/ I AUTUMN 1997

Wide
A ROUN DUP OF LOCAL NEWS AND EVENTS FRO M OUR STATE REPRESENTATIVES
TASMANIA
The Southern poners welcome Royce MeGla hen for
workshops in March. Later in the year workshops
with Andrew Cope and Brian Gartside. Phone
Christine Crisp 03 6223 1580.
Congrarulations to Suzi de 13 Rue, winner of the Annual
Exhibition.
The forest in orthern Tassie saw tents pitched in
January for Claydown '96, run by Neil Hoffman & Denise
Coyne at Reedy Marsh Pottery. Sandy Lockwood , guest
tutor led the group throug h making and firing. Two
longthroat woodkilns were fired , one being salted a la
Lockwood.
Sushi was served at the final meal on plauers hot from
the kiln. NeXlyear's event is being planned.
Sad news from The Working Horse pottery of John
Young, in NW Tassie. It was completely destroyed by fire
(suspected arsonist at work). This was a very popular
tourist stop and was established by Steve Ambrey in 1992
and developed by John in recent years. The large pots
were fired in a Michael Cardew designed wood kiln (See
Issue 33/3 PIA). Let us hope John will rise from the a hes
again to produce his warm, honest wood fired POts.
• ~ AlTING, lEMNE VANDERSLNK
WESI ERN AUSIRALIA
Perth Potters Club is celebrating its 40th birthday this
yea r. Member's have been busy revamping the
Club' Gallery and a wall mural project is underway.
The first event for 1997 is an exhibition 'Small Wonders'.
Small boxes have been made available for members to
create works to fit.
In April/May a wood and salt firing workshop entitled
'The Magic of Salt & Fire' will take place with Greg Crowe
in his Hovea Studio. Numbers limited to 12 so hook ea rly -
phone Anne Airel' 09 276 9954. A small exh ibition will
fo llow the workshop.
In July Hiroe Swen will conduct hands-on workshops in
Perth. For details contact 09 383 2668, book early as they
will be very popular. July will also be the timing for a
se lected exhibition to coincide with the 40th bi rthday
celebrations. A hook of glaze recipes will also be published
to mark the occassion.
South of the Rive r potte rs continue to look for
perm,ment studio space. Contact Cher Shackleton or Peggy
Stacy on 09 384 6875 if you can help.
CAGAWA is planning a "Clay Olympics' for the 4th May
at Houghton'S Winery - a fun occassion for th e clay
community. Plans continue for the 1999 National Ceramics
Conference - comments & suggestions are welcome.
Contact CAGA W A, PO Box D178, Perth 6001.
Jenny Miller is President of Guildford Village POIters -
their gallery is open 7 days in the heart of Guildford. New
members welcome.
The Ceramic Study Group of W A celebrated the AustrJlia
Day Award to Mike Kusnik - a generous & devoted
member of the WA ceramic community.
• LYN RoBNsoN
ACf
}J
usy start to the New Year with the Royal National
Capital Agricultural Show presenting a special
pportunity for artists and craft workers to show
their best. The pottery sections with prizes sponsored by
the Canberra POllers' Society are amongst the fasteM
growing classes in the Show.
Easter will see another firing of Ian Jones' anagama kiln
at Gundaroo. Japanese pouer Kudo Shuji, who helped Ian
to build this kiln in 1994, is currently staying with Ian and
will lead the five days of firing.
In April thre Strathnairn Ceramic Assoc. will host a alt
firing for the Canberra Potters Society. Sally Howes will
supervise glazing and firing.
• JANE CRIcK
ISSUE 3511 AVfUMN 1996 + f'onrny IN AusTRAlIA 77

Wide
A ROUNDUP OF LOCAL NEWS AND EVENTS FROM OUR STATE REPRESE NTATIVES
The Rura l Potters Association has begun classes for
the year with another planned to Start after Easter.
New members are always welcome to this group
which features regular demonstrations and classes by
members. The \'(let continues but holidays are over for
these keen potters. Arnhem Nursery is to host the Mothers
Day Fair in May and we look forward to plenty of potters
participating. The Association aims to prOVide social &
creative stimulus for potters and to show the wider
community our work. Genny Nixon, Secretary).
I am off to Cumbria , UK in August and shall be
promoting Darwin and Australia and hopefully will
encourage some visiling artists. Our visit in '92 saw John
Calver come to Darwin for some very successful workshops
so here's hoping.
• DroPE EDwARD
QUEENSlAND
Well the yed< is off with a hiss and a roar· and it
seems a very long time since the ·hols'.
Scott Avery and Ginni Jones are both having
solo exhibitions in conjunction with Iheir MFA studies at
QUT. SC011 'S is entitled 'Document' and Ginni 's
IConnecrions'.
Johanna de Maine is haVing a show at Fusions and Jane
Harthoorn is working on new porcelain works for the
Contemporary Art & Design Gallery. Jess Gibson is at it
again curating a show for Savode . hopefully another
ceramics blockbuster. In general there seems to be more
venues and consequently more shows around in
Queensland.
There also continues to be alol of activity with the
inclusion of ceramic componenl, in urban renewal projects
and private commissions for public facilitites with Sandy
Johnson doing two tile projects. one for Moolloolaba
Esplanade and one for the Airport 31 Maroochydore.
Elise Goodrich has recently completed a tile mural for
Pineapple Park and is now working on pavement inserts
for Sandgate· a Bayside suburb and I have just completed
a collaborative project of a Story Wall with seating with
Peter Dwyer and Yuluwirree . Debbie Scott.
Hope everyone had a good summer.
• SrEf'HANIE Ot.irRooE FI8.D
VICTORIA
Once again we are at the beginning of another year
with all the hope and aspir.l1ions ahead of us. This
year looks to be another challenging one as the
economy is still languishi ng and pot sales seem to be
responding to this fact. POIt.ers are, however, an optimistic
lot and thus a great many products are already in the
pipeline.
The Geelong Potters are kicking off the year with a
sausage Sizzle in their new club rooms. TIle Valley Potters
are holding a Michael Chanter workshop on March 15 at
Casey College. Casey College is also the venue for the
VCG's highly successful Festival in Ceramics to be held
April 12· 14. Demonstrators include Barbara Swarbrick,
MelT'dn Esson, Glenn England and many more. This should
get the creative juices nowing.
It is sad to have to report rhe cnd of the Walker Ceramic
Award for Graduating Students. The Award attracted 120
entrants this year from all over Australia. Entrants had their
work shown in one of the most publicly accessible galleries
in Melbourne, the \'(lest pac Gall ery. The Walker family
should be loudly applauded for this valuable contribution
to the ceramics field and especially 10 the promotion of
emerging poners.
• BAffiY HAYES
78 POTTERY IN A USTRAUA + ISSUE 3511 AvruMN 1996

