Pottery In Australia Vol 36 No 2 Winter 1997

~ ... - 

Volume 36 ~'t 2l,Wi~ 1997 

Special 

Glaze 

Feature

, 

I 

Contents C',,' I. .' ' .... , S13rrp 

Showcase 

• 

Survey of recent work 

Crescendo 

A tribute to Joan Campbell including 

excerpts from the catalogue ediled by 

Anne Grey and personal tributes by 

Sandra Black and Greg Daly. 

Special Focus: Graduate Students 

II Pictorial survey 

Graduate student ceramic work from 

Colleges and Universities around 

Australia 

m So you want to be a Student 

Karen Weiss discusses options for 

tertiary students of ceramics in Colleges 

and Universities. 

am College and University course 

information 

Profiles 

II Traineeship 

Graduate experience by Juan De Castro 

Mike Kusnik OAM 

A prOfile of a special member of the 

Australian ceramics community by Helen 

Ross 

Gordon McAuslan. 1913-1996 

Ceramist, sculptor. painter and illustrator. 

A tnbute by Stephen Skllitzi 

Heat and Dust 

Karen Goss visits remote Aboriginal 

communities to share her passion for 

pottery. Article by Katie Suthertand 

Ceramic Sculpture 

The work of Sandy Johnson, Review by 

Kyu Hee Park 

Em The Art of Glaze 

New work by Rowley Drysdale. RSVlew 

by Stephanie Outridge-Reld 

Great Glazes 

A new sectlC)!, presenting a range of 

glazes for you to test and try, This issue 

looks at traditional and special eHect 

glazes from the stoneware range. 

Opaque White Glaze 

Chris Myers 

Oil Spot Glaze 

Mike Kusnik 

AshlessAsh 

Terry Kirk 

Bronze Glazes 

Joe Szirer 

Colouring Translucent Bone China 

Gabrielle Fleet 

White Magnesia Matt Stoneware 

JanineKing 

Coming Events 

II 

PI 

II 

North Shore Crafts Group 

The 40th Annual exhibition and sale 

includes seven potters, 

Claydown 

An annual Summer School in northem 

Tasmania 

Down the River 

'CIay & Cabemet 2' a popular event to 

be held at Newcastle UniverSity. 

September 1997 

Signs 

Jennifer Sexton reports on a special 

project by Shan Hatwell and profoundly 

deaf students 

II 

Australia Wide 

News from our State representatives 

Reviews 

Niki Hepi 

Recent work. Review by Joe Szirer 

Ocean as Metaphor 

Recent work by Bill Burton. Review by 

Megan Kinninment 

Book Reviews 

• 

Letters 

News 

ISSUE 36/2 WINTER 1995 + F'arTERY IN AuSTRAUA 1

issue opens with a tribute to 

Joan Campbell, a poner who had 

TIis 

a special place in many hearts. 

Her exhibition 'Crescendo', was a 

firting finale to a very creative life. 

The colour catalogue from the 

exhibition , edited hy Anne Gray, is 

beautifu lly pre ented both in the text 

and the photographic material. I 

would recommend it to everyone, 

including schools and libraries. An 

very small excerpt is included in this 

issue. Copies could he purchased from Anne at 

Lawrence Wilson Art Gallery, The Universiry of Western 

Australia, Perth, phone: 09 380 3707, Fax 0') 380 1OI7. 

The 'Graduate Student Issue ' has become an 

important part of each year for us and for our readers. 

This year we have revised the format and included the 

course information from Colleges and Universities in a 

chart in the B&W section. This will allow more 

convenient comparison for those of you seeking a 

course to suit your requiremenlS. I thank, most Sincerely, 

Karen Weiss who compiled the information and devised 

the questionaire that was sen I 10 Colleges and 

Universities - an enormous job which she tackled 

fearlessly and with her usual enthusiasm. A special 

thanks also to all Ihe teachers and Head teachers who 

took the time to provide the necessary infomalion. I 

know papelwork can become all consuming. 

The extra space that came from Ihis rearrangement 

has been given over to a special seaion, 'Great Glazes'. 

Here you will find a treasure trove of recipes and advice 

that will have you experimenting in all kinds of new 

directions. 

Of course, we all know that glaze recipes are not the 

answer, but like enthusiastic cooks and food recipes, we 

love collecting them (particularly if they come with a 

picture)! Used as a starting point for your own research 

they may well take your work in a new direction or 

solve a current problem. 

Greg Daly calls glaze technology 'a journey' which is 

much less intimidating! A great journey is one where you 

enjoy the process of getting there, not 

just the end point. A journey is best 

enjoyed widl your eyes and mind wide 

open, ready to take in anything that 

comes your way - good or bad. Often 

what is unexpected becomes the 

highlight of the journey. And most 

importantly, a journey, when raken with 

the right atlitude, is fun - whatever 

happens! 

The other good news is that, thanks 

to the generoSity of the teachers I asked 

to contribute to this section, I have enough information 

to carry this section into the next two issues. So this 

issue we look at stoneware glazes, next issue mid fire 

and earthenware is covered in the last issue for the year. 

What a feast! 

ext issue will be packed with helpful infomation on 

making and marketing. We have profiles of makers who 

have found solutions to the economics of being a 

ceramist plus articles designed to help you by a range of 

professionals including curators, gallery owners, arts 

workers. Add to that reviews, technical information, 

news and the usual special features and it is essential 

reading. 

Those who live in Sydney who haven't been to the 

Pottcrs' Society of Australia'S exhibition 'In Context' at 

Manly Art Gallery and Museum, should get their skates 

on ;Ind go, it closes very soon. This is a unique 

opportunity to see work by 12 of our prominent ceramic 

artislS; both current 1V0rk and early works taken from 

rhe Manly At Gallery and Museum Collection. There are 

some eX1raordinary leaps of creative expression. A must 

see exhibition! 00 

2 POTIERY IN AUSTRALIA + ISSUE 36/2 WINTER 1997

Crescendo 

Joan Campbell's 

Recent Work 

Joan Campbell's exhibition at Lawrence Wilson Art Gallery was an appropriate tribute to one of 

Australia's foremost ceramic artists. Excerpts from the exhibition catalogue by gallery director and 

catalogue editor ANNA GRAY and ceramist JOAN CAMPBELL. 

6 POTIERY IN AusTRAlIA + ISSUE 3612 WINTER 1997

- -----~--------------------------------------------------------------------~ 

'This exhibition presents the last works of one of 

Western Australia's foremost artists, Joan 

Campbell, and pays tribute to her. These quiet, 

elegant, near ahstract forms arc the culm ination of a 

lifetime working with clay - as well as the product of 

considerable human experience. 

These works are about continuity. Their very making 

was also an expres ion of the vital energy of the creative 

force, the sustaining power of the will to create. The 

forms were made in 1996 before Joan became ill. 

However, some of the works were completed under 

Joan 's supervision during her final days, demonstrating 

her remarkable uedic-dtion to her work and the love and 

admiration of colleagues who 'lssisted her. At first Joan 

went to the workshop and worked with them there. 

When she was confined to bed, she supervised the work 

from home, maintaining the same rigorous standards and 

seeking the same sense of rightness as she would have 

done if working in the ·tudio herself. If a piece was not 

as she wanted it, back it went for re-glazing and refiring 

... Her mind and her spirit were absolutely widl her 

work, right until the end. 

Joan Campbell's ceramic sculptures were journeys of 

discovery for the artist, and remain so for the viewer. She 

constantly steered away from the well-worn path and 

forged her own. In these works, as always, she dared to 

do what she had not done before. 

Joan Campbell was a suberb ceramic artist, with a great 

sympathy for nature. But these qualities alone did not 

create the magic of these works. This came from her own 

character. The poSitive, wise, gentle and generous person 

- the great liver of life - is embedded in all that she made. 

Her spirit informs her fonTIS.' Anna Gray. 

'I enjoy working in an exploratory way. I never quite 

know what I am doing. Some of the works in this 

exhibition are essentialy about the recycling of energy, 

how we expend our energy and if we expend it, how ir 

renews itself. 1 see this in the ocean all the time, where 

the waves roll in expending their energy and then recycle 

back, returning to the ocean. The tides come and go. The 

sense of embracement in some of these works is not 

about protection, but about there being no beginning and 

no end - simply life in its fullness. I think the edge of the 

sea is one of the greatest sources of energy on the earth~ 

A stroll along rhe edge of the sea can be a time of 

nourishment of the spirit. 

These works are also about life and its continuity, how 

life continues. Our span of life force is limited, but our 

contribution is important, it is essential to life's continuity. 

Whilst we may depart life, life continues. 

I have slways lived within rhe sight and sound of the 

sea, and for most of my life it has played an important 

part. The sounds of the sea have nurtured me almost 

more than the sighr of the sea. There is a wonderful 

rhythm on the beach, there is a freshness. My studio on 

Bathers Beach looks onto the sea and I can hear the 

moods of the sea. I hear different ene rgies being played. I 

know that when 1 am gone the sea will still be there, in 

continual motion. The sea humbles me constantly ... 

The work in this exhibition is some of the most difficult 

technically and mosr spiritually pleasing that I have done, 

in that the expressions came without me actually pushing 

them. That is possibly just a result of years of working in 

the unknown. The clay performed well and I was quite 

relaxed about what I was doing. Although these forms arc 

abstract, there is a sort of happiness about them which I 

enjoyed while making them. 

The forms are abstracted to fulfil the sculptural needs 

of three dimensional expression: halancing the curves, 

overcomi ng the difficulties of working in the round so 

that harnlony and contradiction were all faced. For me, 

the co nsideration of line, balance, dynamic tension, 

texture, are all part of the making process. Scale was to a 

large extent governed by the size of, and type of, kiln I 

used. I had never done my expressive work in an electric 

kiln before and to overcome my fear of being slick and in 

total control I deliberately chose to develop - with the 

ceramicist, Greg Daly's help - several glazes that were so 

sensitive they did not allow complete control, and 

continued to give me surprises ... 

I see myself as a maker. Other people can decide 

whether what I make is art or not... 

I love clay because it is an honest material, it is totally 

honest in its response to the human fingers. I believe that 

human hands are the most brilliant tools ever devised by 

anybody, and that they are hetter than any machine. 

Many years ago I chose to work in a way which led me 

to use my hands every day of my life. I do not push clay, 

I build. For forty years I have coiled tons and tons of clay, 

and my main tool is my thumb. I honestly believe we do 

not realL.e the wonder of having hands. I like the fact that 

we can connea wirh the spirit, with the intellect through 

our hands. 

I work with fire· that is an important element in my 

work. I think every poner is mystified or has an aura of 

mystery about what is going to be in the kiln, no matter 

how many years they have been firing. No two days, no 

two firings are ever the same. 1 never make two pieces 

quite the same. [ never tried to make them different, but 

if I tried to make them the same I could nor... 

I doubt I will ever tire of what [ do - clay still has 

fascinating and elusive qualities for me, it is the most 

responsive material that we can use and one of the most 

unexplored media in the world. 1 love what 1 do, but 1 do 

not place any expectations on it. I live in the moment of 

the day and [ have been placed in life to live'. Joan 

Campbell. 

3612 WINTER 1997 + POTIERY IN AUSTlW.1A 7

Bird form 11.1996· 1997. Earthenware. h85 x w55cm. 

I don't ask of my own work that it be liked or disliked or anything else. I just ask 

that it communicates a touch of life. 

TRIBUTES 

Distinguished West Austr'dlian potter, Joan Campbell 

died peacefully at her home in South Fremantle on 

Wednesday 5th March 1997. She was 71 ye-drs old. 

At the time Joan bec

Above: Joan Campbell assembling her ·Sunflowers'. 

Claysculpt Gulgong. 1995 

Right: Joan Campbell installing mural. h7m. 

on many high profile committees for local universities and 

arts bodies. She was a distinguished speaker, as many of 

you remember from conferences, and was in much 

demand on the national speaking circuit. 

Joan was involved in the setting up of the Crafts 

Council of Australia and was the first representative for 

WA, along with Eric Carr. She was on the Boards of the 

Australia Council and Community Arts. For her service to 

the arts she received the MBE in 1978 and the Roz Bower 

Memorial Award for Services to Community Arts in 1986. 

Joan was also elected [0 the International Academy of 

Ceramics in 1973, made a life member of the Crafts 

Council of WA in 1984 and elected Foundation Fellow of 

Curtin University, WA, in 1987. 

Joan made an enOnnous contribution [0 the arts locally, 

nationally and internationally. She will be greatly missed 

here in W A but she has left much behind in her work and 

in the way she touched our lives. 00 

Sandra Black 

This world doesn't see the like of people like Joan 

Campbell often enough. Her ability to give, create, 

communicate and care ahout the essence of living 

was very special. 

Joan gave to people from all walks of life· poners, 

students, community artists, those involved in arts 

administration, health care and local government. 

Through her creativity and atritude to life Joan touched 

people who would have never come into contact with the 

arts and opened their eyes and hearts. 

We have lost a special person, one 1 came to call friend 

over the last 20 years. Over Christmas 1 worked with Joan 

developing with her a series of glazes for her exhibition 

'Crescendo' which opened in April this year. Glaze tests 

were sent every few days express post as Joan directed 

the colour and surface finish of her work. All this despite 

her deteriorating health. In the last weeks she worked 

intensively with Stewart Scrambler, Ian Dowling and 

Warwick Parmateer on the glazing and firing of works. 

There was always joy there in creating and resolving the 

pieces, a joy that is conveyed to others who view the 

finished exhibition. Joan's passion for her work was a 

strong force until the very end of her life. 

We all have our own memories to keep and treasure 

having met or known a very special person. At peace 

with life, Joan helped and touched so many people from 

many walks of life with her enthusiasm and love. 00 

Greg Daty 

36/2 WiNTER 1997 + POTTERY IN AUSTRAlJA 9

Overlapping sea form IV. 1996. Earthenware h73 x w70cm. 

Ideas flow continuously. each work precipitates 

possibilities for another. 

Ovoid II. 1996. Earthenware. h73 x w57cm. 

You live with a feeling that you will make one truly splendid 

thing and this inspires your making. 

1 0 POTIERY IN A USTlWJA + ISSUE 36fl WINTER 1997

Top Left: Annette Clark. 

'Who Needs A Paddle?'. 

Bottom Left: Catherine Sloane. 

'Water form 1'. h40cm x w22cm. 

Bottom Right: B. Manning. 

'Balance of Power'. 

Paperclay, black fired copper 

glazes. 306 x 50 x 20cms. 

36f2 WlNTtR 1997 + POTTERY IN AUSTAAUA 11

Top Left: Casey TAFE. 

Linda Barnard. 

Celedon Teasel. 

Middle Left: Box Hill TAFE. 

Michelle Cathie. 

'Wood Fired Forms'. h1 00-160cm. 

BaHam Left: Casey TAFE. 

Cindy Mikiecuik. 

Wood fried tableware. 

BoHom Right: Box Hill TAFE. 

Jane Reilly. 

'Thrown & Asembled Forms'. 

Salt Fired. h35cm. 

12 POmRY IN AUSTRAUA + ISSUE 36/2 WJNTER 1997

Top Left: Barrier Reef TAFE. 

Ray Caine. 'Tropical Fish'. 

Wheelthrown, slab additions. 

22cm. 

Middle Left: Box Hill TAFE. 

Sherrie Campbell. Carved bowl. 

Celedon glaze. Reduction fired. 

d42cm. 

Bottom Left: Barrier Reef TAFE. 

Caroline Starkey. Bowl 10cm. 

Plate 30cm. 

Cone 9 Crystaline Glaze. 

Bottom Right: Casey TAFE. 

Laurel Billington. 

'Gothik Clocke'. 

3612 WlNTER 1997 + POnERY IN AUSTRALIA 13

Top Left: Curtin University. 

Rebecca Berry. 'Ocean Views'. 

Paperclay and underglazes. 

Middle Left: Eastern T AFE. 

Norma Pugh. Neriage stoneware 

jewellery boxes. h6cm. 

Bottom Left: Cooma TAFE. 

Sue Millner. Casserole, stoneware, 

shellac resist decoration, celadon 

type glaze. 12cm x 22cm. 

Upper Right: Curtin University. 

Fleur Schell. Low fired raku vessel. 

Thrown and assembled. h42cm. 

Opposite Page. 

Upper Left: Eastern TAFE. 

Maria Coyle. 'Daydreaming'. 

Stoneware red raku. 1996. h96cm. 

Middle Right: Eastern TAFE. 

Jenny John. Carved bowl with blue 

glaze (oxidised). d25cm. 

Bottom Right: Cooma TAFE. 

Heather van der Plaat. Boat form and 

waves. Paper clay, barium glaze. 

14 POTIERY IN AUST1W.1A + ISSUE )6/2 WINTER 1997

36/1 WINTER 1997 + POTIERY IN AUSTRAlIA 15

Top Left: Goulburn TAFE. 

Irene Heckenburg. 'Bountiful'. 

Slips, glaze on terra cotta with copper. 

61 x 40 x 15 em. 

Top Right: Goulburn TAFE. 

Lesley Burrows. 

Jar. Majolica. 32 x 15 x 6 em . 

Bottom Right: Holmesglen TAFE. 

Daniel Berry. 'Samurai Armour'. 

Handbuilt raku piece, copper matt glaze. 

h70cm x w45em. 


Top Left: Gateway TAFE. 

Kathryn Rashbrook. 'Chrysalis'. 

Colombino.120cm. 

Bottom Left: Holmesglen TAFE. 

Raymond Laurens. 'Bubble Boy'. 

Handbuilt raku piece High alkaline copper glazes. 

h44cm, base 12cm. 

Top Right: Gateway TAFE. 

Gayl Redfern. 

'Abode'. 1996. h75cm. 

16 POTIERY IN AUSTRALIA + ISSUE 36/2 WlNTER 1997

3612 WlNTER 1997 + POTIERY IN AUSTRAUA 17

Above: Hunter Institute ot Technology. 

Olwyn Thickbroom. S/w macrocrystalline glaze. h30cm 

Below: Hunter Institute of Technology. 

Melynda Newton. Press moulded e/w. w40cm. 

Above: Hunter Institute of Technology. 

Nora Moelle. Shino glaze. h50cm. 

Below: La Trobe University. Andrew Allen. 

'Ovoid Forms'. Pit fired. h22cm. 

18 POTTERY IN AUSTRAUA + ISSUE 36/2 WINTER 1997

Top Left: Kempsey TAFE. 

Kirsten Harveit. 

Mixed media metal/clay. Raku. 30cm x 40cm. 

Bottom Left: Kempsey TAFE. 

David Jacobs. 

Plate - 'Isnik', earthenware. 30cm. 

Bottom Right: La Trobe University. 

Bridget Robertson. 

'I seed it, but I don't believe it.' Blackfired. 52cm. 

36/2 WINTER J 997 + POmRY IN AUSTRAlJA 19

Top Left: Liverpool TAFE. Svetislavka Vukelic. Raku figures. 

Top Right: Monash University. Diane Waters. 'Over and Over'. Earthenware and metal. h48cm. 

