Pottery In Australia Vol 39 No 4 December 2000

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Right: Yellow and white porcelain bowls. 13.5 x 14 x 9cm Previous page: Black and yellow iug,black bottle. Opposite: White porcelain jug and bottle. Jug 6.5 x 4.5 x lOcm Bou., 22 x 12 x 6cm Photography by Terence Bogue !5tHI remember the container of face crea m sitting on my mother's dressing table. 1 would watch inten tly as the small white jar was opened and fingers gently bent and scooped the soft white contents, carefu lly lifting their special cargo upwards to be reverently smoothed and stroked - the stuff of dreams. The pink lid made a light sound as edge to edge, rims gentl y searched until threads met, givi ng guidance towards a final closi ng place. The opaque white glass of the jar and its contents beckoned me to touch and hold, to enter into this forbidden ritual of the adult world. Every detail fascinated me as 1 watched intently, avoiding distraction so as to mLo;s nothing. Later, secretly, my guilt forcing me to act quickly, 1 urgently tried to recall and repeat the process. The sense of urgency and a fear of detection, left me struggling to enter this ceremony. My mother'S delicate smear of cream became a thick glob that managed to drip and smear, spreading unexplainable greasy marks and pointing to certain discovery. Even so, the material itself was softer and lovelier than 1 had imagined and the thrill of holding this sma ll jar was wonderfu l. At this time [ was occupied by physical realities, of observation and mimiCry, meanwhile, something more intuitive was also beginning in me. As 1 try to organise my thoughts, memories of childhood sutface in my mind, disordered in time, as fragments - like scattered pieces of a favourite jigsaw puzzle, or the dancing flickering pictures of an old animation film. Flashes of images are sometimes clear, sometimes slipping by without recognition. 1 begin to recall occasions when I watched and ahsorbcd the reverent use of objects and materials. My grandmother and her delicately fluted, powder blue, bone china tea cups. I remember still their perfect weight, the gentle sound they made when placed together, the nervous awe with which I handled them and tile way the light touched their delicate rims. ~ Gradually, 1 began intuitively to develop an interest in th deUlii that was to penetrate many areas of my existence, bu it was many I'C'Jrs before my full awareness of this sprang te life and a more conscious exploration became possible. I still remember the day when I discovered clay for thl first time. I experienced an immediate and stron connection with this material. I was fascinated hy th breadth of possibilities presented by this substa nce. wonderfu l teacher set imaginative and chall enging projects, and 1 was hooked. With breathless excitement, 1 realised that making pots was what 1 wanted to do f01 ever. It was an invigorating discovery, leaving me with an intense desire to learn and experience as much a~ possible. Pottery now gave me a creative outlet, a ne" focus in which I could lose myself. Full of inspimtion, suddenly I had seemingly endles> energy as I began to notice and explore a world 01 beautiful, hand made objects. Here was a clear direction for me at last, and from thi~ point onwards I began determinedly to work toward~ becoming a professional poller. I immersed myself in an intense course of study (at the Harrow School of Art in London). The structured working practices and high expectations were both familia r ane attractive to me. Projects led to the development 01 building blocks - both of technique and perception. Ar 34 POTTERY IN A USTRAUA + 3914 DECEMBER 2000
inventive, questioning approach and the gradual evolution of ideas was seen as essential for the development of creative and expressive thinking. These methods connected strongly with my previouS'interests in science and music. This was very exciting for me. The course was amazing - intense and demanding, it concentrated on the making of high quality, inventive functional objects. Focused and structured, it gathered a momentum of it's own. Small numbers of students worked with strong commitment and energy. Ideas and infonnalion were discussed and shared and the sen
Page 2: ---~~--- Practical Information on C
Page 5 and 6: Front Cover VICtor Grrenaway, 'Nch'
Page 7 and 8: - - - --- - ------------------- ---
Page 9 and 10: WHITE EARTH/RED EARTH SPIRALLING TO
Page 11 and 12: uildings of the Palazzo Brugiorti i
Page 13: Th ere are many challenges ahead fo
Page 16 and 17: initiative to lecture to the studen
Page 18 and 19: PORCELAIN A LOOSELY POTTED HISTORY.
Page 20 and 21: long usage brought a funher gain th
Page 22 and 23: Phillip Hart, left, Limoge porcelai
Page 24 and 25: 'Book', porcelain and mixed media.
Page 26 and 27: PRESERVED SOUND Fleur Schell 2000,
Page 28 and 29: Top: 'A Home For The Forgotten Uten
Page 30 and 31: EXPLORING PORCELAIN Petra -Murphy H
Page 32 and 33: 28 POTIERY IN AUSTRAIJA + 39/4 DECE
Page 34 and 35: Right: 'Membranes of a Rezzo Fresco
Page 36 and 37: Printing letter stamps were added a
Page 40 and 41: PROF I LE PORCELAIN AND PRIMITIVE T
Page 42 and 43: PROFILE SPEAKING FOR MYSELF KAYE PE
Page 44 and 45: REVI EW A FINE FOCUS IN RECENT WORK
Page 46 and 47: UTILITY ''The real utility is not i
Page 48 and 49: HANDS ON AUSTRALIAN PORCELAINS WALK
Page 50 and 51: GLAZING PORCELAIN Glazing methods f
Page 52 and 53: MIDFlRE GLAZES Metchosin Intemation
Page 54 and 55: PROFILE POTS TO LIVE WITH Matthew B
Page 56 and 57: NED KELLY OUTLAW/INLORE Exhibition
Page 58 and 59: For Bruce McWhinney the natural ele
Page 60 and 61: PROFILE YENGO DREAMING Recent work
Page 62 and 63: CLAY TREASURES 2000 Members exhibit
Page 64 and 65: I thought J had left pots behind fo
Page 66 and 67: R.EVI EW ROYAL MELBOURNE SHOW BUSHE
Page 68 and 69: The workshop and tour followed the
Page 70 and 71: Tap: ". 50m langldln • Tamba /I o
Page 72 and 73: FIBRE ALERT CERAMIC FIBRE vs INSULA
Page 74 and 75: adjusting the regulator lO keep the
Page 76 and 77: A DECORATION FEAST! The V.C.G.'s 6t
Page 78 and 79: glaze, spraying, use of stencils, l
Page 80 and 81: 1. Preparation of clay disc - note
Page 82 and 83: POTTERY IN MEXICO By KEN -OSETROFF.
Page 84 and 85: BOOKREVIEW HERMANNSBURG POTJ'ERS :
Page 86 and 87: DECEMBER 2000 AUSTRALIA WIDE A ROUN
Page 88 and 89:
DECEMBER 2000 AUSTRALIA WIDE The Ca
Page 90 and 91:
DECEMBER 2000 NEWS • CREATE 2001,
Page 92 and 93:
NEW TITLES ON SPECIAL A Woodfired C
Page 94 and 95:
POTTERY IN AUSTRALIA - ORDER NOW SP
Page 96 and 97:
STOC'KISTS . NSW A1dersons AIls & C
Page 98 and 99:
SAVE 45" OFF THE UP OF 526. (PRICE
Page 100 and 101:
96 ~~~~ Courses in Fine Arts Cerami
Page 102 and 103:
Advalnced Diploma, Diploma & Certif
Page 104 and 105:
:MllllUlfacture,rs of p.epare!Ci cl
Page 106 and 107:
102
Page 108 and 109:
BLACK SHEEP FARM POTIERY & GUEST HO
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Pottery In Australia Vol 39 No 4 December 2000

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