TRIBUTE
A Tribute to Joan McPherson
1918-1996
In the late nineteen fifties Joan
McPherson joined a part-time ponery
class at East Sydney Technical College. It was
at a time when the studio ponery movement was
gathering momentum and many streams of influence
related to ceramics were gaining attention in the
community. Influences from the East, America and
England inspired many people to enter the field of
ceramics. Such was the case with Joan and like the
majority of her fellow students she formed a life time
commitment to work as a studio poner.
She and other ex-students who had established studios,
generously gave a considerable amounl of their time and
energy towards the development of the Potters' Society of
NSW, later to become the POllers' Sociery of Australia.
At that time the Society played a role that is now
shared by government sponsored organisations ancl many
other societies throughout Australia. A role that involves
organising exhibitions both in Australia and overseas,
organising lecture lOurs, summer schools and liasoning
with government art bodies.
In the period that Joan was secretary of the Society,
she, with remarkable efficien cy, helped to organise a
flood of major events related lO ceramics. Some of this
work included the lecture tours of Bernard Leach and
later Shoji Hamada, which drew an
enormous number of people to the
colleges and universities where they lectured.
There was a series of exhibitions, both in Australia
and overseas, of the work of Australian potters. There
was also an enormously large exhibition of historical and
contemporary ceramics held at the Cell Block Theatre
which created considerable public interest. In
consequence, public awareness of the work of the studio
potter was greatly enhanced.
It is evident that without this public relations work
being ongoing, the studio pottery movement will
inevitably decline. Hence, the work Joan and her fellow
committee members carried out for the Potters' Society of
Australia decades ago was a valuable contribution to the
development of pottery in Australia. Now, such work is
spread across many societies, and many people like Joan
continue to make a silent contribution to keep alive the
idea., of the craft movement.
As Joan's work with the Society eased, her output of
beautifully crafted functional pots from her studiO
increased and for twenry-five years she maintained a flow
of work from her studio in Castlecrag. 00
Peler Rushfonh
3611 AVT1JMN 1997 + POTTERY IN A USTRALIA 79

e W S for Autumn 1997
AUSTRALIA DAY AWARD
Congratulations to Mike Kusnlc, OAM
As a teacher of ceramic technology, Mike has
been and continues to be, a source of
inspiration, help and gu idance to the
ceramic community. Although no longer teaching,
having retired through ill health last year, Mike is
always happy and willing to freely answer any
queries regarding ceramic technology, and health
permitting , getting involved in any ongo ing
experiments with clay or glazes that a member of
the ceramic public brings to his attention.
Mike Kusnic was one of the founding members of
the Ceramic Study Group, which will be celebrating
it's 25th year in 1996, and both Mike and his wife
Esme have been given life membership of this
group. Mike's dedication and commitment to the
study of ceramics is highly regarded, not only here
in Western Australia but throughout Australia. An
Australian Honours Award is a fitting reward for all
his years of service to the ceramic community.
irene Poulton (President)
The Ceramic Study Group - Western Australia
TABLESCAPE 1996
The 'Tablescape' Forums and Workshops on 'the arts and
industries of the table' held in Mudgee from the 10th - 13th
September last year, have assumed a new significance
following the announcement of Significant Government
funding to funher develop Mudgee's unique concept.
Having staned as a one-off series of events celebrating
the arts of the table, 'Tablescape' is now on its way LO
becoming an ongoing organisation with a roof over its
head. The funding will allow a comprehensive feasibility
study to be undertaken aimed at setting up 'Tablescape' as
a permanent facility to be based in Mudgee. The second
stage of the study, for which funding has also been
secured, will be a detailed finanCial Viability analysis of the
proposed facility. The brief for the study proposes that the
facility would be located at the Australian Rural Education
Centre but all options will be considered.
The 'Tablescape' faCility would operate as a cera mics
design and production studio, and follow the highly
innovative approach taken in the inaugural programme,
integrating ceramic an" with regional cookery and wine
appreciation. The organisation will foclls on the deSign,
production and promotion of ceramic products that are
related to the contemporary Austral ian way of
eating ... clesigner packaging for boutique regional produce
such as olive oils, high quality designer tableware and
innovative cooking vessels. All 'Tablescape' products will
aim to reflect the regional character of Mudgee, utiliSing
not only local raw materials ancl loca l talent, but
developing and promoting a range of design concepts thaL
are recognisa bly and distinctively 'Mudgee-style' (like
Mudgee's version of maiolica ware .. .' Mudgolica!)
• • • • • • • • • • • • • • • • • • • • • • • • •
FREELECTUR&SYDNEY
The Ceramics Department of the National Art School will
present a free public lecture by Ruth Duckworth on:
Thursday March 27th 1997 at 7pm
Cell Block Theatre, Forbes Street Darlinghurst NSW
For further enquires contact
Bill Samuels or Merran Esson 93398630
80 POTTERY IN AUSTRAUA + ISSUE 3611 AUTUMN 1997