Below: Lismore TAFE. Janet Marchal. 'Bridge'. Wood fired porcelain. Inlay. w100 x h63 x d40 

20 POTIERY IN AusT!wJA + ISSUE 36/2 WINTER 1997

LISMORE CAMPUS 

NORTH COAST 

INSTITUTE OF TAFE 

LIVERPOOL COLLEGE 

SOUTH WESTERN 

SYDNEY INSTITUTE 

OF TAFE 

MONASH UNIVERSITY 

CAUFIELD 

Top: Lismore TAFE. Ruth Sutter. 'Transformation'. Stoneware and porcelain. wOO x h50 x d15 

Above Left: Monash University. Caulfield. Diane Waters. 'Constant Stone'. 

Detail. Winner of the 20th Annual Walker Award, 1996. 

Above Right: Liverpool TAFE. Ji Sun lee. Reduced lustreware. 

Below: Liverpool TAFE. Wisam Adas. Floor Tiles. 

3612 WINTER 1997 + POTIERY IN AUSTRAUA 21

Moss Vale, TAFE. Amanda Durney. 

Thrown Bowl. White earthenware, underglaze colours 

brushed on a clear glaze, fired to l l00"C. d36cm. 

Monash University, Gippsland. 

Catherine Lane. 'Bleeding Heart'. Graduate Diploma. 

Monash University, Peninsula. 

Ben Parkinson. Anagama Woodfired Blossom Jar. 

42cm x 28cm. 

Monash University, Gippsland. Untitled. 

Graduate Diploma. 

22 POnERY IN AUSTRALIA + ISSUE 36/2 'MNTER 1997


GIPPSLAND SCHOOL 

OF ART 


PENINSULA SCHOOL 

OF ART 

MOSS VALE COLLEGE 

OF TAFE 

Top Left: Monash University, Peninsula. 

Frances Lockett. Three salt-glazed stone 

jars. 15cm x Hem, Large 18cm x 20cm. 

Middle Left. Monash University, Gippsland. 

Caroline Sonneman. B of Visual Arts. 

'Earthworks firepits'. 

Bottom Left: Moss Vale, TAFE. 

Sherida Avnell. Thrown porcelain box. 

Brushed underglaze decoration under 

clear glaze. 25cm x 1Scm. 

Above: Monash University, Peninsula. 

Philippa Smith. Carved celedon bottle. 

31cm x 14cm. 

36/2 WINTER 1997 + Pomoy IN AUSTRAUA 23

Top Left: North 

Adelaide School of 

Art. Ben Booth. 

Plate and Napkin 

Co. 1996. 

Bottom Left: 

National Art 

School. 

Tony Orford. 

'Spiral Form'. 

Porcelain and dry 

glaze. 

Bottom Right: 

Nepean TAFE. 

Donna Ross. Vase. 

Hakeme slip, iron 

brushwork. 

Reduced 122O"C. 

31 x 21 .Scm. 

24 POrrERY IN AUSTRAUA + ISSUE 36/2 WINTER 1997

Top Left: National Art School, East Sydney. 

Mark Booth. 'Head Study'. Clay, wire and nails. 

Middle Left: Nepean TAFE. 

Jirina Tota. Jewel Box. Carved Design, Green 

Celadon Glaze. Reduced 1300". 19.5 x Bem. 

Bottom Left: National Art School, East Sydney. 

Katherine Wertheim. 'Bowl'. 

Bottom Right: Nepean TAFE. 

Christine Herbert. Cylinder vase. Slip. 

Reduced 122O"C. 32.2 x 10.5 em. 

31J2 WlNTER 1997 + POTTERY IN AUSTRAUA 25

Above: Northern Beaches TAFE. 

Robin Lanchester. 1996. 

Above: North Metropolitan TAFE, WA. Ann Storey. 

'Wind sculpt' Saltglazed, white stoneware clay with 

oxide slips and sgraffito. h36cm. 

Below: Northern Beaches. Hillary Jones. 1996. 

26 POTIERY IN AUSTRAlJA + ISSUE 3612 WINTER 1997

NORTHERN BEACHES 

TAFE 

NORTHERN 

MELBOURNE 

INSTITUTE OF TAFE 

NORTH 

METROPOLITAN TAFE 

WESTERN AUSTRALIA 

Above: Northern Melbourne TAFE. 

Jan Maxwell. 

Teapot. 128O"C reduction, gold lustre. 10em x 12em. 

Top Right: North Metropolitan TAFE, WA. 

Sue Warrington. 

Platter, s/w. 4gem. 

Below: Northern Beaches TAFE. 

Margaret Armstrong. 1996 

Right: Northern Beaches TAFE. 

Kathy Windel. 1996 

Bottom Right: Northern Beaches TAFE. 

Karen Jennings. 1996 

36/2 WlNTER 1997 + POTIERY IN AUSTRAUA 27

Above: Queensland College of Arts. 

Darren Jones. Honours. 'Rocket'. 

Slip cast vessels, raku glazes 1000"C fired, Packet of 

'Rocket Stamps' dated 1918 from Bosnia 

Hercegovina. 1996. 30 x 40 x 20cm. 

Above: Nowra TAFE. 

Jillian Bain. Teapot, thrown and altered glaze on 

glaze, stoneware reduction. h35cm. 

Below: Queensland College of Arts. 

Karen Laird. Detail, installation, 'Objects for the Interior'. Fired clay and red acrylic paint. 1.2m x 1.2m. 

28 POTIERY IN AUSTRAUA + ISSUE 36/2 WINTER 1997

Above: Nowra TAFE. 

Glenda Borchard. Slab Built earthenware vase 

decorated with slips and underglaze. thin clear glaze 

sprayed over the piece. h45cm. 

Right: Nowra TAFE. 

Leonie Barraclut!. Earthenware platter decorated 

with underglaze. d3Ocm. 

Below: NT University. 

Deidre Edward. Escarpement forms. Terracotta clay. 

pit fired. w50cm. 

36fl \NINTER 1997 + POTIERY IN AUSTRAUA 29

Top Left: Southbank TAFE. 

Lisa Roxborough. 

Slip cast, teapot with underglazes, sfw. 33 x 24cm. 

Top Right: Southbank TAFE. 

Martina Tomanec. 

Blue and white candleholder. h40cm. 

Bottom Left: Southbank TAFE. 

Minh Le. Woven pots. 

Stoneware and oxides. h14. 18 and 25cm. 

30 POTTERY IN AUSTRAUA + ISSUE 36/2 WINTER 1997

Left: Southbank TAFE. 

Kerry Cook. 'Adam & Eve'. Terracotta. 30 x 22cm. 

Below Right: RMIT University. 

Souriana Boukhalife. 'Untitled'. Porcelain. h18cm, w14cm. 

Bottom: RMIT University. 

Steven Goldate. 'Three Vessels'. Porcelain, decorated 

using Cobalt Sulphate and Uranyl Nitrate. h12-15cms. 

36/2 WlNTER 1997 + POTIERY IN AUSTRAIJA 31

St. George TAFE. Karen Weiss. 

'Intercept'. Earthenware. 

St. George TAFE. Vicky Macris. 

'The Brassy Tart Award'. Earthenware. 

Southern Cross University. Steve Davies. 

M.A. Student. 'Mill'. 1996. 

Sutherland TAFE, Gymea. Tanya Miller. 

Bowls. Earthenware with underglazes. Approx. 22cm. 

32 POITERY IN AuSTRAUA + ISSUE 3612 WINTER 1997

Above: Sutherland TAFE, Gymea. 

Catherine Saint-Guillaume. 

'Low Profile-Bowl'. Earthenware with clear 

earthenware glaze. 26cm wide. 

Right: Southern Cross University. 

Yvonne Mace. Honours Student. 

'Pace Maker'. 

Below: Sutherland TAFE, Gymea. 

Mindy Maggio. Bowl with handles. 

Stoneware with satin glaze. 

h1 0cm x w25cm. 

3612 WINTER 1997 + POnERY IN AUSTRAlIA 33

Above: Sydney College of the Arts. 

J. Spedding. 

'Tender Cruelties'. 

Ceramic, copper pipe, soap. 

150mm x 60mm. 

Top Left: University of Ballarat. 

Baiba Lowther. 

Earthenware, dry glaze and engobes. h27cm. 

Middle Left: School of Mines & Industry. 

Annelies Egan. 

Drape moulded dish. Stoneware 13OO"C. 

d30cm. 

Bottom Left: University of Ballarat. 

Adrian Mould. 

Anagama fired bowl, shino type glaze. d20cm. 

34 POTIERY IN AUSTRAUA + ISSUE l6l? WINTER 1997

Top Left: University of Ballarat. Nat Karacsay. 

Porcelain, copper red mirror black glazes, cone 10. 

Above: School of Mines & Industry. Dean Millsom. 

Teapots and cups. Earthenware 1140". 

h2Dcm & h7cm. 

Middle Right: Sydney College of the Arts. 

Sara Zitner. 'Metaphysical'. 1 DDcm x 4Dcm. 

Bottom Right: Sydney College of the Arts. 

Tamara Vukovljak. 'Wind of the soul'. 2.4m x 4.2m. 

36/2 WlNTER 1997 + POITERY IN AUSTAAUA 35

36 POTTERY IN A USl1W.lA + ISSUE 36n WINTER 1997

Top Left: USQ. 

Larissa Holt. 

'Untitled'. 

White stoneware. 

Bottom Left: University of SA. 

Ira ina Michielson. 

Cast cement with oxides. 

65 x 65 x 17em. 


Top Left: University of Newcastle. Keny Lavell. 

Top Right: University of SA. Leith Semmens. 

Ceramic with oxides and gold 1060"C. hl.Bm. 

Bottom Left: USQ. Wendy Schoenfisch-Young. 'Raised Vessel'. 1996. Raku fired. h15cm. 

Bottom Right: University of Newcastle. Installation. Leisel Mcllrick. 

36/2 WINTER 19'}7 + POTIERY IN AUSTRAlIA 37

Above: UWS, Macarthur. Vicki Xiros 'Marked by difference'. BO-90cm. 

Below: University of Tasmania, Launceston. Ward Hodgman. Slip caste stoneware. 

38 POTIERY IN AUSTRAUA + ISSUE 3612 WINTER 1997

UNIVERSITY OF 

TASMANIA 

TASMANIAN SCHOOL 

OF ART LAUNCESTON 

UNIVERSITY OF 

WESTERN SYDNEY 

WESTERN AUSTRALIA 

ACADEMY OF 

PERFORMING ARTS 

EDITH COWAN 

Upper Left: University of Tasmania, Launceston. 

Len Maynard. Stoneware. 

Middle Left: Edith Cowan. 

Elaine Steele. 'Spirit Free'. 40 x 15cm. 

Bottom Left: Edith Cowan. 

Anne Clifton. 'Conversations'. Clay and parchment. 6 x 3.5cm. 

Bottom Right: UWS, Macarthur. 

Mustapha Shearzad. 'Waiting in Pain'. 45cm. 

36/2 WINTER 1997 + POTTERY IN AUSTRAUA 39

Mei Ling Ng. 

'Harapan Di Penjara'. 

Raku fired. 40 x 28cm. 

Donna Funnel. 

'Emerald Jetsom Pitcher'. 

Stoneware. h52cm. 

Stephen Bertonein. Teapots, cups & saucers. Salt fired. 

40 POTIERY IN AUSTRAlJA + ISSUE 36/2 WlNTER 1997

Traineeship 

Graduate experience by JUAN DE CASTRO 

Opera queens as 'Carmen, Papa gena, Madama Butterfly'. Earthenware underglaze, glaze and gold. 

Having graduated from Melbourne University with a 

Bachelor of Education (V isual Arts) majoring in 

Cemmics/Sculprure in 1995, I asked myself ·where 

to next?' An education qualification meant that I cou ld 

teach visual arts at high school level , which meant 

rigorous applications to countless Secondary Colleges and 

waiting to see if they would even grant an interview to a 

graduate. The other option was to establish my own 

studio space but of course this required a regular income, 

not jusr dedication. 

The summer that followed proved to be most 

rewarding. I saw an advertisement for traineeships at the 

Meat Market Craft Centre in early December and decided 

to send my application. I was one of ten applicants who 

were successful. The senior management led by Deborah 

Klein, General Manager, offered me a traineeship in Ans 

Administration which commenced February 1996 and 

lasted for a yea r. 

The Arts/Crafts Administration Traineeship Program is 

federally funded by the Department of Education, 

Employment, Training and Youth Affairs (DEETYA). The 

purpose was to provide experience in the ans/crafts 

indusrry for young people with ans backgrounds. DUring 

my traineeship, I got to work in the retail and 

administrdtive areas of the Craft Centre as well as being in 

the Ceramic Workshop, the area where the majority of my 

rraineeship took place. 

Victor Greenaway co-ordinares rhe Ceramics Access 

Workshop at rhe Centre. l! was under his supervision thai I 

undertook most of my competencies for the Certificate. 

These competencies aimed to broaden my experience 

within the industry and they induded such things as dealing 

with the geneml public's inquiries, safety procedures within 

the working environment, assisting visiting artists and the 

ability to develop my own work independently. 

The laller was one of the great opportunities that came 

out of the program. I had the chance to improve my ski lls 

in sculpting and to learn the finer points of throwing on 

the wheel with Vic's rutelage. There were many highlights 

throughout the year. One of them came when Gillian Still, 

a prominent porcelain artist from Britain gave a master 

class in the ceramics workshop and I assisted her. 

My time in the Craft Centre as a trainee has been most 

regarding. It helped me establish a beginning in my 

professional career as a ceram ic artist. I have formed 

professional and personal associations with people in the 

crafts community and gained experience through a wide 

range of tasks and active interactions with fellow 

craftspeople. G\.9 

The Meat Markel Craft Centre. 42 Courtney St, Nth Melbourne, .3051. 

Optn Tuesday to Sunday, lOam · Spm, dosed public holidays. 

Juan de C1Slro, 3 Cook Ave, Kealba 3021. 

36/2 WlNTER 1997 + POnERY IN AusTRAlIA 41

PROFILE 

Mike Kusnik OAM 

His expertise in clay, glaze and kiln technology has played an important part in the success of so 

many Western Australian cerarnists'. Article by HELEN ROSS. 

lcre have been two Western Australian's from 

within the world of ceramics who have been 

T; 

honoured with recognition in the Australia Day 

Awards. Joan Campbell was the first, and now Mike 

Kusnik has been officially recognised for the great 

benefits that he has brought to potters and others in the 

ceramic industry here in the West. Mike's story is also a 

tribute to the great changes in Australia's cultural life 

which were made possible through the talent and 

expenise which came into this country with post WW2 

European immigration. 

Born in Czechoslovakia in 1927, Mike graduated as a 

ceramic chemist in 1947, just in time 10 undertake the 

massive re-building of his country's ceramic industry 

which had been devastated by the War. Pre-war 

Czechoslovakia had been responsible for producing 2oo", 

of the world's pottery, but in 1947 Mike was thrown in at 

the deep enelto an industry in which Ihe personnel, raw 

materials, and factories had either been destroyed or 

wilhdrawn. Having to work harder and longer hours with 

little expert guidance gave him the edge and hence the 

satisfaction of achieving success through his own effons. 

In 1950 Mike came to Australia and like so many 'new 

Australians' spent his first few weeks at the Bonegillo 

camp in Melbourne. The antagonism towards immigrants 

was often very bad and quite a surprise to someone who 

42 POTIERY IN Au5nw.JA + ISSUE 36/2 WINTER 1997

'thought we were wanted'. J!owever, ill feeling was often 

associated with those groups who thought their jobs wcre 

threatened and there were plenty of instances where 

genuine warmth was shown to Mike and his compatriOts. 

His first work in AUMralia was to help build a new brick 

factory in Canberra - a far cry from ceramic chemistry but 

welcome all the same. After this he found work in 

Sydney with the ceramic production company, Fowler 

Ltd. Unable to explain his qualifications he was given the 

dirtiest work in the place and after 6 weeks left to do a 

range of jobs - cook, milk bottler, tree cutter, radio 

technician - each a steady improvement upon the other. 

Around 1953 he was approached by two Czechs, one 

an artist, the other an investor, to join them in establishing 

a ceramic studio. It began as 'Kerra' and then changed to 

'Co ronet' and together they produced around fifty 

different domestic items, slip cast and underglaze 

decorated. On a recent visit to Sydney. Mike was amused 

to see these items now in antique shops. This was quite 

a successful venture hut as the only single man in the 

partnership, his hours were unfairly long and in 1959 he 

moved to Melbourne to work at the Sylha Ceramic Studio. 

This was a successful giftware pottery run by Sylvia 

Halpern and her husband but Mike's advanced casting 

techniques meant thal soon he was prodUCing more than 

the rest of the production team could proces., and so he 

began to look for more challenging work. 

This came in the form of an advcrtisement for a 

ceramic chemist at the I3risiYdne and Wunderlich factOlY 

in Perth. He won the job and came to Western Au trJlia 

in 1959 as a research and development chemist with lhe 

firm which at the time boasted an amazingly diverse 

production range - hotel ware, Wemhley Ware, sanitary 

ware, bone china, electrical porcelain, bricks, tiles pipes, 

crucibles for the mining indu try - once again he was 

learning lhrough the challenge of dealing with the whole 

spectrum of ceramic processes. This was even more the 

case than in Czechoslovakia because, while European 

industry had moved to buying in many of their processed 

raw ingredients, in 1959 Brisbane and Wunderlich were 

making all their own frits, glazes, stains and clay bodies. 

During his first year al I3rislrJne and Wunderlich, Mike 

noticed that outsiders, amateur poners, would often come 

to ask for help. The other chemists would ~ay 'Mike, 

quick hide' and they would all get under the table, But 

Mike fcll sorry for these people and decided to help. The 

first person he remembers was Eileen Keys , a 'very 

persevering and authoritative person' he recalls. Mike was 

able lO help out with such things as scavenging kiln 

helves from the factory tip and recutting them, as well as 

with glazc problems such as peeling, crazing, shivering 

and non vitrification. [n those early years it was always 

ladies who came to ask for help, it was not until the late 

60s that men began to join the ranks of pottery 

enthusiasts. 

In 1969 Mike met Ray Samson , Head of the Art 

Department at Perth Tech and it was Hay who started 

like on his teaching career, Slalting with 4 hours a week 

of ccramic technology. The classes were from 6-lOpm 

but the student> were so keen that the cleaners would be 

pushing them to leave at II pm. Their enthusiasm made 

tcaching a real pleasure for Mike, he recalls that in the 

second year of the course 50 people enrolled in the first 

year program. In 1974 Mike !eft I3ristile (as Brisbane & 

Wunderlich was by then known), and took up full time 

teaching at the Western Australian Institute of 

Technology, now Cunin University. 

Throughout this whole period, Mike's expertise was 

freely given to anyone who called upon him for help. He 

te ted many hundreds of clay samples from all over the 

stale sent lO him by amateur pOllcrs . It was the 

appreciation and achievements of these grass rOOlS 

pouers that gave Mike so much pleasure over the years. 

The highlighls of his life. he says. have been the 

achievements of other people in rheir struggles to 

overcome problems and achieve results often of an 

international standard, as in the case of the work of 

Pippin Drysdale and Sandra Black. 

He recalls one incident in 1970 when he drove with his 

family clown to Albany lO conduct a workshop. On lhe 

long ancl wet night drive his car was forced off the road 

by a truck and slid over the muddy soft shoulder off the 

road. He was helpless to stop the car careering towards a 

rree when suddenly it stopped itself, bogged in sofl clay. 

After being pulled out by a nearby farmer Mike continued 

his journey, but wondering why on eanh he was doing 

this. On arrival at their motel in Albany a huge bunch of 

Ilowers greeted them and the neXl day 60 people were 

there lO listen to his every word of advice and instruction. 

He soon forgot rhe bad experience. Many of those same 

people are still potting today and lhere are always places 

lO stay with potting friends all over the countryside. 

Some years ago I undertook research imo the histolY of 

ceramics in Western Australia and I often compare 

examples of work made in the Francis Kotai classes from 

the lale 50s, with work from the 1980 Festival of Perth 

Exhibition at the Fremantle Arts Centre. It is hard to 

believe the incredible leap in skill and profes 'ionalism that 

occurred in just a twenty year period. Much of this was 

due to the unique resource which WA poners had in Mike 

Kusnik - there are a thousand stories of glazing problems 

solved, new bodies developed, kiln constructions 

reworked. His conlribution lO the development of 

ceramics in this State can never be overstated and all who 

have benefited from his generosity know that his Order of 

Australia is deserved a thousand rimes over. 00 

Helen Ross, rreelance writer 

3612 WlNTER 1997 + POTIERY tN AUST1WJA 43

REVIEW 

Niky Hepi 

New Work at Dairing Gallery. Review by JOE SZIRER 

N 

iky Hepi graduated with a Bachelor's degree in 

Ceramic Design from Monash University in 1990. 

The strength and characteristic style of her work is 

still evident in th L~ recent exhibition. There have been 

noticeable developments in scale, refinement of forms 

and finishes. 

Her greatest 'trengths are found in her forms and 

surface treatments. The viewer can 't help but be 

impressed oy the texture and colours and the timeless 

qualities rhey evoke. 

Slabs prepared from a coarse, dark clay body are 

liberally coated with white slip, simple squiggly patterns 

are then trailed onto the surface - using two or three well 

chosen colours. 

After the surface has firmed up the slabs are rolled 

again. As a result the white slip stretches and crdcks, 

revealing some of the dark clay beneath. The coloured 

slip trailing in tum is pressed imo the surface, becoming a 

slightly irregular, cracked, coloured inlay. 

The slabs are fashioned into a variety of forms, with 

th e aid of press moulds and other handbuilding 

tech niques. Natu rall y, great care is taken to balance 

pattern ed and plain slabs, to create an interesti ng 

fragmented surface. 

After bisque firing, the pieces are covered with a bluegreen 

matt glaze, which is wiped from the decorated pans 

and allowed to enhance the colour of the undecorated 

clay and the many cracks that result from rolling and 

Large bowl. 50 x 20cm. 

pre S moulding ule slabs. The overall effect is intrigUing 

and looks neither ancient nor contemporary, more a 

mixture of both, adding mystery to the pieces. 

Upon entering the Gallery, one is instantly attracted to 

a large cauldron shaped bowl, with a small base and 

generous ex t.ruded handles. A strong yet graceful form 

seemingly defying graVity as it appears to hover above 

the displa y stand. 

The bottle and pitcher forms have rail slender necks 

with stra nge appendages resembling the top of eastern 

chu rches. They look as if they have been found on some 

remote Mecliterannean excavation sight. Her lamp stands 

tower like slender totemic sculptures, while the mirror 

frames remind me of architectu ral remnants.The large 

open platter forms are a little pale and insignificant in 

comparison to the rest of the pieces. 

Dairing Gallery professes to cater for recent graduates 

and young artists, yet to gain recognition. An admirable 

but difficu lt task, when considering the fact that they 

haven't as yet had any of their exhibitions reviewed by 

any of the mainstream critics. Like the young artists they 

represent, they must wait patiently for such recognition. 

But in the meantime rhey must be acknowledged for the 

fine service they are providing for the ans and the high 

quality of their exhibitors. 00 

Joe Slifer is Senior Lecturer, Department of Ceramic Design, Monash 

University. Caufield 

44 POTTERY IN AusTIWJA + ISSUE 36/2 WINTER 1997

REVIEW 

Ocean as Metaphor and Inspiration 

Recent work by Bill Burton at the Ceramic Art Gallery. Review by MEGAN KINNINMENT 

This exhibition embodies the anisl's philosophy on 

aesthetics as a vehicle to relay spiritual experience. 

Having travelled extensively in Asia, and being an 

avid seaside fossicker, Bunon has successfully expressed 

the changea ble moods of an oceanscape by drawing on 

the traditions of the classical Sung Dynasty, most notable 

for it's tranquility and deeply impregnated Zen 

philosophy. These bowls, planers and masks display 

spi ritual sensibilities that transcend th e physical; 

simplicity, serenity, calmness and timelessness; imbueing 

th e ex hibition with a fe eling of quiet , understated 

elegance. 

Bunon uses a highly developed repotoire of glazes 

from classical Chinese traditions. The restrained, 

monochrome effects of tenmoku, celadon and talc, 

w mbinetl with the depth of overlayed chuns, titanium 

and copper reds, are used to imitate or harmonise with 

the eVaneSGlnt shades of nature; sky, ocean, cliff and 

shore. The sheer beauty of the surfaces combine with the 

purity of form and line to inspire contemplation. TIlere is 

a stillness in this work, as if, in a contemplative moment 

the ocean depths speak of the life Within, the inrangible 

something behind outwa rd appea rances. In Zen terms, 

the work points to the Unconscious behind all conscious 

activity. 

In order to transmute the richness of the ocean depths, 

3612 WINTER r997 + POTIERY IN AUSTRAUA 45

he ha s employed the technique of glaze on glaze 

application. On a bisqued stoneware body he layers 

chuns, copper reds or titanium glazes over a ri ch 

background of mirror black Tenmoku. The overglaze is 

not applied with 

controlled brush strokes, 

rather th e essenti al 

nature of the glazes 

themselves appear in the 

melting and cooling. A 

natural fluidity is 

accentuated, a softness 

of movement reflecting 

the motion of the sea . 

The chun over tenmoku 

brilliantly captures the 

movement of spraying 

waves, wh ile directing 

of fine white rims. These are delightful examples of 

celadons, pale green mirrors reflecting images of quiet 

estuaries and gentle, dappled light. They are pieces to 

hold and drift into. 

Where the planers 

and bowls have been 

treated with the talc 

glaze the effect is as 

serene. Far from the 

coolness of quiet pools, 

these taIc pieces bring 

us to the searing heat of 

the high water mark on 

th e ocean shore. The 

subtle use of crazing in 

this smooth wh ite surface 

gives the appearance of 

sun bleached shell, 

the viewer's eye down Stoneware bowl. Talc glaze. w60cm washed up and left to 

towards the near-black 

crack. Dry and brittle as 

depth of underlying currents. The th ey appear, the re is an 

glaze appears almost curdled, 

underlying element of stre ngth. 

opaque yet translucent, in varying 

l1lese glazes work well on simple 

tones of whi te, green and pale 

forms, where even the slightest 

lavender to clear blue. 

nuance in a rim , or the gentle 

Where the tenmoku buhbles 

spiral of throwi ng mark on a 

and melts it's way up through dle 

platter becomes a fea ture that 

cracks, it is as if the blackness is 

would be lost under a husier 

reaching out to touch. The effect glaze. estled unobtrusively 

is dramatic, particularly on the 

amongst the smaller bowls are 

bowls where the narrow base 

three masks, each resembling a 

invites the viewer further into the 

wise Asian fa ce. With watchful 

depths, invoking the sensation of 

eyes and peaceful contentment, 

entering the darkest fathoms of 

they appear as ancient sages of 

the ocean, or perhaps the deepest 

Zen buddhism. They provide an 

realms of the unknown, the dark 

element of ritualism associated 

pool of the unconscious. Chuang- Stoneware Platter, Titanium with with spiritual practice and are a 

Tzu (369-283 Be), a Taoist sage, Tenmoku matt. d75cm. direct link into Burton's travels in 

saw nature as a never ending transformation of Asia. Glazed in celadon that breaks to reveal a clay body 

appearances. With the ocean as metaphor and inspiration, resembling soft gold, they have a sense of antiqUity that 

the colour, texture, shape and movement of copper reds harks to the origins of the glazes and forms that were the 

ancl crusry titanium glazes fuse into rockshelves, cliff-faces initial inspiration for this current body of work. 

and shipwrecks of rusted iron. . This is an exhibition of sophisticated ceramic an, where 

Bunon's approach to glaze is that there is no such ease and repose have resulted from the studied discipline 

thing as a bad glaze, it's what you do with it. Impurities in of good craftmanship. These are works that are felt rather 

the glazes don't faze him, in fact it is in this purposeful than thought. 

letting go of control that the natural character of beaury is There is a Zen saying that a journey of a thousand 

achieved, allowing the full force of nature to miles starts with the first step, and for Bill Bunon this is 

predominate. The forms are tight and smooth, there is a "... a journey of ongoing discovery. It is by doing tlle work 

wok-like curve inside and with the sprung tension of an that the direction comes, unfolding it's own meaning and 

arched fencing sword, the curve seems to sweep into inventing me at the same time". 00 

space while the narrow bases lift them as il· floating. This 

sense of lightness is contin ued with celadons and Megan Kinninmcnt. 

fishscale glazes that delicately recede to reveal the outline Megan is visual anisl living in onhem NSW. 

46 POTTERY IN AUSTRALIA + ISSUE 36/2 WINTER 1997

Mask and Platter. Kuan Glaze. h16cm. 

Stoneware bowl. Tenmoku & Chun glazes. w30cm x d28cm. 


48 POTIERY IN AUSTRAUA + ISSUE 36/2 WINTER 1997 

REVIEW

'Feed me'. Raku fired. h34cm x w17cm. 

'Tree as Decoration' (Garden Folly Series). 

Ceramic and Bronze. 

Sandy Johnson recently 

exhibited her ceramic 

sculptures at the Contemporary 

Art & Design Gallery, Queensland. 

Th e show seemed to whispe r 

clearly about her love of nature. 

The ex hibition included both 

free standing and wall mounted 

ceramic forms, mostly raku fired . 

She used slips, underglazes, glazes 

and occassionall y gold leaf [Q 

decorate the surfac es. The green 

and earthy colours were calm and 

subtle. The surface textures were 

built up with layers of slip, carved 

and worked intricately. The scale 

of the work varied from 15cm [Q 

50cm. 

The tree or bra nches of trees 

were used with human imagery to 

suggest the unbreakable 

connection between humankind 

'Unclean Forest'. Clay & Wood - Raku 

fired. 60 x 25cm. 

and nature. 'Feed Me' was a tree 

whic h was feeding a ba by its 

essence with breast shaped fruit; 

'Tree of Knowledge' sprang from 

pink and ora nge flames. 

The piece 'Man as Animal, Man 

is Animal' suggested the ways of 

survival in nature. 'Tree as 

Decoration', 'Token Tree' and 

'Becoming Gold' were imitation 

nature, nature for man's profit. 

The artist realised there was no 

going back. The work 'Knowing' 

showed a cave which contained 

paradise, but a piece of wire mesh 

and two swords were ohstructing 

the way. The only solution was to 

find a new way. 

This exhibition confirmed the 

potency of natu re, not only for 

th e cerami c artist bu t for the 

viewers of the works. Q!) 

3617. WlNTER 1997 + POTTERY IN AUSTRALIA 49

The Art of Glaze 

New work by ROWLEY DRYSDALE, exhibited at Fusions Gallery, Queensland. 

Review by STEPHANIE OUTRIDGE FIELD. 

Rowley Drysdale is a 

consummate 'glaze man' as 

well as manipulator of clay, 

su rface and image and the work 

included in this solo show covers 

many aspects of the material. 

There are metallic shimmering 

skinned forms that are precise, 

cleanly cut slabs and precisely 

thrown works. Some are bronze 

with shiny crystals breaking 

across the surface. Some are 

lusciously combined with other 

glazes on the interior of forms. 

The Fishscale crackle series has 

an icy mint green celadon 

crackling in ordered fish scale 

layers on the interior su rface of 

small bowls. There is also a 'Red 

Centre' bowl series that contains 

a deep blood maroon glaze that 

you can almost fall into it is so 

deep and rich. 

The monumental 'Earthsafe 

Tabernacle' series are impressive 

and worthy of quiet reflection. 

They remind me of Marea 

Gazzard's large forms - dley have 

an uncluttered simplici ty and 

'Earthsafe Tabernacle'. Multiple fired. 

69cm x61cm. 

'Departure'. Glaze pane. 36cm x 27cm. 

unfussed surface that is stony and 

seemingly everlasting. Very much 

testament pieces. 

'Escarpment Man' and 'Emergent' 

are both wall panels combining 

glazed ceramic tiles and timber. 

This series is a quilt of textures as 

image with colour and shape in a 

narrow surface relief that give the 

feeling of viewing ancient marks of 

man. The perspex encourages an 

atitude of intrusion and voyeurism 

as well as allowing a modicum of 

protection of the collages. 

The 'Glaze Panes' are crystalline 

like frozen tablets of glacial ice. 

Quite magical. 

Colour is just part of Drysdale's 

artistic palette. He uses a variety of 

forms, textures, scale and light to 

produce visually appealing work. 

These fulfill many roles; some are 

storytellers, some expressions of 

technique and form , some 

challenge our concepts of the use 

of 'ceramic' in an unexpected way. 

This exhibition showcased the 

myriad of possibilities for a creative 

visual practitioner. 00 

50 POnERY IN AUSTRAUA + ISSUE 36/2 WlNTER 1997

GREAT 

GLAZES 

Opaque White Glaze 

CHRIS MYERS, Senior Lecturer, Peninsula School of Art, Monash University. 

is an oxidised high fIre 

alumina than the soda felspar. 

glaze thar I have found to be 

It will also take colourants 

-n'is 

very reliable and one that I 

quite readily and is worth 

have used CO!1SIal1t1y for over twenty 

experimenting with to obtain 

year.;. I think thar it was fir.;( shared 

good quality coloured glazes. 

by Mitsuo Shoji when he anived in 

The glaze is unsuitable for 

Australia from Japan in 1973. As a 

underglaze or engobe decoration 

result I call it Mitsuo's Whire. 

as it's opacity will cover any 

This glaze is a very smooth, 

colour, but it will accomodare 

opaque satin white and is 'Shallow Dish'. Multiple sandblastings. sprayed colour blushes and brush 

suitable for domestic wares as w60cms. strokes with a good hard edge 

well as for sculptural pieces. I use it on large sculptures can be obtained on this surface. 

where I lVant to emphasise shadow and negative space, I find that this is an excellent glaze for post firing 

but it is equally effctive on functional work as it doesn't decoration. It sandblasts be-dutifully and higlliights lustres 

mark and is easily cleaned. extremely weU. Mother of Pearl lustre gives this glaze a 

beautiful opalescent quality. TIle even whiteness of this 

RECIPE 

1l1e lUlity 

glaze also provides an excellent canvas for decorating with 

Soda Feldspar 55.7 molecular 

on·gIaze enamels. 

Kaolin 83 fonnula is 

To gain the purest white, a white porcelaineous clay is 

Whiting 13.3 K20 0.082 really required. I use Clayworks TMK which under 

Talc 12.7 Al203 0.396 oxidation provides this. Iron bearing clays are also 

Tin Oxide 10.0 Si02 2.311 attractive under dlis glaze. Edges anJ textures will break to 

a20 0.179 a light rusty hue, particularly if the glaze is thinly applied. 

Sn02 0.191 I spray the glaze fairly thickly so that the sandblasting will 

eaO 0.476 produce texture, but even then I still find the glaze flow to 

Fire to cone 10. MgO 0.263 be very stable. Rarely does it run and 1 always flatten Cone 

10 completely. Naturally if it is not tired to a full cone 10 

Some interesting combinations are: 

the glaze surface will become increasingly matt and when 

0.25 cobalt carbonate - a gende pale blue 

reduuion fIred it loses its whiteness and becomes clear. 

0.5 cobalt carbonate plus 1.0 nickel - a blue/white Mitsuo's white has been used by students of Monash 

1.0 nickel plus 3 copper oxide - a golden brown University since the days of the Caufield Institute. It is a 

good sta ndard all purpose glaze and one of my 

favourites. Thank you Mitsuo. 00 

I have found that if a direct exchange is made with 

potash felspar instead of soda, that the glaze will fire 

slightly glOSSier and dle white intensifies. This is because 

the potash felspar contains slightly more silica and less 

Chris Myers, POller/ Academic 

Senior Lecturer, Peninsula School of An, Monash University. 

52 POTIERY IN AUSTRAUA + ISSUE 31/2 WlNTER 1997

Glaze on white clay. 

'Chevron Bowl'. Sandblasted with layered lustre. w38cm. 

Use of colour and brush work on glaze. 

3612 WlNTER 1997 + POTIERY IN AUSTRAlJA 53

GREAT 

GLAZES 

Anybody can make an Oil Spot 

Glaze 

Mike Kusnik OAM, Western Australia 

Many Chinese and Japanese glazes 

In each case there was a clear 

are ea il y reproduced under 

indication of eutectic combination 

almost any condition. For 

taking place on the line blend with 

exa mple, the well known Tenmoku , 

Toma to Red and Celadon glazes. 

However a number of glazes, mainly the 

Oil Spot, Tea Dust and Hare's Fur are 

very difficult to consistently reproduce. In 

these glazes a separa tion of phases of 

different iron oxide concentration takes 

place during the firing. The separa tion of the 

iron oxide in the molten glaze usually occurs 

at the lOp temperatiurc and it is due 10 

consolidation of blisters caused by gases (ie 

trapped air) between glaze panicles and also 

by oxygen released by the decomposing iron 

Test pot 

strong blister formation. All mixtures 

were black, even the ones with only 

2% add itions of iron ox ide. It was 

decided 10 selec t one of each most 

promising mixtures showing the Oil Spot 

for funher evalua tion. 

Both of these mixtures we weighed up 

in larger quantities and applied to 

porcelain as well as stoneware samples in 

different thicknesses. In each case good 

Oil Spot developed; the size of the spots 

were directly proponional to the thickness 

of the applied glaze. Difficulties were 

oxide. On subsequent cooling of the glaze crystallisation 

takes place defining the separation of iron bearing crystals 

in chaf'Jctcristic round 'oil spots'. 

encountered with keeping glaze materials in suspension 

and it was decided to add to each mix 5% of bentonite to 

improve the suspension and also provdc adherence. 