New S for Autumn 1997 • continued
DELINQUENT ANGEL
Delinquent Angel,
Australian Historical,
Aboriginal and Contemporary Ceramics
Cairns Regional Gallery
18 January - 23 March 1997
In early 1997 Cairns Regional Gallery will be the
only Queensland venue for a new exhibition
which is a comprehensive overview of Australian
ceramics from convict-made originals to the latest
work by Australian potters.
'Delinquent Angel: Australian Historical ,
Aboriginal and Contemporary Ceramics' is the
largest exhibition of ceramic work ever to tour
and will be touring Australian venues following a
successful showing at the 1995 International
Concorso of Ceramic Art in Faenza, Italy.
The tour 'Delinquent Angel' has been produced
and managed by Craft Australia, the National
organisation of the professional crafts sector, and
funded by Visions of Australia and the Australia
Council. It will continue its tour to Adelaide,
Sydney and Melbourne during 1997.
•••••••••••••••••••••••••
1996 7TH TASMANIAN ART EXHIBITION
Fine Craft Section- Awards
Lactos Award for Excellence in Functional Design
Andy Goodfellow (Deloraine)
Thrown and carved stoneware teapot, shino glaze, wood
handle.
Comalco Award for Excellence in Innovative Design
Highfl commended
Helmut Schwabe (Gunns Plains)
'Nature of Clay' thrown, reformed and modelled stoneware
bowl, double glazed
Con-Dios Pottery Ceramics Award
Neil Hoffmann (Deloraine)
extruded stoneware vases, tenmoku glaze
Highfl commended
Peter Deck (Elliott)
lidded POt. green crystalline glaze, cane
'Pottery in Australia' Ceramics Student Award
Lynne Logan (Hobart) handb Jilt stained stoneware
floor/wall piece
ARTS LA'N
The Arts Law Centre of Australia is a national
community legal centre which was established
with the support of the Australia Council in 1983.
The Centre gives advice and information on
contracts, copyright, insurance, defamation,
business structures, employment and taxation to
artists and arts organisations in all sectors of the
cultural industry.
Initial telephone advice is free, and available to
callers outside Sydney on the Centre's toll-free
number. For ongoing advice and to take full
advantage of the Centre's services, artists and
organisations can subscribe.
Arts Law Centre of Australia
The Gunnery, 43-51 Cowper Wharf Rd
Woolloomooloo NSW 2011
Telephone : (02) 93562566 or (1800) 221 457
Fax : (02) 93586475
•••••••••••••••••••••••••
SLIDE REGISTER
As part of the NSW Ministry for the Art's
commitment to fostering Public Art in NSW, it has
commissioned NAVA to compile a slide register &
database of professional visual artists and
craftspeople in NSW working, or interested in
working in the Public Art sector. The Slide
Register & Database will be housed at the
Ministry for the Arts and will be a comprehensive
resource for consultation by public and private
sector clients throughout NSW, wishing to
commission public art.
Contact National Association for the Visual Arts Ltd
PO Box 60 Potts Point NSW 2011
Ph (02) 93681900
•••••••••••••••••••••••••
FESTIVAL IN CERAMICS - VICTORIA
12, 13 & 14 April 1997
Casey Institute of TAFE, Stud Rd , Dandenong
Invited demonstrators include Barbara
Warbrick, Jan White, Merran Esson, Glenn
Engand
Will Mulder plus others.
Information from Victorian Ceramic Group Inc.
7 Blackwood st, North Melbourne 3051
81 POTIERY IN A USTRALIA + ISSUE 3611 AlJfUMN 1997