In some glazes the iron separation can appear as TC'J 

Dust and on venical surfaces will produce lines of Hare's 

Fur. All of these phenomena are dependent on a number 

of factors - glaze composition which produces high 

RECIPES 

GlazeNo1 

Soda Feldsapr 100 

Glaze No 2 

Nepheline Syenite 100 

viscosity melt at the top temperature, application and 

firing schedule. 

The first objective of this work was to concentrate on 

Red Iron Oxide 

Bentonite 

5 

5 

Red I ron Oxide 

Bentonite 

5 

5 

highly viscous simple glazes fired to 13OO"C and produced 

by one or two components. 

The minerals - Soda Feldspar potash feldspar, 

nepheline syenite, spodumene, petalite, granite and 

cornish stone - were blended individually with red iron 

oxide on the line blend principle and fired side by side 

under oxidising atmosphere to Seger Cone 10. Two of the 

Fire both recipes to Cone 10 in oxidation 

Note: Glaze 2 has the slight edge over 1; but both 

gh zes proved successful on many different stoneware 

bodies. including porcelain. Successfu l results were 

obtained in both gas and electric kilns. 

Well known ceramic anist, Flela Kotai used these glazes 

on pots upto 1m tall. 00 

minerals, soda feldspar and nepheline syenite showed 

outstanding promise. 

Acknowledgement to Bill Nicholl for help wilh pholOgraphs. 

54 POTTIRY IN A USTRAlIA + ISSUE 3612 WINTER 1997

Ashless 'Ash' Glazes 

By TERRY KIRK, Teacher of Ceramics, Northem Beaches College of T AFE 

My first encounter with 

this rype of glaze was 

in th e technical 

information for potters in the 

back of Herbert Sanders' 

wonderful 'The World of 

Japanese Ceramics'l 

Photographs there show 

blue, green and orange 

examples of glaze called 

'Jokon', that most of us 

would describe infonnaliy as a 'runny ash-like glaze'. 

The recipe contains 45% barium carbonate and the rest 

ash. I have always liked the way some glazes form 

little rivulets within the surface of the glaze, without the 

glaze itself running, but I have nevn been a fan of 

wood ash as a glaze material due to its variable 

composition and co nfounded in convenience. The 

technical section of Sanders' book laid out the 

challenge of substituting materials other than ashes for 

the ash in the Jokon re cipes. The other obvious 

substitution was friendly whiting for the more vexatious 

barium carbonate. 

Some years later Ian Currie published his excellent 

book, 'S toneware Glazes'2, and chapters 8 and 11 

dealing with calcium and barium rich volumetric 

blending put a new spin on the whole exercise. Glaze 

tests laid out according to their molecular equivalents 

show a wonderful eutectic valley deepening from a high 

'in the south-west' ( the flux matts, low in alumina and 

silica), to a runny low with rivulets (higher alumina and 

silica) following the line of the L8 alumina: silica ratio 'to 

the nonh-east'. Oh joy, no absolute need for wood ash. 

In retrospect, this is a postmodemist tale of technology 

inverting the natural order to reveal the bleed in' obvious! 

Some of the earliest and most basic stoneware glnes are 

of this rype and the Cao - AI203 - Si02 eutectic is one of 

the best known and most studied. 

Good results can be achieved in both oxidation and 

reduction using seemingly any of the oxide additions for 

colour in amounts suggested in the books. TIle character 

of the glaze changes 

markedly over sl ips giving 

salt-glaze-like effects on 

porcelaineous slips and 

bodies fired horizontally, 

through to threatening runs 

on vertical surfaces. To 

protect kiln shelves from 

runs and provide a warm 

contrast, the bOllom third 

or so is best left unglazed 

or, in reduction thinly airbrushed Shino is both effective 

and prudent. In oxidation this area ca n be given a 

variation of Oribe. 

RECIPE 

Glaze Biaxial Biaxial Biaxial Biaxial 

1 1 4 12 16 

WHITI NG 43.48 3561 18.07 100.00 26.90 

KAOLIN 30.80 6438 32.87 00.00 0.00 

QUARTZ 25.72 00.00 49.06 0000 73.09 

Glaze 1 is a starting glaze for substitution experiments 3 . 

Biaxial 1,4,12, and 16 are comer glazes of a simple 4x4 

biaxial volumetric blend that shows the eutectic trough 

and has only whiting in the bottom left corner (Biaxial 12) 

from which the 1:8 AI203 I Si02 line radiates; or more 

simply line blend berween 12 and 4. 

NB. Don't forget the addition of oxides for colour. 

These glazes are drab without colour. Start with the 

addition to the base recipe of 5% red iron oxide for brown 

and orange, and 1% cobalt carbonate for blue. 00 

References: 1 Sanders, Herben 'The World of Japanese Ceramics', 

Kodansha, Tokyo,I9(i7. 

2 Curri e, Ian 'Stoneware Glazes' , BOOlSlrap Press, Maryvalc, 

2nd Ed., t 9~5 . 

3 Rye, Owen 'Substitution: A New Method of Glaze Experiments', 

Pottery in AUSlrdlia, Vol. 21 , No. 3. 

36/2 WINTER 1997 .. POTTERY IN A USTRAlIA 55

GREAT 

GLAZES 

Bronze Glazes 

JOE SZIRER, Ceramics Teacher, Monash University, Caufield. 

• 

,- 

A t Monash we aim to produce self sufficient, independent 

f"'+f:udents. Glaze development is of major importance in 

this procedure. Undergraduates learn this process, 

through a number of exercises, induding systematic blending 

techniques. By the time they undertake post graduate srudies, 

they are capable of producing original fmishes for their work. 

Both these glazes will run so necessary precautions should 

MAGNIFICENT 

BRONZE 

Kaolin 

Manganese Dioxide 

Copper Oxide 

Neph Syenite 

Ferro Frit 4110 

Pearl Ash 

IS 

80 

15 

25 

7.5 

36 

Silica 25 

Nickel Oxide 2.5 

Black Iron Oxide 5 

A bright bronze at 124QOC-12000c 

in oxidation or light reduction 

CRINKLEY LEATHER 

Kaolin 30 

Manganese Dioxide 80 

Copper Oxide 30 

Neph Syenite 25 

Ferro Frit4110 15 

At 1220"C this glaze is a smooth 

matt rust with crinkles 

At 124O"C it becomes a smooth 

mall rust with some bronze 

developing in some areas - 

crinkles develop into man 3D 

At 1260·C this glaze is a satin 

bronze glaze with some black and 

gold crystals. Fire in oxidation or 

reduction. A beautiful glaze. 

be taken. I nre tllem on fire bricks and leave 'Iegs' on pieces 

unglazed - colour them witll black undergla7~ instead. 

Both glazes respond well if the body is washed with 

ropper, dark underglaze rolours or slips. TIle rolour bemmes 

a brighter gold over these underglaze applications. 00 

56 POTTffiY IN AUSTRAUA + ISSUE 3612 WINTER 199 7

GREAT 

GLAZES 

Colouring Translucent Bone China 

GABRIELLE FLEET, currently studying for a Masters at Monash University, Caufield. 

I 

devised a means of colouring a highly translucent hone 

china, without noticeably affecting the translucency. 

This was achieved using water soluble metal salts. 

Conventional methods of colouring ceramics render it 

opaque which is inappropriate for my work. For my 

application the colouranlS are used for the transmittance of 

light. This reveals beautiful and almost Auoresent colours 

when placed before a halogen lamp. The sole use of 

nitrates instead of sulphates and chlorides is intentiona l. 

Nitrates are the most soluble of the metal salts and are 

ge nerally the most stable and least volati le during 

decomposition to the oxide. during the firing priocess. The 

gases evolved during the decomposition of the nitrates are 

the least toxic and corrosive of the soluble metal sailS. 

These tests were executed without unnecessary use of 

protective masks and fume hoods but with only latex 

gloves to protect my skin from absorbing the water 

soluble compounds. There are no fumes asociated with 

these water sol uble compounds, and the only vapour 

evaporating from the metal salt solution is wate r. The 

only possible risk is through ingestion or absorbtion of a 

considerable quantity through the skin. 

Water soluble coloura nlS - painted onto bisqued test tiles. 

The natu ral bone ash content is suplemented with 

Fe (N03)3 Very translucent, golden brown, yellow 

Co(N03)2 Translucent purple 

Cu( 03)2 Very translucent turquoise 

cre 03)3 Translucent, grass green 

TRANSLUCENT 

BONE ASH BODY 

Ingredient % 

atural bone ash ?' - ) 

Synthetic hone as 25 

Nepheline syen ire 27 

Ecka lite I 30 

Macaloid 25 

Fire to 126O"C 

symhetic bone ;Ish because of the impractical and time 

consuming grinding and sieving of the natural bone ash. 

This formulation is seived 5 times to remove any lumps 

and th en ball mill ed for 8-10 hours. The hydrated 

macaloid is added after th e ball milling to avoid 

destroying the plastic qualities of the macaloid. This was 

the most practical of the recipes I tested as it maintained 

high translucency and retained effective plasticity. 00 


GREAT 

GLAZES 

White Magnesia Matt Stoneware 

Janine King, Part-time teacher of ceramics Moss ValeTAFE 

Detail student work, white magnesia trailed over tenmoku glaze. 

Detail student work, white magnesia 

trailed over glaze blue spangle. 

Some years ago I organised a weekend workshop 

with my friend and colleague Suzie Startin at Moss 

Vale Tafe (Ulawarra Institute of Technology). The focus 

was on decorating with stoneware glazes using double 

dipping, traili ng and brushing (glaze over glaze) 

techniques. One of the white glazes she was working 

with at the time became one of my favourites and has 

been used extensively by the students since then. 

The glazes fire to 1300°C (reduction beginning at 

lOOO"C and finishing at 1250"C). 

The glaze is a semi-matt wh ite and has a smooth 

sa tin y su rface wh ich responds nicely to colour 

decoration. It should be applied quite thickly (like you 

would a celadon) to retain a nice buttery fin ish. It can 

be trailed over darker glazes and can work very nicely 

applied over a standard temnoku after wax resist. If it 

is thinl y applied or fired very hot, used on a porcelain 

body it tends to a more glassy transparent finish. 

IL has also been a great base for colour additions in our 

glaze technology class using all the standard oxides. 

In my own wolkshop I have made it with many vdIiations - 

eg: Try using Soda feldspar inste'Jd of POIaSh and any number 

of different ball clays including day Cemm, and the old Cresta 

BB. At College we use Ball Clay FX. 00 

RECIPE 

Potash feldspar 35 

Silica 25 

Ball Clay 15 

Whiting 10 

Talc 10 

Fire to 1300'C reduction. 

58 POTIERY IN A USTRALIA + ISSUE 36/2 WINTER 1997

TRIBUTE 

Gordon McAuslan 

1913-1996 

Ceramicist and sculpture, painter, illustrator. A tribute by STEPHEN SKlLU1ZI 

Quiet achievers like 

his anistic career with 

Gordon McAuslan 

instruction from the Harry 

by definition 'just 

J Weston Postal School of 

get on with the jon' Drawing which he 

without feeling compelled 

claimed gave him 'a 

to trumpel their message. 

thorough grounding in the 

Such deliberate and keen 

conventional techniques'. 

focus on the work at hand 'Female Figures'. 1985. h50cm. During the Depression 

(to the exclusion of the media circus that often envelopes Gordon canvassed door 10 door for black and white 

market-driven an practice) is a sign of both self· drawings of homes. He taught himself showcard writing 

sufficiency and high artistic integrity. But it does result in and prouuced his own magazine 'Cartoonist' which he 

general surprise amongst the cognoscenri, when final illustrated and printed using linocuts. Appalled by the 

appraisal is undertaken, that such an artistic force could terrible conditions of this time he len! his services to left 

for so long - over 50 years of art prdctice in this case - wing causes and illustrated cartoons for the Communist 

have been largely ignored ny art or craft chroniclers. Party's Workers Weekly. 

evertheless works of Gordon are held in several public In Wellington Gordon found part-time work as a junior 

collections in Australia and New Zealand in addition to commercial artist and exhibited water colours with the 

numerous privale collections. 

New Zealand Academy of Fine ArtS. His influences at this 

Attitudes 10 life and an most often quoted by Gordon time included Maori artefacts, Balinese wood carving, the 

were Shelley's 'The soul's delight is in the doing' and cartoons of David Low and caricatures by George Finey. 

Braque's 'you cannot be any better in your art than you By 1936 he had moved to Sydney where he freelanced as 

are in yourself'. The latter part of his long career was an ilIustralor producing work for 'Radio World' and 'Man' 

dominateu by his ceramic wo rks which from the start magazine. He also produced the first six covers for 'Man 

were mature statements being hased on a wide artistic Junior' and was its Art Director. 

foundation since the 1930's. 

Always an adventurer and environmenta list Gordon 

Born in 1913 at Riverton New Zealand, Gordon began made a canoe and took a solo trip down the 

3612 WlNTER 1997 + PorrERY IN A USTRAUA 59

Murrumbidgee River. Images from this time show his ana lysis and generally tolerant art societies, MCAusian's 

experimentation with pointillist techniques. He spent time oeuvre at that time presented the 'culting edge' of 

studying the artefacts of 'primitive' cultu res in the Modernist art to a largely disdainful, smugly-provincial, art 

museums of Sydney, Dunedin and Wellington and copied hierarchy. 

two p'.lintings from reproductions of Malevich the Kussian Even in the sixties McAuslan felt obliged to deliver a 

Suprematist. These experimentations and adaptations of well-aimed, armour-piercing 'Broadside - As the most 

modernist influences were to become seminal aspects of all rejected member of the contemporary Art Society of 

of Gordon's later works, partkularly the head forms in clay. .S.W. I hereby reject the rejectors (and resign) on the 

Gordon'S war service took him to New Guinea where following grounds: .. .' 

he made 'countless' sketches as Corporal-draugh15man in Since those formative, post-war years the wholesale 

Battalion Intelligence Section. He also produced a large importation of the divers aesthetics of the European 

number of water ----_ Modernist school, 

colours and a few exemplified by 

mall carvings. Picasso, Brancusi, Arp, 

Attracted to the breVity 

Miro, Kke, Modigliani, 

and vitality of Oriental 

has ameliorated that 

call igraphy Gordon 

smug bias to the point 

began 10 eliminate where MCAuslan's 

detail from his work. prolific output is 

After the war judged 'whimsical and 

Gordon returned to charming'. Whilst 

ew Zealand where 

being of no threat to 

he held eleven solo 

the current status quo, 

shows. Works were 

his seamless design 

purchased by the sense across the 

Auckland Art Gallery 

media of clay, wood, 

and the Invercargill 

stone and creened or 

City Collection. By 

painted 2D works , is 

1947 Gordon was back not lightweight but 

in Sydney. He married 

rather is a mature 

Leslie Frith with whom statement of the 

he later had two 'Modernist' vision of 

children , Dain and 

our world. MCAuslan 

Janet. Leslie and was an artist who 

Gordon sailed 10 clearly understood his 

England where he 

long-term professional 

worked with Edward 

concerns and gently 

Wadsworth AKA . He 'Wine Server', High fired earthenware, matt white glaze. 45cm. enticed his admirers 

formed a close 

relationship with the artist from whom he also learnt 

tempera painting. He was invigorated by this 2 years of 

travelling in the U.K., Italy and France where they had a 

memorable meeting with the sculptor Brancusi and were 

given a private viewing of Picasso's latest work - 'the 

paint hardly dry on the canvasses'. 

In 1949 Gordon had another nine solo shows in New 

Zealand and participated in a show of ew Zealand art 

which lOured to London. At that time, 1950, Gordon 

lamented the dearth of enlightened critics in his 

homeland ew Zealand in a sati ri cal egg tempera 

painting 'My picture looking at the critics'. Visually, it 

evoked the controlled spontaneity explored by Miro with 

its crisp, reductive face images and zany linear motifs. [n 

contrast to today's wealth of informed art and artists' 

into 'seeing things his 

way'. Almost all of his figurative ceramics have their 

stylistic roots in Brancusi and Arp and the European 

Modernist School in gener.ll. 

A large part of his post fifties activity was glazed 

e-.lnhCf1IV'dte coiled ponery, often decorative wine servers. 

These pseudo-functional vessels are explorations of the 

human image which was always central to his aesthetic. 

On a technical level Gordon used the coil-built method 

almost exclUSively with commercial high fired e-.lrthenware 

1100-1200"C glazes (mostly man white). His preference for 

clay was clay dug out from under his home at 

Normanhurst during room extensions, which was wedged 

with coffee grounds for a speckled glaze effeLl. He said of 

his work 'It is all design and the solving of little problems 

relevant to the particular activity'. 

60 POTIERY IN AUSTRALIA + Issue 36/2 WINTER 1997

Typically Gordon's idiosyncratic wine servers are 

delineated by a vertical axis visually segmented into 

various anthropomorphic primary forms. One such 3&ms 

high server is di tinguished by its curious trumpet-like 

extension (used to pour in the wine) sprouting 

asymmetrically from its spherica l elemental head. A 

studded chocker accentuates the elongated neck; the 

female chest is an ovoid cylinder with a small smooth 

pouring spout and opposing 

handle as the two arms. The 

conical wa ist with bands of 

impressed geometrics and 

squarish flanged hips are 

supported by fou r homlike legs. 

The commercial malt white glaze 

is relieved by subtle pilling from 

the imbedded coffee grounds 

and by salmon pink highlights 

on the decorative edges from tile 

glaze breaking over the ironbearing 

clay. Dinner guests thus 

served would have both the eye 

and the palate pleasantly 

refreshed by the experience. 

In 1951 Gordon and Leslie 

settled in Sydney. He worked as 

a picture framer and joined the 

Contemporary Art ociety. He 

held a joint exhibition at the 

Bissietta Gallery and taught pantime 

at the East Sydney 

Technical College. 

Gordon was offered a position 

teaching at Sydney Gramm ar 

School where he became 

Anmaster from 1957 to 1976. He 

started his ceramic work at that 

time using the pottery kiln at the 

school. This writer was a 

primary and high school pupil of 

his from 1957 till 1964. I cherish 

many memories of those 

adolescent ycars where the 

reality of an artist 's struggle was 

osmotically transferred from 

school master to eager student. Th at is, the diverse 

nexuses of art/design, content/context, technique/ skill, 

innovation/ tradition were first encountered at McAuslan's 

hand through his after-school-hours 'practical' example. 

The 'theory' of what I observed came latter at university 

level. His chool class room cou pled as his aftcr-hou rs 

personal studiO, storeroom, even a cramped ga llery 

competing for space with his pupils' naive attempts, often 

derivative of the resident Master. Ironically, the 'best' art 

teachers - that mantle sits comfortably on McAuslan's 

shoulders - are firstly practicing artists, and secondly 

teachers and thirdly disciplinarians, although a balance of 

all three is de irable of course. MCAuslan performed that 

balancing aa well. 

With a heavy load of teaching, it was a constant struggle to 

keep his own output as an artiS! fresh and original. He was 

clrdwn more and more to express his ideas ~lI'Ough economy 

and purity of line. In 1960 

Gordon joined the 

Sculptor's Society and was 

secretary for five years, 

which was the beginning 

of a long and happy 

'Wine Server'. h38cm. 

fri endship with May 

Barrie. 

A March/ Apri l 1997 

Retrospective of his 

work- I3 paintings, 8 

screenprints, 8 sculptures 

and many ceramic 

objects - was held at the 

beautiful rural artis ts ' 

colo ny setting near 

Albion Park, N.S. W. at 

the studios of May 

Barrie, Tori de Mestre, 

and Grahame Kime. 

Having retired to 

imbin .S.W. he simply 

enjoyed whatever he 

was working on. His 

ceramics output in 

imbin was prolific and 

sophisticated encompassing 

bottles, wine servers, 

scu lptures and beaded 

necklace;. Whilst. dlOO5ing 

to avoid the ceramic 

world's centre stage, 

Gordon's legacy should 

not be underrated 

because of his rcticence 

for self promotion. 

There are many 

hundreds of ceramic objects currently gr'dcing the homes 

of Australians that attest to his design sensitivity and long 

term cornmiunent that ran deeper than concurrent transient 

fashions. Gorcbn McAuslan was busy and contented until the 

last hour of his 83 years. 00 

S.ephen Skilli.zi (M.F.A.) Founda.ion Coordin",or of Ceramics Degrc'e 

Course, t979, •• Sou.h Aus.r.liian College of Advanced P.duc:uion. 

Note: ExcerplS from the Rerrospedivc Exhibilion brochure induded. 

36/2 WINTER .997 + POnERY tN AUS1RAlJA 61

North Shore Craft Group Inc. 

The 40th Annual Exhibition and Sale, July 23-27 1997, includes the work of seven Sydney potters, 

In July, 1997, one of Sydney's premier 

crafts associations, the North Shore 

Craft Group Inc. will celebrate its 

40th Annual Exhibition. TIle Group was 

formed in 1957 at a privately held 

'keeping in touch' lunch for the 

teachers and students of a suburban 

evening college pottery course. A 

former teacher, the late Phyllis 

Molesworth, convinced the eleven 

others present to hold an exhibition of 

their best work. Crafts people working 

in other media were invited to give 

variety and the exhibition was duly 

held in an upstairs room at the local 

School of Arts - nothing was for sale. 

Helen Parker (an enameller), one of 

the original 12 members and at over 90, still an active 

exhibitor, remembers it this way ... "The work produced 

was meant to be fine work of merit and to be seen by as 

many people as possible, Selling was not important at the 

time, our expenses were minimal", For the first dozen 

exhibitions, some at the local Town Hall and later at a 

Department Store ga llery, no hiring fee was charged. 

There were minimal props and the members gathered to 

handmake the invitations and catalogues. 

The evolution of the Group from amateur beginnings 

reflects the changing attirude to crafts in Australia over the 

last 40 years. Today, there are 44 exhibiting Members and 

almost all the pieces presented for display are for sale. By 

retaining a selective approach to membership, the Group 

is able to present a diverse range of crafts at a very high 

level of quality. Many members are well-known 

professionals in their field , busy wi th a variety of 

exhibition and teaching commitments. The presentation of 

work is of the highest standard, reflecting the 

professionalism of the members. 

Seven Potters will be exhibiting this year as part of the group. 

Jan Buttenshaw is currendy President of the Group. She 

produces a full range of domestic ware 

using glaze on glaze techniques, She 

also produces one-off figurative 

sculpture pieces in porcelain finLshed 

in a celadon glaze. TIlese humourous 

fat ladies and gents in all walks of life 

are full of character. Large platters are 

also a feature. These are made from 

paper clay, woodfired with salt and 

seaweed to create surface designs. 

Nicky Coady's stoneware includes 

an ovoid 'Spiral' teapot developed 

using stretched and textured slabs. The 

spiral - a well used motif through the 

ages - depictS movement, evolution. 

Odler teapots and platters use soft slab 

techniques with thrown additions and are 

fmished in caleum mat! glazes containing yellow ochre and 

cobalt carbonate. 

Thelma Delaney produces beautiful functional 

stoneware pots using glaze on glaze to give richness to 

the surfaces. Gillian Dodds also concentrates on thrown 

functional ware and captures Australian colours and bush 

scenes with her glazes. 

Ebba Hansen works in earthenware and enjoys making 

both functional and sculprural forms, Her work includes 

delicate impressed motifs, fish and bird designs, and makes 

use of coloured clay, colouring oxides and body stains, 

Fran Swinden's works include both handbuilding and 

thrown processes. Her domestic ware and slab teapots are 

pre-decorated with printed trailed slip and coloured clay 

inlay. They reflect her interest in working with fabric as 

well as clay. 

The functional "Wattle" vase forms are coil built and 

dle decoration, based on a free interpretation of winterflowering 

wattle, is carried out with brushed slips beneath 

linear detail and textured areas in ceramic crayon. 

Barbara Webster specialises in wood fired porcelain 

and stoneware, making mainly functional ware with some 

62 POTru

OppOSite page: Jan Buttenshaw "Luscious Loins" 

celadon glaze, white stoneware, reduction gas fired 

13OO"C. h22cm 

Top left: Gillian Dodds 'Platter' fired in a natural gas 

kiln to stoneware. Clay from Gulgong. 

Top right: Nicky Coady. 'Spiral' ovoid teapot. Highly 

textured - stretched slab technique. 

Left: Fran Swinden. 'Wattle' vase form, coiled. 

Brushed slips, linear details and textured areas in 

ceramic crayon. 

Above: Barbara Webster. 'Sugar and Jug' thrown 

and woodfired with slip trailed motif - shino glaze. 

decorative pieces. She takes full advantage of the exposed 

clay body to pick up the subtle hues and ash deposits 

that are synonymous with wood firing. The firing alone 

takes 27 hours. Inspiration for decoration is Australian 

native flora and the rugged Australian landscape with irs 

infinite colours and textures applied by pouring slips, 

glazes and oxides onto the pors. 

With the variety of potters exhibiting, combined with 

glass artists, wood turners, weavers, leather workers, 

enamellers and more, this 40th Exhibition will be an 

inspiring event. 00 

The Nonh Shore Crah Group's 40th Exhibition will be held at the 

KU-ring-gai Town Hall, 1186 Pacific Highway Pymble. 

CommenCing Wednesday 23rd July to Sunday 27th inclusive. 

For further details phone Jan Buttenshaw Tel 02 9938 1595 

3612 WINTER J 997 + POTIERY IN AUSTRAlIA 63

Colourful dresses and challer contrast a backdrop of 

dry shrubbery and salt-fia~s. An aboriginal woman 

cocks her head, clasps her hands and smiles at her 

just-completed creation - a curvaceous ceramic sculpture. 

The serring is Burketown in the Gulf of Carpenleria and 

anist Karen Gross is teaching a group of aboriginal 

women how to rum a block of clay into a work of an. 

She wipes the sweat from her forehead and suggesls that 

the class try out the new kiln. 

Originally from Sydney, Karen, 27, has made a career 

out of a popular Australian dream - the proverbial 

wo rking holiday. She visits remote aboriginal 

com munities to share her passion for pottery, and 

occasionally stops in at Momo, Queensland to lend a 

hand on her panner's basil faml. 

Equipped with a bag of old clothes, a ponable kiln and 

a sense of adventure, Karen recently embarked on a nine- 

week tour of the Gulf of Carpenteria, visiting such 

communities as Burketown, Mornington Island and 

Doomadgee. On this solo-tour, Karen will meet a 

fascinating cast of children and adults and see some 

diverse landscape. 

"I love getting to know the people - I love the 

relationships [ develop with my wonderful, enthusiastic 

students,' she says. 

Karen has probably seen more of Australia than many 

of us will see in our entire lives. Over the past five years, 

her nomadic habits have taken her to some of the most 

isolated communities in the country - places with names 

like Boggabilla, La~amanu , Goodooga, Kowanyama and 

the Tanami Desen. 

A self-confessed "bushy', Karen is not adverse to 

sleeping in a swag, Sitting down to a meal of widgedee 

grubs or taking a romp through the desert. She says 

64 POTIERY IN AuSTRAUA + ISSUE 3612 WINTER 1997

lexibility is the key, with 

wooden sculpture of a dead 

ell-laid plans sometimes 

kangaroo is the centre-piece 

"Dming unstuck hya sudden 

of the Yoram Gross Film 

uneral, a ceremony or a 

Studios foyer and walls are 

OPical down-pour. 

adorned with Karen's pencil 

"Anything and everything 

sketches and paintings. 

hat can happen does "She is a very good artist. 

appen ," she says. 

One of my favourite pit'Ces is a 

"I have to be flexible with sculpture Karen made with 

fmy teaching too. Some painted bones - a clever idea 

fhi ldren simply don 't have 

and very effective; Yoram says. 

anywhere safe to store ceramic 

Yoram is a Polish immigrant, 

bowls or mugs Or functional 

and his wife andra - Karen's 

pOlS. So sometimes we end 

mother - is from Israel , so 

up adorning the schools in 

Karen 'S choice to discover 

wall-mosaics or tiled pathways." 

Australia before trekking 

Karen is always welcomed to 

overseas is not a maller of 

he communities with open anns 

'finding her roots'. 

nd says she never has anything 

The idea to discover outback 

but a positive, wann reception. 

Australia emerged 10 years ago 

But her classes are sometimes 

when Karen was studying 

treated with a Iinle trepidation. Boggabilla, New South Wales. pottery and heard about the 

"Pottery is something tOlally Teenage Roadshow, an 

foreign, totally new to some of 

independent arts project. In 

hese people," she says. 

1992 she was offered a place in 

"I met a fantastic woman in dle program and soon became 

roydon who had been 

one of the youngest tour 

igging wells for the Water 

leaders and the first woman to 

Board all her life. She looked 

drive the roadshow's ex-army 

at my clay and said 'I can't 

tnlck to four Slates. These days 

touch that - it reminds me too 

Karen embarks on her missions 

much of cow shit'. But she did 

alone, but still embraces the 

touch it and ended up chance to teach in schools, 

producing some really prisons, women's cemres, 

beautiful pots.' Croydon, Queensland. "anywhere that will have me". 

What Karen puts imo her classes, she definitely gets "It is the most incredible experience - jU5t phenomenal: 

back in personal satisfaction, having seen some awesome Karen enthuses. 

Australian landscape and made some invaluable "It is like being invited to share a completely different 

friendships. 

culture. It makes me realise that cities like Sydney are so 

' I can't tell you how exhi larating my work is. I'm devoid of any influence from the culture of indigenous 

constantly meeting new and amazing people. I've met people." 

some incredible aboriginal women who tell me about When asked about future journeys, she smiles and 

their remarkable lives, like their first contact with white shnlgs her shoulders. 

people. It's just a famastic opportunity for someone from "Aims and aspirations' is not my best subject. I have so 

the city like me. 

many ideas, I don't know if I can fit them into onc 

'The second time I went to Goodooga, I had a whole lifetime." 

lrail of children running behind my truck say ing 'the Her plans for the fonhcoming year include a trip to 

pottery's here, the pottery's here'. I felt like a bit of Poland and Europe with her father. Then she may settle 

sideshow coming back to town - but it was fantastic.' down and create altWork to the aroma of basil, from her 

[f you want to catch a glimpse of Karen's art-work, just Manto studio. 

visit Yoram Gross Film Studios in Sydney's Camperdown. "But above all, I want to ensure that arts programs like 

Yoram Gross is Karen 's proud father and director- these continue to service remote communities." G\!) 

producer of some of Australia 'S best known children 's 

films (Bl inky Bill; Dot & th e Kangaroo). A striking 1(a,;eSu,hcrland, Tel""les PUbl;c;

Signs 

Shan Hatwell and a group of profoundly deaf students produce their own powerful artworks with clay. 

JENNIFER SEXTON reports. 

Even to my untrained eyes, it was clear right from the 

start, this is a special project. 

I found a group of eight men and women happily 

working away. On the table, creations, free standing 

ceramic hands in 'sign' the language of people who are 

deaf, plus a number of planers with imprints of hands 

again in 'sign'. 

This class has been set up exclusively for students who 

are deaf. Here, under the close eye of Shan Harwell, and 

the assistance of interpreter Lee Maddison, the students 

are learning basic clay and firing skills - the results to be 

presented to the public in an exhibition. 

What 's different about this though , is tha t these 

students are communicating their culture, their issues, and 

their language to the world through their work. 

Karen Rhodes was born profoundly deaf. Through the 

inrerpreter, she tells me she's done pmtery hefore, but 

nothing as empowering or eXCiting as this 'it makes me 

feel quite proud depicting our language in clay, showing 

people some of our signs'. 

The 'hand' to hearing people is in most cases taken for 

gra nted, it's just another useful appendage. But to these 

students who are deaf, the hand is 'everything', without it 

communication is near impossible and that message is 

clear when you see their work - some of the hands are 

missing parts of fingers and that too is highly symbolic. 

Lee Maddison says, 'six years ago, people who were deaf 

were to mainstream society 'deaf and dumb' - valueless. 

They could only get jobs in factories and injuries to hands 

from using dangerous machinery was commonplace. 

'L' 

'----=_--' i 

Thank heavens things have changed. But it makes the 

hands even more meaningful, as a symbol ofl 

discrimination in years gone by. 

Here the students make plaster moulds from thei r own 

hands, the moulds are then used to make clay 

impressions from terracotta and white earthenware clay, 

fingers are carefully moved into position form ing the 

appropriate sign. 1hen the hands are fired in a sawdust I 

kiln for three days. 

Plancrs are also made from terracotta clay, ash glazed I 

and then fired in a gas kiln. The results are quite 

fascinating, 

Pam Taber, another student who is deaf, believes there 

is still a need for community education about people who 

are deaf. 'It's ou r language, it shows people how we 

communicate, there's a sign saying culture and another 

saying language, and that's what we're about - we have 

our own culture and our own sign language, We're proud 

to be deaf and its great to show people Our language for 

the first time, creatively'. 

Shan Harwell, who pioneered this project at Wagga 

TAPE, together with Lee Maddison, nurtured the student's 

work and is excited at how it is evolving. She believes it's 

the stan of something important for the students. I agree, 

the finished 'hands', the images they form , are highly 

evocative; they're mysteriOUS, sensitive, vulnerable, and 

yet strong like the people they represent. G!O 

Jennifer Sexton 

Producer/Presenler, 'Art Warp', ABC Radio Ri"erina 

66 POTIERY IN AUSTRAlIA + ISSUE l6f1. WlNTER 1997

So You Want to be a Student 

A comparative look at the Ceramic Course options available in Australia, 

Article and research by KAREN WEISS, 

You're thinking of doing a course. To make it easier 

for you to find the course that meets your needs, 

we have surveyed Ceramics courses throughout 

Australia. You've seen the pictures, now browse through 

our table, listed by State, 

THE INSTITUTES I:lasically, you are looking at two 

systems: TAfE and Universities, TAfE Colleges run 

courses with a strong emphasis on the practical and 

technical training needed by a pOller. Having said that, 

th ere is considerable va riation in focus within the 

curriculum, from College to College, T AFE colleges have a 

good deal of autonomy and have often taken advantage 

of this to tailor courses for local conditions and demands, 

TAFE colleges run courses varying from teaching basic 

skills to Advanced Diplomas which integrate An Hi tory 

and conceptual development with small business and 

advanced technical skills, TAFE courses arc relatively 

inexpensive and are otien offered both as pan-time and 

full-time, Chidcare may be ava ilable to students, 

Universities usually offer cer'dmics as pan of a Bachelor 

of VisuaVFinel Applied Arts degree, The student is offered 

a choice of electives in the first year and then can choose 

to go on to major in ceramics, Masters Degrees can be 

done by cou rsework or research, depending on the 

University, and some also offer Ph,D,s, 

Degree cou rses are pan-time or full -time or may be 

done as external post-graduate studies, 

The University course gives the student the possibility 

of exploring diverse media with an emphasis on Arts 

training followed by speCialisation, 

Many TAFE Colleges and Universities also offer single 

subject studies, These are usually studies with practical 

applications, such as mouldmaking or glaze theory, They 

are shon courses, usually one night a week for a tenn, sLx 

months or a yea r.These cou rses mayor may not be 

accredited, Generally TAfE offers accredited courses, 

Universities offer non-accredited courses. There arc 

exceptions, Accreditation or otherwise will only be of 

concem to you if you are thinking of going on to do a 

more substantial course and can use the piece of paper. 

The Ieaming is just as valuable, 

PRIMARY ORIENTATION The orientation of 

courses varies enormously, Some have a strong bi as 

towards produ ction and tec hnical skills, producing 

trad itional fun ctional ware or utilising industri al 

techniqu es, Others lean equally strongly towards the 

conceptual and scu lptural, making individual art 

statem ent s, Still others try and achi eve a balance 

somewhere in the middle, 

ARTIST·IN -RESIDENCE PROGRAM Smdents 

benefit from this program, panicularly if the institute takes 

full advantage of the anist's presence by integrating them 

into the curriculum via workshops, lectures etc. Having a 

successful professional around from outside the system, 

can give a salutary perspective and hel p the smdent beller 

define the al ternatives that exist once the course is 

finish ed, This is equally true of guest lecturers, The 

majority of institutes have visits from guest lecturers, 

TEACHING STAFF Teachers are the backbone of 

the depanment. Having several pan-time teachers is an 

advantage, Often they will have been brought in because 

of a particular area of expenise, or extensive experience, 

This widens the pool of knowledge, 

KILNS The number and type of kilns in an institute 

can tell you a great deal about the priority and types of 

firings done there, Ii also tells you of the options available 

to the smdent, If the course you favour has '& others' in 

the kiln column, in many cases this indicates kilns such as 

raku, blackfire, pi!' (E is electric and \VI IF is wood fired in 

the table following), 

SPECIAL FEATURES Educational Institutes are 

being enco uraged more and more to compete for 

smdents, Institutes are offering more flexible courses, This 

means part-time courses are more co mmon, modular 

courses are being introduced and interdisciplinary and 

inte rca mpu s stud y options are becoming the rule, 

InterdiSCiplinary studies means that depanments can share 

sta ff and facilities, creating more options for students in 

either elective subjects or lectures in specia lised areas, 

Intercampus studies make these possibilities available 

between campuses within courses, 

IT'S A BUYER'S MARKET I-lave a good look at what it 

is you are buying, Ask to be shown around the 

depanment, the staff will be happy to show it off. Work 

out what your needs are, Do you need childcare' Do you 

have to fit the course in around a job' Do you have a 

disabi lit y' Do you have special interests' HAPPY 

LEARNING' oo 

ll1anks 10 all the institutiOns for the information [hey supplied and 

also to TAFE and the Universities Admission Boards in various SHHCS. 