New S for Autumn 1997 · continued
INTERNATIONAL
COMPETITIONS
Faenza Italy
The 50th edition of the International Competition of
Contemporary Ceramic Art will be held in Faenza
from September to December 1997. The rules
having been modified, we suggest that you request
without delay the entry form at the following address:
Comune di Faenza
Signora Maria Concetta Cos sa,
Counselor for cultural activities
Museo Internazionale della Ceramiche
Via Campidori 2
1-48018 Faenza (RA) Italy
Kutani (Japan)
An international competition of decorated
ceramics will be held in Japan
There will be two judges, one on slides in April
1997 and the final one on real works in July 1997.
Conditions of participation may be obtained at the
following address:
Executive Committee of the International
Decorative Ceramics Fair '97
Komatsu City Hall
91 Konmade-machi
Komatsu
Ishikawa 923 Japan
Fax 81 761 232000
Triennial of Porcelain
in Nyon
This competition of contemporary porcelain will
be held in 1998. the jury will meet in the fall of
1997. Information about this competition can be
obtained from :
Triennale de al Porcelaine
18 chemin du Prelard
CH-1197 Prangins
Fax : 41 22 363 82 66
PRINT AWARD
Doubleview visual artist Lyn Robinson 's
innovative work in computer prints has been
acknowledged by the Printmaker's Association of
WA with an award in their prestigious
experimental print category.
"The scale, energy and elemental drama of this
work was what excited us' said Sarah Millet,
Director, Perth Institute of Contemporary Arts.
Lyn has been active in the WA arts scene for many
years. She has nearly 21 years of experience as a
potter and graduated from Mt Lawley Edith Cowan
University with a Bachelor of Arts Degree in visual
arts at the end of 1996.
(Lyn has also been active as the WA State
Representative for this magazine for several years.)
•••••••••••••••••••••••••
1997 Townsville
Ceramic Acquisition
Award
To celebrate our 25th year, the North
Queensland Potters Association Inc. will be
holding a Ceramic Acquisition Award to be
exhibited at the Perc Tucker Regional Gallery,
Townsville in August.
Gwyn Hanssen Pigott will select works for
purchase to the total of $6000 from the exhibition
and the works will be added to the Perc Tucker
Regional Gallery's permanent collection.
This year only, the exhibition will be restricted to
all major prize winners and judges involved in the
Pacific Festival Ceramic competitions and
purchases rnade from the Caltex N.Q. Awards
held over the last 23 years.
Invitations will be going out shortly, but we
urgently need you to contact us with your current
address if you fit these categories and we have
not heard from you recently.
Please contact Wendy Bainbridge,
North Queensland Potters Association Inc.
PC Box 5033 MC Townsville, Qld. 4810
or Phone (077) 715044
82 ISSUE 3611 AVTUMN 1997 + Pol1ERY N AusmAuA

New S for Autumn 1997 · continued
GRANTS FOR NSW ARTISTS
Applications due: May 15 and August 15, 1997
• The Marketing Grant Scheme for NSW
This is a grant designed to facilitate greater opportunity
for visual artists in NSW to effectively promote and
publicise their work through galleries, festivals and other
related proiects throughout NSW, interstate and
overseas. The funds are available to specifically
encourage visual artists residing in NSW to undertake
cost effective marketing initiatives and campaigns.
These funds are to assist directly with the costs associated
with the development and implementation of a Marketing
Plan for example, the preparation and distribution of a
portfolio, or a publicity campaign. Preference is given to
individuals and artists' groups promoting their work
through artist-run-initiatives, contemporary art spaces and
other non profit project spaces.
• The Pat Corrigan Artist Grant
The Pat Corrigan Artist Grant provides financial
assistance toward the costs associated with the public
presentation of work where it can be shown that there is
a lack of resources available to cover these costs.
Applicants must be artists who are participating in the
exhibition or event for which they are requesting
support.
Under this program NAVA will fund costs such as press
releases, and press photographs, advertising, space
rental, installation costs, promotional printing and
mailouts, documentation, freight, travel, equipment
rental, insurance, technical assistance etc, but not the
actual production of the art work.
The grant is a NAVA initiative with sponsorship of Pat
Corrigan and the Visual Arts/Crafts Board of the
Australia Council.
Contact for both schemes: NAVA, PO Box 60, Potts
Point 2011 . Ph : 02 9368 1900
• • • • • • • • • • • • • • • • • • • • • • • • •
FAENZA
50th International Ceramic Art Competition
for the Young Generation
TI,e selection of the Australian submission to faenza was
held on November 20 with a panel compri sing ceramics
practitioners Rud Bamford, Jacky Clayton and Lorraine
Jenyns, supported by Jan Pittard and Emanuel Psaltis from
Craft Australia. The panel chose the follOWing craftspeople
whose slides were sent early in December to Faenza for
final selection by the Concorso panel in Italy. Ray Cavill
(Qld), Michael Doolan (Vic), Linda Draper (NSW),
Gabrielle Fleet (Vic), Paula Frost (Vic), Fiona Hiscock (Vic),
Won Seok Kim eNSW) and Fiona Murphy (Vic)
VI ETNAM 1997
JUNE 29-JULY 13
An exciting 15 day study tour from the tropical and
bustling Mekong delta region in the South through
beautiful and remote rural areas to the treasure trove of
colonial architecture in Hanoi.
A journey of discovery witnessing the vast array of
traditional ceram ics from simple utility items to highly
decorated art pieces. Influences from Japan, China,
Europe and Russia are strongly evident. Village crafts
are very strong although economic influences are
rapidly creating changes to this ancient system of
production.
Experience Vielnam before the change is too great. On
this tour there is plenty of opportunity to see a host of
skills in ceramics and other traditional crafts.
The tour is hosted by Sue Buckle and Christine
Pearson of Active Travel. Christine has great personal
and professional experience travelling in Vietnam, a
country she has returned to many times in recent years.
She is also a potter and her contacts will provide unique
experiences for this small group.
Sue is a keen traveller and potter and is looking forwa rd
to experiencing the culture of this country through
village life, the pottery and other crafts, the food and the
museums and architecture . Join this small friendly
group for a wonderful adventure with a particular focus
on ceramics.
Phone Christine Pearson or Rob Fletcher at Active
Travel on : 06 249 6122 or fax 06 249 6788 or
Sue Buckle on 02 9901 3353 or 02 9958 8622 for
further information and details of the tour.
•••••••••••••••••••••••••
COMPETITION
LAYTON GALLERIES
34 Lewis Street, Mudgee NSW 2850, are
sponsoring a competition for ''The Most wonderful.
wackiest wildest winejug in the West".
Entries are invited for this competition. Anyone
wanting to enter please contact :
Director of Galleries, Wendy Layton,
PO Box 938, Mudgee NSW 2850
or call (063) 722176 for details.
Janet Mansfield heads a panel of three judges.
Minimum prize money $500, gift voucher for
ceramic material.
POTTERY IN AUSTRALIA + ISSUE 3611 AlfTUMN 1997 83

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ISSUE 3611 AUTUMN 1997 + POTIERY N Aus'Tfw.lA 87

STOCKISTS
. NSW Mud~ee Book Case Northcote Pottery Services Studio 20
Aldersons Arts & Crafts . 10 C mch St, MUDGEE 85A Clyde St, THORNBURY Coromandle Pde,
64-68 Violet St,REVESBY
BLACKWOOD
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Potters Cottage Galle'J
Art Ga llery of NSW 49-51 King St, NEWTOWN 321 jumping Creek R The Booksh0(l
Domain Rd, SYDNEY
WARRANDYTE
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Newcastle Potter Supplies
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Atun Art 3 Arnolds La, WARATAH Portfairy Newsagenc)'
36 Railway Pde 68 Sackviille St, PORT FAlRY
NSW Pottery Supplies
11,e Pug Mill
BURWOOD 17 A Rose St, MILE END
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Back to Back Galleries Potters' Needs
13142 New t, RINGWOOD
• WESTERN AUSTRALIA
57 Bull St, COOKS HILL 67 Boyd St KELSO Red Hill South Newsagency Angus & RobertSOn Bookworld
Bathurst Regional Art Gallery
Shoreham Rd, RED HILL
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240 York St, ALBANY
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5-7 Raglan St, MANLY Roundhouse Gallery Art Gallery of W A
Bellbird NewSa!j"ncy
112 Queens Pde, TRARALGON Bookshop, PERTH
424 Wollobri R , BELLBlRD Southern Cross Pottery
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Bellingen Newsagency
1067 High St, ARM I DALE Perth City Railway Station,
83 Hyde St, BELUNGEN Spotted Gum Studio
PERTH
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II/Powells Rd, I:!ROOKV ALE Sturt Craft Centre
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MITTAGONG
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Carpenters Newsagency
Cm Steels Creek & Valley Rds, Fremantle Arts Centre Bookshop
25 Wiloughby Rd, CROWS NEST
Syretts Newsagency
YARRA GLEN I Finnerty St, FREMANTLE
30-32 Otho St, Ito.'VERELL
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Victorian Ceramics Group Guildford Village Potters
Old Bakery Gallery 7 Blackwood St, 22 Meadow 51, GU ILDFORD
11,e Clay and Craft Gallery 22 Rosenthal Ave, LANE COVE NORTH MELBOURNE
2171-73 Burelli St,
Jacksons Ceramics
WOLlONGONG
Tallaganda Pottery
Walker Ceramics 94 Jersey St, jOUMONT
116 Wallace St, BRAIDWOOD 55 Lusher Rd, CROYDON
Clay Things Potters Gallery
Margaret River Pottery
383 Sydney Rd, BALGOWLAI-I
The Art Shed Gallery Warrnambool Potters Wheel 91 Bussell Hwy,
7 Naas Rd, THARW A 74 Liebig SI, WARRNAM BOOL MARGARET RIVER
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Shop 7, Cm. Manning SI &
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Second Ave, K1NGSWOOD
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Headmasters Gallery
143JamesSt, TooWOOMBA
. U.S.A .
175 Rosedale Rd, S1. IVES • VICTORIA North Queensland Potters Seattle Pottery S':!'plies
Artisan Craft Books
Hilldav Induslries
AssOCiation, TOWNSVILLE 35 Soulh Stanfor , SEATTLE
Meat Market Craft Centre
108 Oakes Rd,
42 Courtney St, Pottery Supplies • CANADA
OLD TOONGABBIE NORTH MELBOURNE 51 Casdemaine St, MILTON Scona Pottery Supply & Clay
HUMPhries Newsagency Bendigo POllery Services The I'otte~ Place An Studio
60- The Corso, MANLY
Midland Hwy, EPSOM 171 Newel St, CAIRNS 8105-104 St, Edmonton,
ALBERTA
Inner Citr, Clayworkers Clayworks Potters Supplies Queensland Art GalJery
Cm St jo lns Rd & Darghan St, 6 johnson Crt, DANDENONG SOUTH BRISBANE • NEW ZEALAND
GLEBE
Coaslal Ceramics
Dairing Gallery Queensland Potters Assoc, 124 Rimu Rd,
janets Art SuppliesI'l L
321 Lennox St, RICHMOND 482 Bmnswick St, PARAPARAUMU
143 Vidoria Ave, FORTITUDE VALLEY
CI-lATSWOOD
DisteJfink Gallery
Cobcraft Supplies
1005 High St, ARMADALE • SOUTH AUSTRALIA 24 Essex St, CHRISTCHURCH
Keane Ceramics
Aldgate Crafts
371 Debenham Rd, SOMERSBY Linden - St Kilda Art Centre 4 Strathalbyn Rd, ALDGA TE South Street Gallery
26 Aciand St, ST KILDA
10 Nile St, NELSON
Kiln and Pottery Supplies
Bamfurlong Fine sCrafts
31-33 Hill St, URALLA National Gallery of Victoria 34 Main St, I-lAI-lNDORF • SINGAPORE
Bookshop, MELBOURNE
Southern Litl Trading
LE.M. Arts Hobby Ceramics Studio
jam Factory Craft & Design 71 Seng Po Rd, .01-35
5/6 Wilmette PI, MONA VALE lion Arts Centre SINGAPORE
19 Morphell St, ADELAIDE
88 POTTERY IN AUSTRAUA + ISSUE 36/ I AUTUMN 1997