C K.Weiss t997 

36/2 WINTER 19'17 + PonERY IN AUSTRALIA 67

'LIll ... "l ln"Uut"UL (,>tIT'-l I r 1'1 \,j ,'llbl' "I1I1gk, 

~ 

Nerem TAPE, Penrim Ceramics Cen fT '! Tech prr 1 nighl x 2yrs 

University of Western Sydney, Macuthur B.A. (Vis. AIts) fT 4day, x 3yrs Yes. A 

National An School, East Sydney Adv Dip Arts (Cer,mics) Fr r 5 dayn 3yrs Yes, 

Cen in Ceramks prr 7hpw x 3yr.; non Ace 

Sydney C

E-5,Gas j, 

W/ F2 

Concenlrales solely on pursuit of beauty in the making ri sound 

functional polS. Inlerdiscipl, intercampus studit';'; ;1\;:111. 

Yes 

No 

2 frr, IOprr 

5 Frr, 5prr 

2Frr,2prr 

f 6, Gas 3 

E 13 Gas 9 

W/F 1&001"" 

El2Gas5 

ochers ""'" 

f7Gas3 

& others 

E5Gas4 

W/F l 

Access 10 exctUenfindusui.a1 equip'L cad-am programs, 

Cenue for Ceramic ReseaM, Design & Prod'n. Inlcrd

Univ""iry of Balla"lt B V~ Ans (C=mks) PfT 4 pfT 

M.A. FfT & PfT I)"s FfT 4yrs PfT 

Ph.D FfT & Pfl' 3-5)"s rfT 9yrs max PfT 

Monash University Grad Dip F..xlemal prr 2yrs 

Gippsland Campus M.A. (V~ Ans) rfT &Ex1PfT 2yrs rfT; 4yrs Ext pfT 

' No 

PhD FfT 3rrs 

Monash University B.A. Ceramic Design FfT & pfT 3y" PT 6)"PT Yes 

Peninsula School of An B.A.Hoos (Cr,fts) FfT 4yrs 

Gr.ld Dip (Cer,mic Design) FfT & PfT I)"PT ly"PT 

M.A. rfT & PfT Varies NonAq 

SOl1l}l AUSJBAIJA 

Notth Adelaide School of An Adv Dip Aru (Applied & Visual) rfT & PfT 4 (Cer:lmics) FfT& PfTxl 2rrs rfT No 

2days x 4yrs 

Timl's avail. 

Ceramic mooulcs rfl' Jday/ 2nL'i x 2yrs 

Queensl3nd College 01 Fine An BVIS. Arts Fine An rfT Sdays x 3yrs No 

WESfERN Al ISTRAiiA 

WA School 01 An & Design Dip Art & Design (Studio Cer-.tln) FfT 4days x 3yrs No 

conc

' 

ctical .cd1n 1 base '0 explore '0 IFrr & 3P/f E2Gas6 ~ worJang r. ship with olher an ptacuces_ lnlercunpus studies ;'lVaii. 

1\l'Uai CI'l'2[[viry 

W /F 2& others Emphlsis on lechnology/di\'ersilY of ceranucs. _ 

- 

few; on crt:alivc functional work ~ Yes IFff & 3PfT E2 Excellenl facilities, skilled Slaff. Special emphasis woodfire 

developing Sludlo ponel'l) Gas 5 & using local raw malcnals. Functional ponery 

W/F 2 

mal is dl!l.lIcnglOg & disciplined, 

& aher 

rve10ping technical conceprual skills. Yos SFff & 4PfT E17Gas5 StudentS cfk."OUraged to work in variety of media 

W/F & others inc! concrett! & glass.Students clX)OS(" & develop own field . 

~ sltills (or architectural applic'n 

llliercampus w/fire. 

tv profe.~ion.al C3p3cilM:s, concepts No IFfT, 1-2prr E5 Imerdisciphruuy & imerC3mpus slUdies avail. Exttmal po5t 

M 'I im·estigalion GlS 5 graduate from Sludem's own sllIdio. 

W/F4 

Ncmiorking Wlthuv ouLSidc AuS{ 

Variety of spccialisations. B.A. Hons plannc:d. 

cimical,procfn concqxuaJ & 

S'time 2FfT E4 Specialist firing techniques. Emphasis craftsmanship. 

;earch skills Gas 4 W/F 3 .echnology, design, 

& ()(hers & re.~rch . Imerdiscip. & inlcrcampus stUdies avail. 

'\'eloplOg production conceplUal skilb BIlle!< 2FfT. P 'f E8Gas6 flexible interdisciplinary snill)' ""thm program Balance of .!okills 

vanes & o

'Claydown' Tasmania 

An annual Summer School with clay and fire. 

RcedY Marsh Pottery in 

northern Tasmania has 

hosted two 'Claydowns' and 

is planning a third for 1998. These 

residential summer schools are led 

by guest tutors - Malin a 

and Dennis Monks in 

1996, Sandy Lockwood in 

1997. 

Each school provides a 

busy program lasting six 

days. Activity revolves 

around loads of soft day 

and two longthroated 

woodfired kilns. The 

poltery is surrounded by 

forest rich in wildlife, 

while nearby, unique bush 

camping fac ilities for 

panicipanrs make outdoor 

living easy. 

What happens at Claydown is quite different from 

what c1ayworkers experience in their own workplaces, 

and different too, from what sltldenrs get from protracted 

cerami cs cours es in conventional institutions. At 

'Claydown ' there are no production quotas. Nor arc 

there ex hi bi ti on or assessment deadlines. A rich 

Claydown '97 participants made work 

for two long throated wood kilns, one 

was salted. 

A lighter moment at Claydown '97 - blue-tongued 

wildlife is confused for clay. 

excha nge develops between 

participants as they make, slip, 

glaze, fire and take on the various 

challenges presented. A tight time 

schedule encourages risk taking - 

new discoveries are made 

and fresh understandings 

develop. While techniques 

and recipes are freely 

shared, their imp0rlance 

is secondary. 'Claydown's' 

principle strength is in 

giving individuals the 

chance to compare the 

starti ng point for their 

own arts practice with 

that of other c1ayworkers - 

ii 's an opportunity to 

understand what is 

essential to each other'S 

work, to find the essence, 

the 'whys' of what we do with clay as well as the 'bows'. 00 

For Dellliis of eLA YDOWN TASMANIA '98, COnl'C!: Neil HolTmann 

4;0 Larcombes Rd, Reedy Marsh, Tasmania. 7.104 

Phone/Fax 03 63622646 

72 POmRY IN AUSTRAUA + ISSUE 3612 WlNTER 1997

Down the River 

'Clay and Cabernet 2' is to be held at Newcastle University, Septernber 13 & 14, 1997. 

It is two hun dred yea rs since 

a functional teapot and discuss 

Newcastle was established at the 

pigments, decoration and glazes. 

mouth of the Hun ter River and 

His domestic ware is richly 

twenty eight years si nce the 

decorated and colourful. 

beginnings of Newcastl e Studio 

Kevin Flanagan's work is 'a 

Potters Inc anel the subsequent 

journey through a maze of 

deve lopment of Back to Back 

imagery'. He will develop three 

Galleries and srudio in Back's old 

different sculptural fonns over the 

butcher shop in Cooks Hill. 

weekend incorporating twigs, 

Following requests from those 

canvas, steel, wood, biruman, paint, 

attending 'Clay and Cabernet' in the 

clay and slips. 

vineyards in 1995, Newcastle Srudio 

Miltiades Kyriakides' amalgamation 

Potters has decided to repeat this of handbui lt and slipcast 

highly succesful workshop weekend. 

components with neon lights in 

This yea r they are going to follow Kevin Flanagan, outside Bushland Studio. sculptural assemblages will more 

lhe success with 'Down the River', to 

than stimulate your imagination. He 

be held on tile weekend of the 13-14lh 

will discuss lhe making and use of 

September in the Ceramic StudioS 

neon light, and his experiences at 

of the niversity of Newcastle's Faenza Concorso 1995 and Fletcher 

beautiful bushland Callaghan Challenge 1997. 

campus. 

The wonderful faci lities of the 

The official opening by Pottery in 

University of Newcastle will allow 

Australia's editor, Sue Buckle will be 

active pa l1icipation in a range of 

followed by twO days of processes, including throwing, 

demonstra ti ons, sl id es and talks 

decora ting, handbuilding large 

featuring the diverse talents of Janet Mary-Lou Hogarth. sculptures widl cast components and 

de Boos, Kevin Flanagan, Mary-LOU Hogarth, Miltiades glazing and firing for boi.h ra],:u and overnight firings. 

Kyriakides, jeff Mincham and Andrew Parker. 

Each ceramist will demonstrate over the two days. 

Subtle, beautiful forms which make reference to the We are starting the weekend wilh an exhibition opening 

vessel showcase jeff Mincham's interest in the history of of the visiting artiSts' works fo llowed by a barbeque and 

raku firing. His innovative raku firing techniques will be celebra tion. The fun continues on Saturday night with 

shared and demonstrated. 

dinner and an auction of ceramics work. 

janet DeBoos' expeltise in glaze technology is well known So come to Newcastle in the Spring, enjoy mingl ing 

and she will share the secrets of dry glaze fonnulation and with kindred spirits and be extended. inspired and 

application. janet will demonstrate her produllion techniques provoked. Exhibitions will be held at Back to Back 

and explore aspects of innovative production. 

Galleries and the Newc-Jstle Region Gallery (the Newcastle 

Mary-Iou Hoga rth will make several pieces Bicentenary Acquisitive Exhibition). 

demonstrating a range of techniques and tlnishes. Her slab Book ea rly and dont miss out! G\9 

fonns tell stories of everyday life with a touch of humour. 

The process of throwing large poLS in sections will be 

tackled by Andrew Parker who will also show lhe design of 

See the enclosed brochure for more details or Phone Jan Pryor 

043 S88 022 or Margot Morgan 049 488 997. 

16f2 WINTER 1997 + POnERY IN AUSTRALiA 73

Wide 

A ROUNDUP OF LOCAL NEWS AND EVENTS FROM OUR STATE REPRESENTATIVES 

NORTH QUEENSlAND 

This year is the 10th anniversary of the Mackay Ans 

Festival. Two pottery related visual arts evenl, on 

during this period are an exhibition of work by 

Byron Bay potter Mary Lou Hogarth titled "Listening at 

Doors", at Earth Sea Pottery & Gallery, Slade Pt. Tel 551024. 

This exhibition opens on Sunday 13th July with music 

supplied by students of Mackay Conservatorium of Music 

and afternoon teas provided by a local school. The 

exhibition closes on Sunday 20th July. Pioneer Poners are 

also taking the opportunity of showing their entire 

collection of ceramiCS, acqUired over a period of 18 years at 

the Mackay Ciry Library. The Mackay Ans Feslival runs from 

the Il1h - 20th July. 

The North Queensland Potters Association in Townsville 

is holding a competition with a difference. This year the 

club is recognising ils 251h anniversa ry by inviting all 

previous major award winners and past judges to send 

work for purchase. The judge is Gwyn Hanssen Pigott and 

a total of 56000 has been donated. The purchased works 

will become part of the Perc Tucker Regional Gallery's 

permanent collection. These awards open on Friday 8th 

August and close on Sunday 17th August. Pioneer Potters 

are also holding their annual competition - opening on 

Friday 12th September atlhe Mackay Entertainment Centre. 

Total prize monies on offer are $3,600 and the judge this 

year is Rowley Drysdale. For entry forms write to Pioneer 

Poners, Mackay PO Box 3114, Nth Mackay, Qld 4741. 

Nob Creek Pottery owner, Steve Bishopric, well known 

for the myriad of colours he achieves from his anagama 

kiln, is developing some new and exciting work for an 

exhibition at Rockhampton Art Ga llery opening on 26th 

September. This exhibition celebrates 20 Ye'Jrs of working 

on the Capricorn Coast and is his first solo exhibition. lbe 

show is to be partly retrospective and also shOWing some 

new anagama fired work based on female forms and what 

he describes as "primitive men issues" - sOllnd interesting. 

NOrtil Queensland Potters should also remember that Ihe 

Queensland Potters Association are holding their state 

conference in Cairns Ihis year, the dates are 10, II , 12 

October 1997. TI,e venue is FNQ Institule of TAPE, Cairns 

College. More details When tlley become available. 

. R/CKWc= 

TASMANIA 

time of writing, the Southern Poners will have 

enjoyed a workshop with Andrew Cope. He also ran an 

A:the 

. teresting and informative workshop for the Ceramic 

Pursuits Group at ti,e Universiry of Launceston. An exhibition of 

Andrew's pots is being held at the Handmark gallery. 

The Sou th ern POllers are anticipating their Annual 

Exhibition at the Schoolhouse Gallery, Rosny , on 

September 23rd until October 11th. After the exhibition, the 

Group will run a workshop in October wilh New Zealand 

poner, Brian Gartside. Interested persons who would like 

to attend can phone Christine Crisp on 03-6223 1580. 

The University of Tasmania at Launceston are looking 

forward to the residency of Pippin Drysdale to the ceramic 

studio. Pippin who visited the state a couple of Ye'Jrs ago, is 

well remembered by the Tasmanian poners for her excellent 

work and friendly personaliry. We look forward to her stay! 

Yours in the mud, 

• l..E!wNE V I\NC€RSLINK MIll ElERNADi'JE AUNO 

QUEENSlAND 

Busy times are in evidence. There seems 10 be a lot of 

activity in many varied quaners at the moment. 

The Churchie Exhibition of Emerging Art 1997 held in 

Brishane was judged by Jeff Shaw, Director of the Open 

College of Ihe Arts with Ihe Qld Arts Council and Tim 

Morrell who is currently CuralOr of Contemporary Art al the 

Qld Art Gallery. This year a $1000 prize was awarded in 

ceramics with Michael Ciavarelli winning with a wood fired 

stoneware work entitled "Stacks l ' which was nearly a 

metre high and stood up to a 26 hour firing. 

David Bange had his Masters exhibilion, "The Decorated 

Lion : Challenging the Belief in Fun(1ion" at Doggen Street 

Studio, which continued his work with architectonic totems 

as a narrative of his experience. 

Rowley Orysdale, who will be conducting a workshop in 

Townsville, had a piece from his recent show at Fusions 

purchased for the University of Southern Queensland collection. 

Barry Tate is opening his own gallery at oosaville in 

June called (of course) The Tate Gallery which will fe-Jture 

contemporary art with the first show fealuring cerJmic wall 

paintings and sculpture by himself and Michael Ciavarelli. 

Lynne Griffilhs, another Sunshine Coasl artist will be 

featured with mixed media work in the following exhibition. 

Les Blakeborough has been shOWing with Savode who 

74 POTTERY IN AUSTRALIA + ISSUE 36/2 WINTER 1997

Wide 

A ROUNDUP OF LOCAL NEWS AND EVENTS FROM OU R STATE REPRESE NTATIVES 

have once again committed to a large show featuring 

contemporary clay curated by Jess Gibson. 

Sandy Johnson has recently completed a cerami

BOOK REVIEW 

The Best of Pottery 

Selected by Jonathon Fairbanks 

and Angela Fina 

Rockport Publishers, Massachusetts 

If you wam a pictorial feast then this is for you. In 139 

full colour pages with three large pictures per page 

there is something for every taste and technique. 

Professor of Art, Salve Regina University, Newport, Rhode 

Island, Jay Lacouture, states in the introduction 'It is a 

snapshot of the state of pottety, taken in 1996 .. .1 believe 

it is the first volume in the country to take such a 

popularist approach to soliCiting and featuring such an 

extensive, diverse collecion. This snapshot will serve as a 

useful educational tool for students, teachers, collectors, 

novices and professionals.' 

The layout is simple. The divisions are Earthenware, 

Porcelain and White Ware and Stoneware (and yes, some 

Australian artists are included.) 

This book wi ll certainly send you back into the studio 

full of ideas. 00 

Kiln Building by Ian 

Gregory 

Ceramics Handbook Series 

Craftsman House, Sydney 

KILN 

BUILDING 

IAN G REGORY 

is a very practical handbook (as are the others 

in this series including 'Soda Firing', 'Ceramics and 

1:'i5 

Print' and more). 

The chapters cover 'Kiln planning', 'Choice of fuels', 

'Kiln types and design considerations ', 'Materials, 

'Construction methods and equipment', Xiln plans' and 

'Experimental kilns'. 

There arc many clear diagrams and drawing as well as 

pictures of kilns being constructed and fired. This book 

wa s not produced in Australia but the prin ciples 

described are universal and so will help everyone 

interested in kiln building. 

Very much a practical guide, as the author says in the 

Preface 'Porrery and kiln building go hand in hand and, 

contrary to popular belief, it is not jllst a case of piling 

bricks together, putting in a few pots, and hey presto! 

Producing anything with one's hands needs thought, 

care an applicarion. A feeling for standards and tradition 

is essential and without it there is no point in continuing 

the art of craft pottery or building of pottery kilns. 

I am a working potter and have written about aspects 

of kilns and firing learned from my own 

experience ... after reading this book YOll will at least be 

able 10 make a start.' 

There are kilns for gas, for wood, for salt, for oil. Kilns 

of brick and kilns of fib re. Once fire kiln and mu lti 

chambered kilns. Even a very spectacular 'fire tree'! 00 

BOlh available from McGiIIs Technical Bookstores, Brisbane and 

Melbourne. 

76 POTfERY tN AusTRALIA + ISSUE 3612 WINTER 1996

etters 

'An Expert Touch'. 

Derwent Valley Gazette Wed Oct 30 1974 

I have just come across this old newspaper featuring Joan 

Campbell and thought you might like it for your archives. 

This workshop was held in my garden and was very 

well attended by members of the Tasmanian Potters 

Society and a group of about six prisoners from my oid 

pottery class at the Hayes Prison Farm, complete with a 

warder (he was the odd man out). We all had a splendid 

time. I still have that pot and another Joan gave me. 

She will be missed greatly not only for her skills bu t 

also for her wannth and generosity. 

Regards, 

Lilia Weatherly, 

Austins Ferry, Tasmania 

GLAZEQUERY 

I would like you to ple-dsc publish the following in the 

next edition. 

I would also like to take this opportunity to 

congrawlate you and your staff on the quality of your 

publication . I teach ceramics at a large Sydney High 

School and we use your magazine extensively to provide 

inspiration for ou r students and provide stimulus and 

ideas needed to construct innovative programs. 

Question: I use low firing earthenware clays and would 

like to fmd a good, safe, dry glaze to usc on sculptural 

pieces. Any suggestions' 

Wendy Mortimer 

36 Mepunga Street 

Concord West 2138 

ERRATUM 

During 1994 and 1995 I was a ceramics student at Monash 

UniverSity Frankston and was fortunate to have Chris 

Myers and Paul Davis as teachers. Chris and Paul have 

accumulated an amazing knowledge of ceramic glazes 

and decorative techniques during their ceramic careers. 

This knowledge was always generously passed onto us 

as students. 

In the article I wrote about sandblasting (Vol 35/4) I 

carelessly omitted to mention that much of the 

information was originally researched by Chris Myers at 

Monash and generously passed onto students to try in 

their studio work. Chris's enthUSiasm and expertise in 

sandblasting was the initial inspiration for my attempts at 

sandblasting and building sandblasting equipment. 