THE COWLEY EXTRUDER
The Cowley Extruder is a wallmounted
sturdy galvanised
steel extruder which comes
,«ith a range of pre-cut
dies. For speed and ease
of cleaning, the die
plate is attached to
the base of the
extruder w ith
wing nuts.
I 'l>
Also available:
• Hollow d ies
• Blank dies
• Extruder adaptor and dies
(to produce wider extrusions)
NORTH COTE POTTERY RM CLYDE ST, THORNBURY, 3071. P:(03)9484458O F:(03)948O 3075

ustralia's leading arts magazine
PROMOTES AUSTRALIAN CRAFTS
Now also on the internet at
http://www.stateart.com .au/
Published three times a year in
April, August and December
Circulation CAB 29,768 including direct
mail to collectors and corporate art buyers
Advertising enquiries
Denise Tanham
Phone: 02 9360 7755
Fax 0293607740
Email: editor@stateart.com.au
PO Box 243 Kings Cross NSW 2011

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LAMAN STREET NEWCASTlE 2300
TEL 049 293 263 • FAX 049 296 876

VENCO
PRODUCTS
P 0 t e r 5 W h e e 5
The National Art School has the k>nge51
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The school is housed in a unique National
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study of creative arts and is ideally located at
the commercial and cultural heart of Sydney.
Part Time
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SEMESTER 2
Beginning 14 July for 15 weeks. These are
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STUDIO ACCUS AND TUITION FOR:
CERAMICS HANDBOOK SERIES from Craftsman House
IMPRESSED
AND INCISED
CERAMiCS
IMPRESSED AND INCISED CERAMICS by Coli MIn_e
Impressing and inosmg have been used as methods of demration by potters throughout history. This book.
describes in detail many different methods or impressing and incising. Today, these same techniques continue 10 be
used by potters and ceramic artists world wide in creative and innovative ways.
2' coLour plated. numerOtM black & white Ulu6tratlon6. "2 paged. 2J5 x '50 mm. go 57030616 RRP $35
DIReCT PRIce, $29.95
lARGE-SCALE CERAMICS by Jim Robison
large-scale ceram ics demand a number of considerations that don't necessarily concern most ceram iCiSts.
Questions of size of kiln needed. making over an extended period of time. designing for a speclric site. assembling.
weatherproofing and installation are all things that must be thought about. Jim Robison discusses all of these points
as well as giving pointers as to getting and handling commissions
22 colour plated. numerOUd black & white Il/U6lrationd. "2 posed. 235 x 'somm. go 5703 55 10 RRP $35
DIRCCT PRICe, $29.95
SLIPCASTING by Sasha Wardell
In the past. slipcaSting wa's primarily considered an industrial method. Today. however, ceramic artiStS are adapting
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demonstrates the techniques involved and shows how they can be adapted for the studiO workshop.
19 colour plated, numerOUd black [; while iIlU-6frationd. 128 paSed. 235 x 150mm. 905703 54 13 RRP $35
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TO ORDER: PlEASE PHOTOCOPY THIS ADVERT1SEMENT AND SEND YOUR ORDER ENClOSED WITH A CHEOUE OR MONEY
ORDER PAYABLE TO: F"lNE ARTS PRESS, III TALAVERA RD, NORTH RYDE, NSW, 1111. TEL: (o.z) 9878 8ll.z FA)(; (OZ) 9878 8112
(MASTERCARD. BANKCARD, VISA, AMEX ARE ACCEPTED)
93

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KEROSINE LAMP POTIERS SETS
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Southem Cross Pottery Pty Ltd
14 Caba Close, Boambee NSW 2450
Phone/Fax: (066) 58 1110
Claycraft
for
Materials and equipment for
craft potters, schools and potteries
Stockists of
CESCO underglazes and glazes
FERRO colours WARD kilns
VENCO Wheels and Pug Mills
Queensland agent fo r TALISMAN products
CLAYS
Feeneys, Bennetts, Clayworks, Cesco,
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Raw Materials, Oxides, Stains,
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Kero lamps, Oil burners
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29 O'Connell Tee, Bowen Hills, Brisbane
PO Box 1278, Fortitude Vall ey, QlD 4006
Telephone: (07) 3854 1515 Fax: (07) 3252 1941
Ceralllic
Study
Group
Inc.
for evelyone interested in poltelY
Mernbers enjoy monthly meetings . monthly
newslen ers • weekend workshops . residential
Spring School· annual Potters Fair · extellSive
library of books, videos and slides
\h·t'jin!!.. aI'(' Iwid un tilt" I"wlh I rida~ HI
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94