Yours faithfully 

Walter Mitchell 

77 POTIERY IN AUSTRAUA + ISSUE 3514 SUMMER 1996 

ISSUE 35n WINTER 1996 + f'onERy N AusTPAuA 77

e W S for Winter 1997 

POTFEST Penrith '97 

8th, 9th & 10th August 

Over 200 Potters 

From Great Britain, Belgium, Holland, France and 

Germany wi ll be selling at the biggest potters market 

ever held in the UK on Friday 8th, Saturday 9th and 

Sunday 10th August at Skirsgill Mart, Penrith, 

Cumbria Junction 40, M6 - Bar & Restaurant available. 

OPENING TIMES: Friday lOam - 5pm, Saturday 12 

noon - 5pm, Sunday lOam - 5pm 

ADMISSION: adu lts $2.00, Senior Citizen s $1.50 

Chi Idren free 

For further information telephone Geoff Cox: 017684 

83820 

••••••••••••••••••••••••• 

EXPRESSIONS OF INTEREST 

Darebin Arts and Entertainment Centre Exhibition 

Space is CUITeI1tIy seeking expressions of interest 

from craftspeople wistWIg to exhibit in the Cenlre's 

exhibition space in 1997. Presently there are a 

...mer 01 places available. Contact Jane Guy: Tet 

(03)94168933 

Old Trea5UIY Building Tel1'~OIlIl y ExhiIition Space. 

Two exhibition spaces are temporarily available. 

SlDtiissiDlIS and enqufts to Janet Shelley Tet (03) 

96512233 

••••••••••••••••••••••••• 

The Arts In Action Expo 

THIS EXPO which attr acts thousands of 

artists, students, art enthusiasts a nd 

collectors every year - will be held at the 

Royal Hall of Industries Sydney Showground, 

Paddington on Saturday July 26 and Sunday 

July 2710.00am - 5.00pm both days. 

The expo w ill include hands-on 

demonstrations i n painting w ith water 

colours, oils, pastels and gouache, as well as 

fold art, decoupage, ceramics, glass art, air 

brushing pottery, jewellery- making and 

sculpture conducted by professional artists. 

Art and craft products w ill also be on sale at 

special prices during the exhibition. 

KEY COMPETENCIES 

& ARTS EDUCATION 

The National Affiliation of Arts Educators, together 

with the Australian Council for Educational Research 

has just completed a national report called "The 

Mayer Key Competencies and Arts Education." The 

report uses the voices of arts teachers and arts 

industry to show how the key competencies can link 

the world of school an d the world of work, and 

shows how the key competencies may have a 

generic function across the five arts areas of dance, 

drama, music, media and visual arts. The report 

also provides important insights into what meaning 

the key competencies have in the arts field. 

Th e report makes a significant contribution to 

expanding our understanding of the role of the key 

competencies in arts education and the ways in 

which the arts contribute to the general education 

of students and their preparation for employment. 

Copies of the report are available from Pam 

Richmond at the national Affiliation of Arts Educators 

(06) 201 2248 

• •••••••••••••••••••••••• 

Experimental Firing Day with Steve Harrison - 

Sunday July 20th g.30am-5pm 

Join the Potters' Society of Australia at this unique 

opportunity to experience a multitude of firing 

techniques in the one day. 

There will be fast wood firing, wood fired raku, pit 

firing, woodblock kilns, paper clay kilns, sawdust. 

gas rapid fire and more. Bling lOaf your pots along 

(more depending on size) and enjoy the excitement 

of flame, smoke, raku glazes and fuming with other 

pyromaniacs. 

The day will be held at the country studio of Steve 

Harrison and Janine King in Balmoral Village just 

outside Mittagong. This is a 'handS on' day for both 

beginners and the more experienced. Numbers are 

limited so everyone can enjoy the day. Bookings are 

essential - call Sue or Christina on 02 9901 3353 for 

bookings and more information. 

78 POTIERY IN AUSTRALIA + ISSUE 36/2 WINTER 1997

PETER RUSHFORTH 

Celebrating 50 years as a potter 

A srall cfuplay oE 18 oE Mer lW1fort:h's p::ts will l:e 

en display in t:re !tw=rluJse t1Jse.m Eran Ppril 21 

mtil .:hly-luJ.,lst 19'J7 . 

19'J7 rrarks Feter's 50th 're3r as a p:Jt:ter. If start:al. 

his training at the Royal Mell:xJume Institute of 

Technology in 1947-1948, then heade:i t:re ceramic 

dpJ.rtnaJt at t:re NiticraJ. Arts S:h:ol at East 8;

New S for Winlel' 1997 · continued 

ASIALINK VISUAL ARTS/CRAFTS RESIDENCIES 

Asialink's Visual Arts/Crafts Residencies began in 1991 and to date have placed 33 people in eight countries for periods 

of up to four months officially although many people have stayed longer. 

The aim of this program is to enlarge the experience available to Australian artists in our own region, to enable a longer 

tern involvement with the host country, and to encourage ongoing contacts between Australian and Asian artists. 

The Residency Program is funded by the Ausrralian Council, the Australia-Korea Foundation, the Australia-India 

Council, the Australia-Indonesia Institute and the NSW Ministry for the Arts. 

Asialink works closely with the Australian Embassies and High Commissions in the region to organise the residencies. 

TIley are a reference point as the artist is at the institute as an individual, with no 'official' Status as such, although the 

local people in each country will often see the artist in that light. 

Each residency offers as specific amount of funding and initial contacts in each place. It is then up to the individual to 

make as much of the experience as possible. The interest of the artist in the host country and their adaptability is very 

important. The arti t is expected to do their own work, and to partake in workshops and seminars, though not to teach 

foonally. An exhibition is not essential, but is regarded as a good way to 'present' the artist to the local community. It 

could be held early in the residency, including work brought from Australia, or at the end showing work made during 

the reSidency. 111is could depend of course on the type of work made by the artist. 

The residencies are open to all artists/craftspeople who would be eligible under normal Australian Council criteria: 

baSically applicants must be Australian citizens or have permanent resident status in Australia; demonstrate a proven 

record of profeSSional activity over at least three years; and not be students. The residencies are genera lly for four 

months, with funding of $10-12,000 which goes towards return airfare, living expenses and an exhibition during the 

period. 

Applications close Friday 20th October 1997 for residencies in 1998-99. The applications will be considered and 

shortlisted in November by the Asialink Visual Arts AdviSOry Committee, which includes representatives of the Visual 

arts/Craft Fund, the Department of Foreign Affairs and Trade, Asialink, curators, art schools and artists. Three people's 

applicatiOns, slides and Cvs will be sent to each venue, which will make the fmal decision. 

lnfomJation for applicants will be available at Asialink from July. Please contact: Visual Ans/Craft Residency Program 

Asialink 107 Barry St Carlton Vic 3053 Tel: 03 - 9349 2010/ 1899 

••••••••••••••••••••••••••••••••••••••••••••••••••••• 

6th INTERNATIONAL POTTERS FESTIVAL 

4,5,6 July Abel)'stwyth 

Pottel)': A Spedator Sport? 

Clay sculptures several meters tall, fired in.situ, large.scale pit firings, larger than life human 

figures, a field of ceramic creatures: these are some of the impressive sights which can be 

expected at this year's Intemational Potters Festival in Aberystwyth West Wales. Spectating 

aside, festival goers will be encouraged to get their hands dirty as well! 

Hundreds of people from all over the world will be coming to the Arts Centre in the sea·side 

town of Aberystwyth to attend what has become one of the largest festivals of its kind in 

Europe. Internationally renowned ceramic artists and potters have been invited to 

demonstrate and talk about their work. The organisers, North and South Wales Potters 

Associations and Aberystwyth Arts Centre, have worked hard to make this festival the most 

spectacular and exciting yet. 

Anyone wishing to attend the festival should contact Aberystwyth Arts Centre for a booking 

form as soon as possible as places are limited: telephone 01970622882. Fax: 01970 622883 

Further information on the festival, plus updates can be found on 

www.ftech.net/-carrog/lpc.htm 

80 POTTERY IN A USTRAlIA + ISSUE 3612 WINTER 1997

News Im-Wink " 

997 · ,"n'",.W 

NEW RIGHTS FOR AUSTRALIAN CREATORS 

The Federal Government is about to introduce important new rights for artists, playwrights, 

composers, choreographers and other creators. 

On March 4 1997 the Minister for Communications and the Arts and the Attorney General announced 

a Cabinet decision that Australia will meet its international obligations by introducing moral rights 

for creators through an amendment to the Copyright Act 1968. 

These rights will give creators a legal right to be identified as the author of their works and to 

object to the derogatory treatment of their work which is prejudicial to their reputation. 

Australian Copyright Council Legal Officer Virginia Morrision, said today that moral rights are very 

important particularly now that digital technology has made it so easy to manipulate works. "The 

introduction of moral rights for Australians is long overdue. Creators in many other countries have 

had these rights for a long time." Ms Morrison said. 

The Australian Copyright Council is conducting a series of national workshops to inform artists, 

playwrights, choreographers and composers of their current rights and how to deal with them as 

well as explaining the Government's proposed reforms. The Council is also holding workshops for 

lawyers, teachers and librarians. Workshops will be held in Melbourne from Monday 19 May to 

Friday 23 May. 

For further information please contact Virginia Morrison or Jennifer Bell at the Australian Copyright 

Council on (02)93181788 or fax (02)9698 3536 

••••••••••••••••••••••••••••••••••••••••••••••••••••• 

INTERNATIONAL WORKS ON PAPER FAIR 

Thursday 17 to Sunday 20 July 1997 

The Galleries, State Library of New South Wales, Macquarie Street, Sydney 

Intemational and local galleries. fine art publishers and specialists in the quality works on paper will be exhibiting at the 

intemational Works on Paper Fair at the State Library of NSW from 17 to 20 July. The Intemational Works on Paper Fair is 

the only art fair held in Australia devoted to showcasing works of art on paper. 

A visual feast is in store· with works ranging from contemporary and vintage photographs, lithographs, linocuts, 

etchings, drawings, computer generated images, watercolours and original vintage posters . by leading Australian 

and international artists. 

Works on paper are an important part of an artists' oeuvre and the art of drawing brings one closest to the creative 

spirit of the artist. Prints and drawings are works of art in their won right· not just adjuncts to painting. Ever since the 

Renaissance artists have produced prints and drawings as autonomous works of art. The late 19th Century saw major 

developments in printmaking technologies and techniques, while the late 20th Century has produced some of the 

greatest works on paper by such artists as Picasso and Matisse. In the 1960's and 1070's artists like Andy Warhol 

were making prints that had to be considered on an equal footing with paintings as major works of art. 

The International Works on paper Fair offers the opportunity for the public and students to view some of the worlds 

best examples of works on paper, under the one roof. 

Visitors to the Fair will be able to view works on paper by renowned international artists including Picasso, Chagall, 

Pissaro, Miro, Degas and Toulous Lautrec. Original posters by some of the world's masters in this field are coming 

from the United States of America. Australian artists will be featured with works on paper by leading contemporary 

and traditional artists. 

A program of lectures and continuous demonstrations of printmaking techniques will run throughout the four days of 

the fair. 

ISSUE 36/2 WINTER 1997 + PoTTERY '" AusTlW..lo\ 81

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84 POTIERY IN A USTRALIA + ISSUE 36/1 AUTUMN 1997

STOCKISTS 

. NSW Newcastle Potter Su~'lies Red Hill South 'ewsagency • WESTERN AUSTRALIA 

Aldersons Arts & Cr.fIs 3 Arnolds La, WARA Ali Shoreham Rd, RED HILL Angus & Robertson Bookworld 

64-68 Violet St, REVESBY SW Pottery Supplies Roundhouse Gallery 240 York St, ALBAJ\'Y 

Art Gallery of NSW 90 Viaoria Rd, PARRAMATIA 112 Queens Pde, TRARALGON Art Ga llery of WA 

Domain Rd, SYDNEY 

Bookshop, PERTH 

POllers' Needs 

TI,e Arts Book Shop 

Atun Art 67 Boyd St KELSO 1067 High St, ARMIDALE Cmfts Council of W A 

36 Railway Pde 

Penh City Railway Station, 

Raglan Gallery 

TIle'dtre An 

BURWooD 

PERTH 

5-7 Raglan St, MANLY 20 julia St, PORTLAND 

Back to Back Galleries 

HewitL' An Bookshop 

Southern Cross Pottery The Valley Gallery 

57 Bull St, COOKS HILL 

7 Mouat St, FREMANrLE 

14 Caba CIs, BOAMBEE Cm Steels Creek & Valley Rds, 

Bathurst Regional An Gallel)' YARRA GI.EN Fremantle Arts Centre Bookshop 

BATHURST Stun Craft Centre 1 Finneny Sr, FREMANTLE 

MITIAGONG 

Vidorian Ceramics Group 

Bellingen Newsagency 

7 Blackwood St, Guildford Village POllers 

83 Hyde St, BELLI 'GEN Syretts Newsagency 

NORTH MELBOURNE 22 Meadow St, GUILDFORD 

30-32 Otho St, INVERELL 

Brookvale Hobby Ceramic Studio 

Walker Cemmies 

jacksons Cemmics 

II/Powells Rd, BRooKVALE Old Bakery Gallery 55 Lusher Rd, CHOYDO 94 jersey St, jOLlMOI\'T 

22 Rosenthal Ave, LANE COVE 

Carpenters Newsagency 

Warrnambool Potters Wheel Margaret River POItery 

25 Wiloughby Rd, CROWS NEST 

Tallaga nda POllery 74 Liebig St, WARRNAMBooL 91 Bu sell Hwy, 

116 Wallace Sr, BRAJDWooD MARGARET RIVER 

Cemmic 'rudy Group 

The Art Shed Gallc>f)' 

• QUEENSLAND 

POIters Market 

The Clay and Cmfr Gallery 

TI,e Artery 

7 'aas Rd, THARWA 

18 Stockdale Rd, O'CON OR 

217 1-73 Burelli St, 

P.O. Box 343 WARWICK 

WOLLONGONG 

The POIrery Place 

Australian Cmfrworks 

Whitermn Park Pouery 

104 Keir" St, WOLLONGO 'G 

Clay TIlings Porters Gallery 

Shop 20, Village Ln, CAIRNS Whiteman Park, Lord St, 

Walker Cem mics 

WHITEMAN 

21 Oaks Ave, DEEWHY 

98 Starkey St, 

Claycmft SUflplies 

• NORTHERN TERRITORY 

Coachouse Gallery KILLARNEY HEIGHTS 29 O'Conne I Terrace, 

Aussie POlZ 

Shop 7, Cnr. Manning St & 

BOWEN HILLS 

2 Saunders St jI Gill 

Seconu Ave, KINGSWOOn • ACT Claymates 

• TASMANIA 

Coolangana Cmft Centre Gallery 

Canberra Potters Society 120 Parker St, MAROOCHYDORE 

Crafts Council ACr 

Ceramic 'i Studio 

1180 Bolong Rd, via BERRY 

1 Aspinal Sr, WATSON 

Hidden Talem Srudio-Gallcry 13 Russell St, INVERMA Y 

Design Plus Gallery 

Shop 6, 141 Ingham Rd, 

Garema Place Pouers 

WEST END, TOWNSVILLE 

Emrcpo! Art ProdudS 

P.O. Box 657 QUEEN BEY AN 

18 Garema PI, CAN BERRA CITY Centre for the Arts 

~1cCabes 

Designed and Made 

Newsagency lIunter St, HOBART 

National Art Gallery of Aus!. 7 Eight Ave, HOME HILL 

88 Geor~ St, 

Handmark Gallery 

The Roc , SYDNEY 

Bookshop. CANBERRA 

Mamnoa Ponery Supplies 77 Salamanca PI, 

The Fabled Bookshops 

TI,e Art Shed 143 James St, TooWooMBA BATIERY POINT 

54 T erania St, NORTH IJSMORE 

7 aas Rd, TIIARWA 

onh Queensland Porters 

• U.S.A. 

Gleebooks 

Walker Cemmies Association, TOWNSVILLE Seattle POllery S'd,plies 

131 Glebe Point Rd, GLEBE 

289 Canbem Ave, FYSH\X~ CK 

Pouery Supplies 

35 South Stanfor , SEA mE 

• VICTORIA 

Gunned"h Bookshop 

51 Casdemaine St, MI LTON • CANADA 

Shop 1, Civic Mall, 

Artisan Craft Books 

Meat Market Craft Centre The POIt::,))' Place Scona POllery Supply & Clay 

Conadilly St, GUNNE DAH 

42 Courtney St, 171 Newel St, CAIRNS AIl Studio 

8105-104 St, Edmonton, 

Hilldav Industries NORTH MELBOURNE The Clay Shed ALBERTA 

lOB Oakes Rd, 

Bendigo Pottery Services 2/24 Hi-tech Drive 

OLD TOO GABBlE 

Midland Hwy, EPSOM 

KUNDA PARK • NEW ZEALAND 

Coastal Cemmies 

~)hrieS ewsagency Clayworks Poner Supplies Queensland AIl Gallery 124 Rimu Rd, 

11,e Corso, MANLY 

6 johnson Cn, DANDENO G SOUTH BRISBANE PARAPARAUMU 

Inner Ci~ Clayworkers 

Dairing Gallery Queensland POllers Assoc, Cobdaft Supplies 

Cnr St )o lns Rd & Darghan St, 

321 Lennox 5t, RICHMOND 82 Brunswick St, 24 Essex St, CHRISTCH URCH 

GLEBE 

FORTIllJDE VALLEY 

Distelfink Gallery 

Sou th Street Gallery 

janets An SuppliesP/L 

1005 High St, ARMADALE • SOUTH AUSTRALIA 10 Nile St, NELSO 

143 Victoria Ave, 

Bamfurlong Fine Crafts 

CHAl 'WooD Narional Gallery of Victoria 34 Main St, HAHNDORF • SINGAPORE 

Bookshop, MELBOURNE 

Southern Li~ht Trading 

Keane Cer,unics 

jam Faaory Craft & Design 

3971 Debenham Rd, Northcote Pottery Services 

71 Seng Po Rd,

Ad.'anc,ed Diploma, Diploma & Certificate Courses 

Part Time Options , '1 ;t :0 

~ 

" 

I 

J 

i" iiI::n 

Full and Part TIme Options 

at your local TAFE College or Phone 02 9217 4299 Enquire at your localTAFE College or Phone 0292174299 

Craftsite Australia 

www.craftaus.com.au 

Information and images of contemporary 

Australian craft on Craft Australia's web site.

HIGH CLASS FACILITIES 

Holmesglen Institute of TAFE's Ceramic Department 

boasts excellent facilities, aiding students 10 develop their 

skills. The Department houses its own ceramics testing 

laboratory, student kilns and wheels. 

Students are 

supplied with all materials and firings at no extra 

charge and are guaranteed a wheel for each dass. 

The Institute ensures high quality education in ceramics 

with students Iaught by Industry professionals. 

Holmesglen is the only TAFE in VICtoria to olfer a 

Certificate level four in Industrial Ceramics. The 

InstiMe's PottOl)' Skills and Sales course is also unique 

to Holmesglen. 

HOLMESGLEN CERAMIC COURSES 

• Basic Course in Ceramic Technclogy & Training Skills 

• Ceramic Mouldmaking 

• Certificate II in Clay & Ceramic Operations 

• Certificate IV in Clay & Ceramics (Industrial Ceramics) 

• Diploma of Arts (Ceramics) 

• Pottery Skills & Sales 

For further infonnation call 9564 1579 

Holmesglen Institute of TAFE, Batesford Road, Chadstone 

Visit our web site: www.holmesglen.vlc.edu.au 

Holmesglen helps its students strive for success. 

Several of the Ceramtc courses allow students to 

progress Into higher degree courses at 

University. All graduates in 1996 who applied lor 

entry into a university course were accepted. A 

number of graduates have also successfully set up 

their own ceramic businesses. 

The InstHute also helps students gain exposure of 

their worie, holding a yearty ceramic exhibition and 

Chrislmas pottery sale. 

Students are also given the opportunity to be Iaught 

by world renowned potters. Artists such as Greg 

Daly and Jeff Mincham have shared their 

knowledge and experience with students in 

workshops held at the Institute. To further their 

knowledge students are also taken on Induslty and 

artist visits where they have the opporiunity to view 

potters in their own studiolwork environment. In the 

past, students have visited the studios of well known 

artiSts Barty Hayes and Ted Secombe. 

Ceramic 

Study 

Group 

Inc. 

lor eve'Yone inlerested in pOllelY 

Melll.bers enjoy monthly meetings . monthl y 

newsletters · weckf'nd workshops . residential 

pIing School . amlllal Poners Fair . en ellsivc 

library of books, vi deos aJld slides 

'I,Oj·till.!!... lIl' ht·111 flU IIII' rUllI"tli I. ill.t~ (lj 

,',wI! nWlllh (1''\('('PI J)1·C · I·IIIIU'r - II·III·II.II·~ 

jrwlu ... h,·) ill Ih., \la .. un " Iw.lln', nllilcfiJl~ 

1.7U. \1.u'III..,ri.· l lIi\(·,· .. il~ 

esc Inc. PO Bo.\ 1528, MaC

The Ceramics Department has a long history 

of training and educating many of Australia's 

leading ceramic artists and educators. 

Whilst the course recognises the 

importance of tradition, its teaching 

emphasis is innovative, and offers studio 

based practice under the guidance and 

tuition of recognised practicing artists, 

augmented and supported by the study of 

visual art theory, drawing and professional 

practice. 

The department offers excellent established 

facilities and a range of part time and full 

time courses. 

Ceramic Courses 

1998 - Full time and part time courses 

available. 

1997 - Mid year intake into all part time 

courses. 

Studio access and tuition for: 

• Wheel and handbuilding 

• Glaze research 

• Mouldmaking and slipcasting 

• Kiln firing. 

FURTHER ENQUIRIES 

PLEASE CONTACT 

The National Art School 

Ceramics Department 

Bill Samuels & Merran Esson 

Phone (02) 93398630 

or (02) 93398631 

Fax (02) 93398683. 

89

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I LARGE SALE OF SURPLUS EQUlPMENT SUITABLE FOR STUDIO POTTERS I 

Prices Available On Request. 

• 4" Venco dc-airing pug with 

auto cutting machine. 

• Large motoriscd Clayworks 

slab roller. 

• Two \'ertical lower jigger & 

jolley machines, with moulds 

for large bread crock. 

• Five Vento potters wheels. 

• Four Stainless Steel extruders. 

• Two trolley jacks. 

• Auto spraying machine with 3 

heads. 

• Printing machine with screens 

suitable for pon jugs. 

• Pebbles for ball mill. 

• Ware trolleys. 

• Ceramic tile lined small 

blunger. 

• Large cast iron table and head 

for jigger & jolley machine. 

• Small Tetlow spray booth. 

• Large quantity used kiln 

shelves - various Si7,cS, '/4"" 

thick. 

• Two large Johnson tile presses 

suitable for garden edging tiles. 

• Surplus corks and boxes 

• Display units. 

• Three industrial YBCUUm 

cleaners - Nillisk & Karaehe. 

• Drawing board. 

• Two strapping machines. 

• Drying cupboards. 

• Sponging machine. 

• : Large blow heater. 

• Bag "ennicufilc. 

• Sundry items. 

90

Only the BEST 

Electric top loaders 

Ask about the new range 

of electronjc Cress kjlns. 

VENCO 

PRODUCTS 

Potters Wheels 

Want a cone 10 ki ln but 

only have single phase? 

\\'e have the solution! 

We also stock Pacifica 

Potters Wheels, with the 

famous magic pedal ! 

Call for details and price 

information. 

Ceramic raft 

33 Denninup Way, Malaga WA 6062 

Ph: 08 9249 9266 Fx: 0892499690 

TWO DAY CERAMIC WORKSHOPS 

TilE ART OF SURFACE DECOHATION 

Roberta Mears will run a series of workshops covc.-illg design techniques from the 15th century 

through to contemporary ecrulnic an, 

WORKSHOPS WILL H THHOUCH MAY TO SEIYfEMBER F.VEHY 

T UES DA Y/ WEDNESDAY-residential and non residem i,,1 ava il able. 

Develop [md illl prove yom' sense of COJOlU' alld desigll • cOll fi dclI l'C in pai llriug an d drawing skills 

• unj)lock your crf'at"ivity and develop your own stylr • create a ht'Hlitiflll alld original ceramic art work 

• Oxides, undcrglazc, pencil, resists. glazes wi ll be explored 011 hand t h rowTI qualiry earthenware 

m.d stoneware pieces that have bee II produced bv studio poll ers. 

WORKSHOPS AHE DESIGNED TO GATER FOR Ar,L LEVELS OF SKfl L 

NO EXPER1ENCE IS fECESSAHY AS T HE EMP HAS IS IS ON TilE ENJOYMENT OF THE 

CHEATIVE PR OCESS. 

Workshops wi ll {'over hanrlpressecl hali

HOT & STICKY [l~ 

Steve Harrison - KILN & CLAY TECHNOLOGY 

C STOM DESIGNED AND BUILT: 

KILNs • RI brick or fibre 

B URNERS • LPG or natural gas 

H OODS • custom built stainless steel 

STAINLESS STEEL VL E SYSTEMS 

KrLNS AVAILABLE IN KIT FORM 

KIL S DESIGNED, PLANS DRAWN 

V ENCO POTTERS WHEELS 

'0 SPECIFICATIONS 

V ENCO VACUUM PUG MILLS 

KILN SHELVES • sillimanite or silicon carbide 

DIGITAL PYROMETERS AN D THERMOCOUPLES 

CREATIVE SOLUTIONS TO TECHNICAL PROBLEMS 

Old School Balm.oral Village via Picton 2571 

Telephone or facsimile • 043 393 479 

NEVI RHEAI! NEW RHEAIE NEW RElEAIE NEW RHEAIE 

G.A.N. TRADING Monulociu,elS 01 

EX - CEL KILNS 

THE GAS KILN SINCE 1979 

8cr TO JOcr QR MADE 10 SUIT YOUR NEEDS. 

AlL KILN BUILDING MATERIALS (BRICKS. FIBRE. 

MORTAR. ANCHORS & BURNERS MADE TO ORDER) 

THE AUSTRALIAN POTTERS' DIRECTORY 

A fUll (OIOUR GUIDI TO (ONIIMPORUY (IRAMIC PRACTICE IN AUITRAIIA 

FerJllling !he won 01 

MORE THAN 130 AUSTRAUAH aRAMJm, om so GAIIlRl£S, SUPPIIRS 

AND POTlIRS' GIlOUPS 

The "",lid ,ria ... for 

MAKERS AND IUYERS, (OUIOORS, CURATORS, GAWRIES, INTlRfOR 

DESIGNERS. TOURISTS, TEACHERS AND STUDfHTS 

RRP AUDS26.00 PLUS POSTAGE 

&SO. WE SUPPLY CANE HANDLES ( FROM 

S 2.90 RETAIL). POHERY TOOLS. KEG TAPS m. 

SAVE ON BULK! CLUB ORDERS 

MAIL ORDER SERVICE FOR WHOLESALE 

AND RETAIL. 

PHONE FOR FREE PRICE LIST 

404 NASH RD Mis rl77. GYMP IE 4570 

PH 07 5482 7283 FAX 07 5482 8302 

ACN 010378757 

for mort: infonnation and orders fax or mail 

rilE I'OTJTRS' '>{lClFrY O J AU'rRALL\ 

PO Box 937 Crows Nest NSW 2065 Austr.dia 

TELEPHONE +61 (0)2 990 J 3353 FAC-SIMJl£ +61 (0)29436 I68J 

EMAIL potinaus@ozcmaiJ.com..au 

92 

NEW RHEAIE NEW RHEAIE /JEW RHEAIE flEVi RIlIAI!

CLAYWORKS 

FINE QUAUTY FlLTERPRESSED CLAY BODIES 

NEW PRODUCT 

HIGH VOLUME LOW PRESSURE (HVLP) 

SPRAY SYSTEMS 

REDUCES OVERSPRA Y BY 80% 

REDUCES GLAZE WASTAGE BY UP TO 65% 

MAKING YOUR STUDIO A SAFER WORK ENVIRONMENT 

RlNGFORFREEBROCHURE 

HIGH TEMPERATURE GLAZE STAINS 

1300c - BLOOD RED 

1300c - TOMATO RED 

PLASTER TURNING LATHE. 

A recent addition to our range of aids for 

mould and die making .Variable speed 

control and tool rest. Also available are 

various spindles and cups of different sizes 

CLAYWORKS AUSTRALIA PTY LTD 

6 JOHNSTON COURT DANDENONG 3175 

PHONE (03) 9791 6749 FAX (03) 9792 4476 

A.C.N. OO7005923 

93

KEROSENE LAMP POTTERS SETS 

WITH Ql!ALlTY 

CZECH CHIMNEYS 

SPECIALISTS IN 

0 1 L LAMP BURN ERS 

WICKS, CH IMNEYS 

dllJ aLI " ther oil Lamp ,jupp/it" 

STOC KI ST S OF 

VGt\T CO~ 

! \ 

102 CRIMP 

55.00 EA 

103 VIENNA 

$4.00 EA 

105 VIENNA 

54 .60 [A 

303 PIX I 

52.40 [ A 

LAM P OIL 

Trade t!1Il/llirieJ We/COUll 

449 Elizabeth Street, Melbourne Victoria 3000, Australia 

Telephone (03) 9329 7804 

Facsim ile (03) 93294720 

94

• Manufacturers and agents for the Northcot.e and 

Bendigo Pottery clays and slips 

• Stockists of the best range of Clayworks, Keanes, and 

Feeneys clays 

• Manufacturers of the Northcote Pottery range of 

powdered and brush-on glazes for Raku, Earthenware, 

Midfire and Stoneware temperatures 

• Manufacturers of 30 bright, intermixable liquid 

underglazes in 20ml to 5 litre sizes, earthenware and 

stoneware underglaze crayons, underglaze stamping ink 

for use with rubber stamps, and the new liquid 

underglaze Scribbler Pens 

• Stockists of a wide range of pottery equipment from 

Cowley, Venco, Tetlow, Woodrow Industries, Talisman, 

Giffin, Peco, Armstrong, Port-O-Kiln, and Seven Skills 

• Offering the widest range of powdered colourants 

(stains, underglazes and onglazes) from Cookson 

Matthey, Feno Corp a nd Cerdec 

• Dealing in all areas of pottery materials and equipment 

supply 

• Repairs and rental of electric wheels and slab rollers 

• Utilise our firing facilities for large or small works 

• Come browse through the Potter's Gallery ever changing 

range of work by Victorian potters 

• Tour our 100 year old factory manufacturing terracotta 

gardenware 

• Technical advice and consultants available 

NORTH COTE POTTERY 

85a Clyde Street, Thornbury, Victoria 3071 

Phone: (03) 9484 4580 Fax: (03) 9480 3075 

95

Claycraft 

for 

Materials and equipment for 

craft potters, schools and potteri es 

Stockists of 

CESCO underg lazes and glazes 

FERRO colours WARD kilns 

VENCO Wheels and Pug Mills 

Queensland agent for TALISMAN products 

ClAYS 

Feeneys, Bennetts, Clayworks, Cesco, 

Keanes, Northcote, Walkers 

Raw Materials, Oxides, Stains, 

Corks, Clockmovements, Tools, Equipment, 

Books and magazines, Lotion pumps, 

Kero lamps, Oil burners 

PLEASE REPEAT 

MATERIAL FOR 

" AUSTRALIAN 

COMBUSTION SERVICES" 

ISSUE 35/4 • PAGE 92 

(See photocopy reference enclosed) 

Claycraft Supplies Pty Ltd 

29 O'Connell Tee, Bowen Hills, Brisbane 

PO Box 1278, Fortitude Valley, QLO 4006 

Telephone: (07) 3854 1515 Fax: (07) 3252 1941 

[P®W[3~W 

AL INSTITUTE OF TAFE 

e:s. ()ipl,~ma of Arts (Ceramics) program 

Pottery in 1998. 

This innovative and exciting development 

brings together education. training and industry. 

96

ARTISAN CRAFT BOOKS 

M eat Marke t Cra ft Centre- C nr Cou rtne y &:: B l a c kwoo d S tree t s , N o rth Melbourne. 

Ph: (03) 9 3 2 9 6042 Fax : (03) 9 3 26 1054 

T h e most 

o f b ooks 

Australia 

~xten8Jve 

on 

range 

Cralt. in 

Exhibition 

post c ards 

catalogues 

Ring f o r 

I I. to 

specific eu b Ject 

Mail order ser vice - 

Postal rates $6 . 50 for the 

first book and S2 . 00 per 

b o ok thereafter 

All major cre d it carda 

Opening hours lOam · 

Tue s day to Sunday ~ 

Publ i c Holidays 

5pm 

97

Clean Eflicield Gas Kilns 

and FwILZLL£ 

+ Environmentally friendly. 

+ Low density hot face insulating 

brick. (Fibre Free) 

+ Economical to operate. 

+ Made in Australia. 

+ One of Australias most 

experienced kiln and furnace 

manufacturers. 

+ Australias largest range - 32 

standard sizes - custom sizes on 

request. 

+ Over 30 years experience - 

Established 1963. 

+ Over 15.000 kilns and furnaces 

now in use. 

98

Hydraulic PII}IY.o::l,~A'!~nd 

for Semi or Full 

Lathes 

tic Production 

Banchi Apribili CT 75 

Press far making window boxes, large 

platters and d' hes, bowls. flat ware, etc. 

Tomia Maxi 2002 

Lathe for making large pots, vases of 

unusual shape and more. 

f associated equipment and engineering service for small 

o want to upgrade their plant from manual to semi or 

Iy automatic production . 

• A full range of clays suitable for presses and 

to correct hardness . • Clays for pug and casting available i!ltlter!'aj:6fta, s'lonp,>J;rArp, 

and porcelain coloured to your specifications . • 3 2 rliftFp",ht valrreties 

earthenware, stoneware, bone ch ina, vitreous china "nt1ot,nr,cpl",rNl,on 

• All clays suitable for making your own slip ( 

Technical data, catalogues and price lists 

3v.IIII-"'-•• 

Geddes Street, Mulgrave, Victoria 

~~~~03 9561 9034, Mob: 0412 

100

The Western Australian 

School of Visual Arts' 

ceramics department is 

unique in that it offers 

students a number of 

pathways in the attainment 

of a Visual Arts Degree. 

Linked to course won< in 

tracHtional studio ceramics 

are opportunities to cross 

fertilise and/ or combine 

with sculpture. installation, 

performance, music, and 

time based art practices. 

Students are encouraged to investigate traditional 

and/ or non traditional foons of expression and are exposed 

to a vast array of ideologies, technologies and processes. 

For further details contact 

Dr Paul Counsel 

WA School of Visual Arts 

2 Bradford Street MT LAWLEY 6050 

Tel (OS) 9370 6586 Fax (OS) 93706147 

Email p.counsel @cowan.edu.au 

~PAPER 

SOUTH WESTERN SYDNEY INSTITUTE OF TAFE 

LIVERPOOL I CAMPBELLTOWN 

COLLEGE 

ART GAlliRIES f ROM AROUND THE 

WORlD OffE RING THE BEST IN 

NATIONAL AND INTERNATIONAL 

WORKS ON PAPER 

AT THE SIXTH INTERNATIONAL 

ART fAIR IN SYDNEY 

16·20 JULY, 1997 

STATE UBRARY Of NEW SOUTH WALES 

MACQUARIE STREET SYDNEY 200l 

Ceramics '1

.. ~# \\1 I \ 

• .. ... ' II "'I .1 \ I I 

5-DAY INTENSIVE GLAZE SCHOOL 

7-1 1 July 1997 

The Ceramics Workshop of the canberra School of Art 

offers a limited number of places in a residential 5-day 

intensive glaze workshop run as an adjunct 10 the 

GlazelClaylKiln distance education program. 

For further details and enrolment forms contact 

TONY FLYNN 

C5A Ceramics Workshop - ANU 

PO Box B04 Canberra ACT 2601 

Fax (06) 249 5722 

;. J. I' ~,' ~ ~ > T ' '0' " ~, 

""'-':1 ),"",1.-

Coolangatta Craft Centre 

GALLERY 

I 180 SOLONG RD VIA BERRY NSW 

o Exhibitions by well known 

poners 

o Workshops throughout 

the year 

o Accomodation in self 

contained cottage 

or bed and breakfast 

o RailCar Cafe 

For detoils or information ring 044 487205 

FOR HANDBUILT AND FUNCTIONAL POTTERY 

clay things 

z 

I 

~ 

21 Oaks Ave, DEE WHY 

Phone: (021 9981 1596 

Open 6 days 

a co-operotive gallery owned by 16 local potters 

selling original Australian handicraft 

(;oa,-·hollse 

Galle.ey 

0- 

Exhibiting finely ccarted ceramics. 

Pottery supplies available. 

o R 

N G 

i 

~ 

Open lltouday to Friday 9wu to Spm 

Saturday 98J1I to 1.30I'IU 

Shop 7 lllanuing SLrei!t KiufYJwood 

Telellhone 047 365 866 

July lSth-Augus16th 

Room , & 2 Ceramtcs by 

Glen England & Marg Hombuckle 

Room 3 Paintings by Jacqul Porter 

Augusl 12th-September Jrd 

Room 1 Panti~ by Mandy Hopkins 

Room 2 Glass by Patridl Wong 

Room 3 PaIn~ by Hem M ihal~ 

September 9th-OciOOer 1st 

Room 1 Ceramics by Joy Van Dei' Hayden 

Room 2 Ceramics by Anne Reilly 

Room 3 Paintings by Vince Bettingeri 

321 Lennox Street Richmond, Victoria, Australia 3121 

Tetephone (03) 9429 3296 

104

Pottery In Australia Vol 36 No 2 Winter 1997

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