VIDEO WO~l(SHOPS PO~ POTTE~S
with TII,ee N ell' ~eleQses
Begi""i"g to
Throw 0" the
Potter', Wheel
(fifty eight minute video)
Multiple camera angles and views
inside and outside a thrown object
allow Robin Hopper to skilfully
guide novices in the use of the
wheel and clearly and thoroughly
explains wedging, centering,
shaping and trimming the clay.
These are high quality videos that are an ideal teaching
tool for either an individual or in a class situation. They
raise issues that challenge and teach even the
experienced maker of functional ware.
1. Elements of Form
2. Lids & Terminations
3. Spouts & Handles
4. Pots for Eating & Drinking
5. Pots for Cooking & Serving
Buildi"g your 0""" Potter't
Kil" (wi'lt C;rllltllm Slt"ltll")
This 72 minute video guides you through the
construction of 8 25 cubic foot kiln . It is a perfect
project for the novice builder, yet large enough for a
serious hobby or production potter. The detailed
materials list and working drawings make this the most
comprehensive kiln building resource available today.
PRICES: Personal Institution *
Bcggining to Throw $32.95 $32.95
FFunction each $44.95 $89.95
FF unction Series $199.95 $399.95
Building your own Kiln $64.95 $125.00
~o"i" Hoppe, P,ese"ts
Adva""tl
Throwi"g 0" the
Potter', Wheel
(sixty minute video)
Shows how a person of ordinary
size & strength can build tall pots
by using an extension of throwing
techniques. Traditional shapes are
altered to produce innovative
forms. Potters are encouraged to
develop their own creations.
Maki"g Mark,
A video series dedicakxI to the decoottioo and ernicInncnt of
ceramic surfaces. Full of ck=lps of surface details, woricing
JlI"ClC=CS and IOOls that document a master pOOa at w~k
1. Intro & Surface Removal Processes
2. Marks of Addition & Impression
3. Liquid & Coloured Clays
4. Pigments & Resists
5. Glazes & Glazing
6. Firing & Post-Firing Effects
Variatio", 0" Raku
(wi'lt C;ordo" Hu"I""s)
This 33 minute video provides options to potters who
have mastered basic raku processes. Working shots
capture each stage, including clay preparation, glaze
mixing and application, firing and post flTing techniques.
It demonstates the usc of slip resists, terra sigillata,
saggars, fuming and a variety of glazes.
PRICES: Personal Institution *
Advanced Throwing $49.95 $99.95
MMarks Each $39.95 $79.95
MMarks Series $199.95 $399.95
Variations on Raku $49.95 $99.95
'Institutional price includes Public Performance rights and the right to lend to the Institutional community.
Australia:-
New Zealand;-
Please add $5.00 post and handling for one video, Or $7.50 for two to six videos.
Please add $6.00 each video post and packing for air mail delivery.
ORDER BY MAIL, PHONE OR FAX. 09 3451434
PAY BY VISA, BANKCARD. MASTERCARD, CHEQUE OR MONEY ORDER, MADE PAYABLE TO:·
JBF D1STRlBUfORS, 142 FLINDERS STREET, YOKINE. PERTH, WESTERN AUSTRALIA 6060
Agcnts in Austmlasia for Tara Productions, I30x 35 Gabriola. B.C., VOR IXO. Canada
95

HILLDAV
Industries Ply. Ltd. ACN 002 849 318
KILNS, SLAB ROLLERS
& EXTRUDERS,avaiiable
from The Hilldav Potters
Warehouse.
As well as an extensive selection
of Pottery, Ceramic and China
Painting supplies.
Agents for Ward, Tetlow and
Dtmcan kilns, Talisman Sieves &
Venco wheels and Pug mills.
Mail and Phone orders are
welcome.
108 Oakes Road, old Toongabbie.
N.s.w. 2146
Ph(02)9688 1777
Fax(02)9636 3961
Presents
Clay & Cabernet 2 -
Down the River .
September
•
1997
Friday Evening 12th - Dinner (.,.._
Saturday 13th & Sunday 14th
Workslrops To be Ireld tit tire
Crane Building
Newcastle Harbour Foreshore.
Demonstrating Artists
jallet Deboo.,
A"drel\ Pnrt..et
Kedn FloHagan
Jeff 11"1;11(11",,,
\1", y-Loll Hog'" til
Milt;"de< K vria~ ide 5
Cost: $180.00 - Z dllY Workshop
Early Bird Bookings - S 160.00.
(before 3r/ 5/9n
For bookings or further Information contllct:
Margot Morgan Ph.049 ·488997 or
Jan Pryor PIr 043 ·S88022 ............. D. r. ~.
HOT & STICI(y[f~
Steve Harrison - KILN & CLAY TECHNOLOGY
C USTOM DESIGNED AND nUlLT:
KLLNS • RI brick or fibre
B URNERS • LPG or natural gas
HOODS • custom bllilt stainless steel
STAIN LESS STEEL FLUE SYSTEMS
KILNS AVAILABLE IN KIT FORM
KLLNS DESIGNED , PLANS DRAWN AND SPECIFICATIONS
V ENCO POTTERS WHE ELS
V ENCO VACUUM PUG MILLS
KLLN SHELVES • sillimanite or silicon carbide
DIGITAL PYROMETERS AN D T HERMOCOUPLES
CREATIVE SOLUTIONS TO TECHNICAL PROBLEMS
Old School Balmoral Village via Picton 2571
Telephone or facsimile • 048898479
96

JUST RELEASED JUST RELEASED JUST RELEASED JUST RELEASED
THE AUSTRALIAN POTTERS' DIRECTORY
A FULL COLOUR GU IDE TO CONTEMPORARY CERAMIC PRACTICE IN AUSTRALIA
featuring the work of
MORE THAN 130 AUSTRALIAN CERAMISTS, OVER SO GALLERIES. SUPPlIERS AND POTTERS' GROUPS
The essential reference for
MAKERS AND BUYERS, COLLECTORS, CURATORS, GALLERIES, INTERIOR DESIGNERS, TOURISTS,
TEACHERS AND STUDENTS
Produced by the Po"ers' Society of Australia
RRP AUDS26.00 PLUS POSTAGE
Burst bound, 190 (olour pages. ISBN 09596888 2X
I wish to order ( ) copies of The Australian Potters' Directory @ $26.00 each
Sub total
AUSTRALIA -Postage and handling for first book
-each additional book add
$ 5.00
$ 3.00
OVERSEAS
United States, Europe, Africa and Asia
-Airmail postage and handling for each book $14.00
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-Airmail postage and handling for each book $ 9.00
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Total $AUD
Name ...................................................................... ................................................................ ........... .
Address .... .. ................ ..... ...... ....... .............. ... ........... .. .......... .. ....... ... ...... .............................. ........ .. ... .
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Card No. DDDD DODD DODD DODD DODD
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Fax or mail your order to
THE AUSTRALIAN POTTERS' DIRECTORY
PO Box 937 Crows Nest NSW 2065 Australia
TELEPHONE +61 (0)29901 3353 FACSIMILE +61 (0)294361681
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98

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100

ARTISAN CRAFT BOOKS
M eat Marke t Cra ft Centre · C nr Cou rt n e y &c Blackwoo d S treets. N o rth Melbo urne.
P h : (03) 9 329 604 2 Fax ; (03 ) 9 3 26 7 054
T h .
o f
mO il t
books
ex ten sJv e r ang e
on Cr a l t . i n
Exhib i ti.on
p os t c ards
c a talogues
R i n g f o r spe c ific .u b Ject
1 1. t .
Mail order ser vice -
Postal rates $6 . 50 for the
fi rs t book and $2. 0 0 per
bo o k thereafter
Al l maj o r cre d it ca rd s
Open i ng h o urs l Oam- 5pm
Tue s day t o S unday &:
Public Ho li days
101

Falls Gallery
161 FAW ROAD, WENrWOR1ll FAUS, BLUE MTS. 2782
TEL (O.. t7) 571139
J
j
i
j
l
Continuously clwJgIng exhibitions
emmia by P ..... RushIonh, Bill Samuels,Jane IIarrow.
EIdtln&< by Anhur Boyd. Garry SI>ead, John Olsen 2JId od!er.s.
Open Wednesday to Sund2y lOam to Spa>.
'7 ,)...,
.p~ ~
~ ~";
('>~ ~-\>
-1F1'S-COTT ~G~
• NEW WORKS ALWAYS WELCOME ·
()peo 7 days -lOam to Spm (6pm in Summer)
360The EnInDl:e Road, Erina HeiabU NSW 2260
Tell,lI_ (t43) 67 6MO
SHC>VV
~~&SI\l.EOF ANE AUSTRAUAN CRAFT
FOR HANDBUILT AND FUNCTIONAL POnERY
clay things
102
I
2 1 Oaks Ave, DEE WHY
Phone: {02} 9981 1 596
Open 6 days
a cperative gallery owned by 16 locol po"ers
selling original Australian handicraft

THE YELLOW SHED
Bellingen Crafrworks & Garden Centre
Displaying the finest in craft, paintings
and garden art. Enquiries welcome
OPEN 7 DAYS
2 Hyde SITeet Bellingen NSW 2454
Phone (066) 551 189 Fax (066) 552 044
STRUGGLETOWN FINE ARTS COMPLEX
6 GALL ERIES AND RESTAURANT
B oyd Fi ne Art G allery
Strugg l etown P ottery
Austra li an F i ve Crafts
Auro r a L oad li ght Stud io
C lass i c Prints and F ramers
E xh i b i t i o n Gallery
D oll ' ightfu l P orcelain D o l ls
Sharman Close · Narellan • NSW · (opp MeDonalds)
Tel (046) 482 424 • Fax (046) 471 911
Internet http://www .loealnet.eom.au/-mboyd
Coaehouse
Gallery
Exhibiting local ceramics
P ottery supplies a va ilable
Open Tuesday- Friday 9am-5pm Saturday 9am-4pm
Shop 7 Cur Manning Street & Second Ave Kiuge ""'ood
Telephone 047 365 866
Exhibitor Enquir~ Weleome
103

o H
N G
April 22nd-May 14th
Visual and Concrete Poetry
Ceramics by Michael Simondson
Ceramics by Carmellita Gomes
June 17th-July 9th
Ceramics by Stephen O'leary
Painting by Cassie Pullin
May 2Oth-June 11th
Ceramics by Andrew Cope
Painting by Judy Soerink
321 Lennox Street Richmond, Victoria, Australia 3121
Telephone (03) 9429 3296
c R E s c E N D o
LAWRENCE WILSON ART GALLERY
THE UNIVE RS I TY OF WESTERN AUSTRALIA
Joan
An exhibition
Campbell's
of major ceramic
recent
works that reflect
Joan Campbell"
work .
response 10 the
11 th April •
dynamic forces
29th June
of the natural
1997 . world.
OALLERY HOURS
TlIu~b y-frid.y I hm-6pm SOlld.y 12 IIOOII-S pm. Admiuioll Free.
POI rurtber illforlllltion telephone (09) )10 3701
104